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Choosing the Right Mastering Hand-Too Setting Up Machi Making Accurate Using Jigs an LONNIE BIRD UsingWoodworking Tools Taunton’s COMPLETE ILLUSTRATED Guide to

Using Woodworking Tools

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Page 1: Using Woodworking Tools

American WoodworkerFine Woodworking

The Shaper Book, The Bandsaw Book,Taunton’s Complete Illustrated Guide to Shaping Wood

Taunton’s Complete Illustrated Guide to Period FurnitureDetails

Fine Woodworking

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LONNIE BIRD

UsingWoodworking

Tools

Taunton’s COMPLETE ILLUSTRATED Guide to

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Page 2: Using Woodworking Tools
Page 3: Using Woodworking Tools

LO N N I E BI R D

t

Woodworking ToolsTaunton’s COMPLETE ILLUSTRATED Guide to Using

Page 4: Using Woodworking Tools

AAbboouutt YYoouurr SSaaffeettyy:: Working with wood is inherently dangerous. Using hand or power toolsimproperly or ignoring safety practices can lead to permanent injury or even death. Don’t try toperform operations you learn about here (or elsewhere) unless you’re certain they are safe foryou. If something about an operation doesn’t feel right, don’t do it. Look for another way. Wewant you to enjoy the craft, so please keep safety foremost in your mind whenever you’re in the shop.

Text © 2004 by Lonnie BirdPhotographs 2004 by Lonnie Bird, © The Taunton Press, Inc.Illustrations © 2004 by The Taunton Press, Inc.

All rights reserved.

The Taunton Press, Inc., 63 South Main Street, PO Box 5506, Newtown, CT 06470-5506e-mail: [email protected]

EDITOR: Tony O’MalleyDESIGN: Lori WendinLAYOUT: Cathy CassidyILLUSTRATOR: Mario FerroPHOTOGRAPHER: Lonnie Bird

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA:

Bird, Lonnie.

Taunton's complete illustrated guide to using woodworking tools / Lonnie Bird.

p. cm.

ISBN-13: 978-1-56158-597-7

ISBN-10: 1-56158-597-1

1. Woodworking tools. I. Title: Complete illustrated guide to using woodworking tools. II. Taunton Press. III. Title.

TT186.B51723 2004

684'.08--dc22

2004006003

Printed in the United States of America10 9 8 7 6 5 4 3 2

The following manufacturers/names appearing in Taunton’s Complete Illustrated Guide to Using Woodworking Tools are trademarks:Lie-Nielsen Toolworks™, Lufkin®, Ohio Tools®, Sargent®, Stanley®, Starrett®, X-Acto®

P Pp

Page 5: Using Woodworking Tools

Writing a book isn’t a solo endeavor; there are many

people who contribute ideas, vision, and work to make such

a project successful.

With that in mind, I wish to express my sincere appreciation to

Helen Albert for giving me the opportunity to write this book.

Many thanks also to Tony O’Malley, editor, for his hard work

and dedicaton on this book project.

Thanks also to those who provided tools for photographs, including

Chuck Hardin and Angie Shelton of Delta/Porter-Cable, Scott Box

of Powermatic, Todd Walter at Dewalt, Cliff Paddock at CMT,

and Tom Lie-Nielsen at Lie-Nielsen Toolworks.

Special thanks to Linda, my wife and life partner, for her patience

and help through this entire project.

Acknowledgments

To my daughters, Rebecca and Sarah, who fill my life with great joy.

Page 6: Using Woodworking Tools

Contents

11 From Logs to Boards

15 Dealing with WoodMovement

17 CheckingMoistureContent

8 The Structure of Wood

Introduction • 2

How to Use This Book • 3

P A R T O N E Wood and the Shop • 6

24 Edge Tools22 Holding the Work

27 Measuring andMarking Tools

30 Hammers andStriking Tools

32 SharpeningEquipment

33 Portable PowerTools

SECTION 1 Working with Wood • 8➤

SECTION 2 Outfitting the Shop • 22➤

Page 7: Using Woodworking Tools

P A R T T W O Benches, Clamps, and Assembly • 44

42 Blades, Bits,and Cutters

37 StationaryMachines

42 Dust Collection

72 ProjectAssemblies

70 Simple GlueJoints

77 RepairingDefects

47 BenchAccessories

46 The Workbench 50 Holding Work for Planing

54 Holding Workfor Sawing

54 Holding Shaped Work

56 Clamps

SECTION 3 Benches and Clamps • 46

SECTION 4 Gluing and Assembly • 63

Page 8: Using Woodworking Tools

118 InstallingHardware

122 Tuning Chisels106 Saw andChisel Joinery

SECTION 6 Handsaws and Chisels • 96➤

152 PlaningProject Parts

145 PlaningTechniques

155 PlaningShapes

158 Tuning Planes

SECTION 7 Planes and Planing • 124➤

86 Marking Tools80 MeasuringTools

87 MarkingGauges

88 Tools forCircles, Curves,and Arcs

91 DraftingSupplies

SECTION 5 Measuring and Marking Tools • 80➤

P A R T T H R E E Hand Tools • 78

Page 9: Using Woodworking Tools

167 Files andRasps

192 BasicOperations

196 Table-SawJoinery

198 Table-SawShaping

190 Tune-UpProcedures

177 Sharpening Scrapers

175 Sharpening Chisels

SECTION 8 Files and Rasps • 164

SECTION 9 Sharpening Hand Tools • 168

SECTION 10 The Table Saw • 180➤

P A R T F O U R Power Tools • 178

Page 10: Using Woodworking Tools

246 Shaping aFace

242 ShapingEdges

211 Jointing andPlaning

209 Using the Jointer

225 CuttingSimple Curves

228 CompoundCurves

231 BandsawRipping

235 BandsawJoinery

223 Tune-UpTechniques

SECTION 12 The Bandsaw • 215

SECTION 13 The Shaper • 236

SECTION 11 The Jointer and Planer • 201➤

Page 11: Using Woodworking Tools

Further Reading • 274

Index • 275

255 AdvancedRouting

253 Basic Routing

273 Using theMortiser

272 Using the Drill Press

SECTION 15 Drilling and Mortising Tools • 259

SECTION 14 The Router Table • 247

Page 12: Using Woodworking Tools

2

as well as cut many joints. The jointer andplaner are a team that can efficiently flattenand plane lumber to size. And almost everywoodworking shop has a bandsaw; it’s thetool of choice for cutting curves and the onlytool that can resaw bookmatched panels and veneer.

Essentially, power and hand tools are ofequal importance: Machines provide efficiencyfor labor-intensive tasks, such as sawing andplaning; hand tools are used to create finedetails that machines can’t duplicate.

As you peruse the pages of this book, Ihope that you’ll learn many new skills whileexperiencing the intense enjoyment thatwoodworking provides.

There are few activities thatprovide the enjoyment and deepsense of personal satisfaction aswoodworking. As you join,

shape, and smooth the wood, you feel grow-ing anticipation as the piece nears comple-tion. The excitement builds as the piece isassembled and the finish applied. The pleas-ure of woodworking is in the process ofusing tools to create furniture that will lastfor several generations.

If you are new to woodworking you maybe wondering where to begin. It’s always agood idea to start with a few hand tools,such as a couple of planes, a set of chisels,some layout tools, and a handsaw. Usinghand tools requires patience and a measureof skill, but in the process you’ll learn allabout grain direction, accurate layout, andthe importance of sharp tools. And, as youlearn to cut and fit a dovetail joint or care-fully shape the sensuous curves of a tableleg, the hand tools will create textures andsurfaces that distinctly say, “handmade.”

Learning to use power tools can be equallysatisfying; woodworking machines provideaccuracy and efficiency that’s difficult tomatch with hand tools. The tablesaw is thefirst power tool that many woodworkerspurchase. It can accurately rip and crosscut

Introduction

Page 13: Using Woodworking Tools

3

In this book, we’ve included a wide vari-ety of techniques to fit these needs.

To find your way around the book, youfirst need to ask yourself two questions:What result am I trying to achieve? Whattools do I want to use to accomplish it?

In some cases, there are many ways andmany tools that will accomplish the sameresult. In others, there are only one or twosensible ways to do it. In all cases, however,we’ve taken a practical approach; so you maynot find your favorite exotic method fordoing a particular process. We have includedevery reasonable method and then a few justto flex your woodworking muscles.

To organize the material, we’ve brokenthe subject down to two levels. “Parts” aremajor divisions of this class of techniques.“Sections” contain related techniques.Within sections, techniques and proceduresthat create a similar result are groupedtogether, usually organized from the mostcommon way to do it to methods requiringspecialized tools or a larger degree of skill.In some cases, the progression starts withthe method requiring the most basic tech-nology and then moves on to alternativemethods using other common shop toolsand finally to specialized tools.

First of all, this book is meant to be used, not put on a shelf to gather dust. It’s meant to bepulled out and opened on your

bench when you need to do a new or un-familiar technique. So the first way to usethis book is to make sure it’s near where youdo woodworking.

In the pages that follow you’ll find a widevariety of methods that cover the importantprocesses of this area of woodworking. Justas in many other practical areas, in wood-working there are often many ways to get tothe same result. Why you choose one methodover another depends on several factors:

TTiimmee.. Are you in a hurry or do you havethe leisure to enjoy the quiet that comeswith hand tools?

YYoouurr ttoooolliinngg.. Do you have the kind ofshop that’s the envy of every woodworker ora modest collection of the usual hand andpower tools?

YYoouurr sskkiillll lleevveell.. Do you prefer simplermethods because you’re starting out or areyou always looking to challenge yourself andexpand your skills?

TThhee pprroojjeecctt.. Is the piece you’re makingutilitarian or an opportunity to show offyour best work?

How to UseThis Book

Page 14: Using Woodworking Tools

How to Use This Book4

therein. Here’s where you’ll find importantgeneral information on this group of tech-niques, including any safety issues. You’llalso read about specific tools needed for theoperations that follow and how to build jigsor fixtures needed for them.

The step-by-step essays are the heart ofthis book. Here a group of photos representsthe key steps in the process. The accompany-ing text describes the process and guides youthrough it, referring you back to the photos.Depending on how you learn best, eitherread the text first or look at the photos anddrawings; but remember, they are meant towork together. In cases where there is an

The first thing you’ll see in a part is agroup of photos keyed to a page number.Think of this as an illustrated table of con-tents. Here you’ll see a photo representingeach section in that part, along with thepage on which each section starts.

Each section begins with a similar “visualmap,” with photos that represent majorgroupings of techniques or individual tech-niques. Under each grouping is a list of thestep-by-step essays that explain how to dothe methods, including the pages on whichthey can be found.

Sections begin with an “overview,” or briefintroduction, to the methods described

The “OVERVIEW”

gives you importantgeneral informationabout the group oftechniques, tells youhow to build jigsand fixtures, andprovides advice ontooling and safety.

SECTION 6 OVERVIEW

that is, each tooth is slightly bent. Alternateteeth are bent in opposite directions so thatthe saw will cut a straight path. The result-ing kerf is wider than the body of the blade.However, too much set will cause the bladeto wander and make it difficult to saw astraight line. To further reduce binding, bet-ter-quality panel saws are tapered from theteeth toward the back of the saw.

Chisels are also among the most essentialtools that woodworkers use. (1771) They’reused for cutting and fitting joints, paringsurfaces flush, cutting recesses for locks,hinges, and other hardware, and carvingembellishments. Together, handsaws andchisels provide a one-two punch for produc-ing numerous joints common to all types offurniture and casework.

Handsaw Types

Handsaws cut with a long row of teeth.(1975) With each stroke of the blade, eachtooth, much like a tiny chisel, removes ashaving. As the cut, or kerf, as it is called, isdeepened, it has the potential to rub thesides of the sawblade and cause binding. Toprevent binding, the teeth of a saw are set;

Despite the proliferation ofpower tools in today’s woodwork-ing shops, handsaws still play an

important role. One reason is that powersaws—table saws, for example—consumeset-up time. And the set-up time is directlyproportional to the complexity of the cut. Soit’s often more efficient to make the cut witha handsaw. Also, by their nature, handsawscan make cuts that power saws can’t. Forexample, no power tool, saw, or router canduplicate the fine dovetail joinery createdwith a dovetail saw and a chisel. (3619)

Handsaws and Chisels 101

SECTION 6 OVERVIEW

100

Handsaws and Chisels

➤ Through Dovetails,(pg. 112)

➤ Half-Blind Dovetails(pg. 115)

➤ Leg-to-Rail Dovetails(pg. 118)

➤ Mortise-and-TenonJoint (pg. 120)

➤ Cutting a LockMortise (pg. 122)

➤ Cutting a HingeMortise (pg. 124)

➤ Tuning a Chisel (pg. 126)

Joints Using Sawsand Chisels

Chiseling Mortisesfor Hardware

Tuning Chisels

Handsaws are necessary for making cuts that are too cumbersome to makewith power saws.

A set of good benchchisels is a centralpart of any wood-working tool kit.

Handsaws cut withrows of teeth.

The “VISUAL MAP” tells you whereto locate the essay that details theoperation you wish to do.

Page 15: Using Woodworking Tools

How to Use This Book 5

At the back of the book is an index tohelp you find what you’re looking for in apinch. There’s also list of further reading tohelp you brush up on how to use tools andkeep them sharp, as well as some generalreferences on design.

Finally, remember to use this book when-ever you need to refresh your memory or tolearn something new. It’s been designed tobe an essential reference to help you becomea better woodworker. The only way it can dothis is if you make it as familiar a workshoptool as your favorite bench chisels.

—The editors

alternative step, it’s called out in the text and the visual material as a “variation.”

For efficiency, we’ve cross-referenced redundant processes or steps described inanother related process. You’ll see yellow“cross-references” called out frequently in the overviews and step-by-step essays.

When you see this symbol, make sureyou read what follows. The importance ofthese safety warnings cannot be overempha-sized. Always work safely and use safetydevices, including eye and hearing protec-tion. If you feel uncomfortable with a tech-nique, don’t do it, try another way.

“VARIATIONS” showalternatives for doinga step.

“WARNINGS” tell youspecific safety concernsfor this process andhow to address them.

“STEP-BY-STEP ESSAYS” contain pho-tos, drawings, and instructions onhow to do the technique.

“CROSS-REFERENCES” tell youwhere to find a related process or the detailed description of aprocess in another essay.

The “TEXT” containskeys to the photos anddrawings.

“TIPS” show short-cuts and smart ways to work.

A “SECTION” groupsrelated processestogether.

BANDSAW JOINERY

The Bandsaw 237

RIPPING ON THE BAND-

Tenons on the Bandsaw

You can cut accurate tenons on the bandsaw ifyou use a wide blade (1/2 in. works well) and afence to guide the cut. As always, cut the mor-tise first, and then cut the tenon to fit. If youneed to adjust the fit, it is always easier andmore accurate to adjust the tenon.

Begin by laying out the face and shoulder of thetenon. (4081) Then set the fence in position tocut along the layout line of the tenon face. (4085)

Now turn on the saw and make the cut. (4087)

A stick clamped to the fence works as a stop andmakes cutting multiple tenons fast and accurate.(4088)

The next step is to cut the shoulder. Remove thefence and use a miter gauge to accurately guidethe cut. (4090) Then rotate the workpiece andcut the second shoulder (4091) to complete thetenon. (4093)

The Bandsaw236

A

C

E F

D

B

See “Mortises” on p. 00.➤

Resawing

Resawing is the process of ripping a thick boardinto thinner ones. You can use this technique forcreating book-matched panels, (4049) matchingsheets of veneer, or just saving lumber whenbuilding small projects. It’s a great technique thatcan only be done on the bandsaw. But first you’llneed to select a blade for resawing. For thisdemonstration I’m using a 3/8-in., 3 tpi hook-tooth blade. (4023)

[TIP] If you own one of the many 14-in.

bandsaws on the market, you can double

the resaw capacity, from 6 in. to 12 in.,

with a riser block.

To resaw accurately, it’s best to use a tall fenceto provide support to the entire width of theworkpiece. You can attach a wide board to the ripfence on your bandsaw, or you can make a fencefrom plywood. (BIR74) Begin the process by set-ting the fence at the drift angle. Mark a stick tothe width that you want to resaw (4017) and cutfreehand along the line. (4074) When you reachthe halfway point along the length of the stick,stop the saw. You will have naturally compensat-ed for the drift angle, if any, as you follow theline. Now simply position the rip fence next tothe stick and secure it to the table with clamps.(4020) Now you’re ready to begin resawing.

As you start the cut, keep the stock positionedfirmly against the fence. (4036) Feed the work-piece slowly, be aware of the sounds and vibra-tions of the bandsaw, and adjust your feed rate ifnecessary. (4037) As you approach the end ofthe stock reduce the feed pressure and use ablock of wood to complete the cut. (4042)

A

Base

Brace

All parts are high-quality plywood or MDF.

The fence face is high enough to support wide boards.

Attach the point fence to resaw curves; remove it for straight resawing.

C

B

D

E

H I

F G

WARNING Never attempt a stop

cut by lowering the workpiece onto the

blade. Always raise the blade up

through the workpiece, and use a stop

block to prevent kickback.

▲!

VARIATION

▲!

Page 16: Using Woodworking Tools

OOuuttffiittttiinngg tthhee SShhoopp,, ppaaggee 2222WWoorrkkiinngg wwiitthh WWoooodd,, ppaaggee 88

Page 17: Using Woodworking Tools

The materials we select, the tools that we use, and

even the space we work in combine to dramatically shape

our woodworking. There’s no right formula for how these

ingredients come together because every woodworker’s

path is unique. So this first part of the book discusses wood as a material

and the tools you’ll need to start working it into something useful

and attractive.

Many aspiring woodworkers dive right into accumulating an arsenal

of tools and machines, only to find many gathering dust years later. To

avoid this, I suggest you first learn a little about wood as a material, how

a tree grows, how boards are harvested from trees, and why wood needs to

be dry before you work with it. This knowledge, presented in Section 1,

will pay valuable dividends throughout your life as a woodworker.

Section 2 offers advice for setting up shop, anchored by a solid

workbench, and finding the right mix of quality hand tools and sturdy

machines to do the kind of woodworking that interests you most.

Wood andthe Shop

PART ONE

Page 18: Using Woodworking Tools

forms what woodworkers refer to as grain.(Note: I’m discussing grain as the structuralbuilding block of wood. Grain is commonlyused to refer to the visual characteristics of aboard, but I prefer the word “figure” for thisuse.) There are two basic types of grain rele-vant to making things from wood—longgrain and end grain. Long grain comprisesthe longitudinal surfaces of the cells—that’swhat you see on the faces and edges of atypical board. End grain is a cross section ofthe cells—what you see when you crosscut aboard. The differences between the two haveimportant effects on the working character-istics of wood.

When the long-grain surfaces of twoboards are joined with glue, such as whengluing two boards edge-to-edge to make awide panel, the completed joint is strongerthan the surrounding wood. Put anotherway, if you try to break a glued-up panelalong the glue line, the wood will break,perhaps near the glue joint, but the gluejoint itself will hold. In contrast, when end

Understanding wood is essential tosuccessful woodworking. Withoutknowing how to “read” grain direc-

tion, you may experience frustrating tearoutwhile jointing or planing, spoiling a beautifulpiece of lumber. Grain can also make a bigdifference in certain milling and shapingoperations, such as making moldings. Andworking wood that’s been dried insufficientlyor too quickly can have unfortunate results,either while you’re working with it or (per-haps worse) soon afterward. To help you getthe most from the lumber you purchase, thissection covers some of wood’s most impor-tant characteristics, how to choose and storelumber, and how to find sources for eye-catching lumber at a reasonable price.

TThhee SSttrruuccttuurree ooff WWoooodd

In a living tree, the cell structure is muchlike a bundle of drinking straws transportingwater—sap—up through the trunk and outto the leaves. Once the tree is cut down andsawn into planks, the orientation of the cells

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

8

Working with Wood

Page 19: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

grain is glued, such as in a right angle indrawer construction, the joint is weak andeasily broken. Adding fasteners, such as nailsor screws, may increase strength, but the fas-teners may actually weaken the joint as theycrush, break, and distort the wood’s cellstructure. The many joints used in wood-working were invented to solve this problemby creating contact between long-grain sur-faces in both members.

Among the strongest, longest-lastingjoints are those that interlock, such as themortise-and-tenon and the dovetail, becausethey not only create long-grain gluing sur-faces but form a mechanical connection aswell. When precisely fit, interlocking jointsstay assembled without glue. The test for awell-made mortise-and-tenon joint is a fric-tion fit. Most woodworking glues don’t fill

Working with Wood 9

Sapwood

Heartwood

Pith

Bark

CCRROOSSSS SSEECCTTIIOONN OOFF LLOOGG

Tangential

Radial

Tangential

Radial

Long

End

End

TTYYPPEESS OOFF GGRRAAIINN

Tiger maple has distinctive stripes that run perpendicu-lar to the primary figure of the wood.

Page 20: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

Working with Wood10

GGLLUUIINNGG SSUURRFFAACCEESS IINN CCOOMMMMOONN JJOOIINNTTSS

The dovetail joint provides strength through mechaniinterlock and long-grain gluing surface.

Tenon

Mortise

Grain direction

Grain direction

Long-grain surfaces in both joint members

Grain directionGrain direction

End grain is a poor glujoints provide no mech

End grain is a poor gluing surface, and butt joints provide no mechanical interlock either.

BBuutttt JJooiinntt DDoovveettaaiill JJooiinnttss

MMoorrttiissee--aanndd--TTeennoonn JJooiinntt

Page 21: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

either chopping or paring. Chopping is sev-ering the ends of the cells or grain. Becauseend grain is tougher and more dense thanlong grain, a chisel designed for chopping isground with a steeper bevel and driven bythe impact of a mallet. Paring chisels have asharper, shallow bevel that enables the toolsto remove long, slender shavings along thegrain of the wood with minimal resistance.

FFrroomm LLooggss ttoo BBooaarrddss

How the log was cut at the sawmill deter-mines how the long grain meets the surfaceof the planks. This will affect the appearanceof the board, its working properties, and itsdimensional stability. All wood, even kiln-dried wood, expands and contracts withchanges in the weather. More specifically, asthe relative humidity rises, wood absorbsmoisture vapor from the surrounding air andexpands. During dry weather, typically thewinter months, wood releases moisture vaporand contracts. The degree and the directionthat it expands and contracts largely dependson how it was cut at the sawmill. Most logs

gaps between the mating parts. To make agood joint, glue must be uniformly appliedto long-grain surfaces that contact fully andevenly when assembled.

The two basic types of grain, long grainand end grain, also work very differentlywith edge tools such as planes. Planesdesigned for end grain have a slightly lowercutting angle to help cleanly sever the toughends of the cells. Planes for smoothing thelong-grain surface of boards have a highercutting angle to help prevent lifting andtearing the grain. Because grain seldom runsperfectly parallel to the surfaces of a board,planing requires that you follow the graindirection to limit tearout; this isn’t alwayseasy because sometimes the grain willchange direction or seemingly go in severaldirections in the same board. Learning toread the grain takes practice but will preventunsightly tearout when you’re using a hand-plane or machines. (See p. 126, for more onplaning with the grain.)

Grain plays a major role when you’reusing chisels, too. Chisels are designed for

Working with Wood 11

Tearout like thisoccurs when thestock is planedagainst the directionof the grain.

Page 22: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

are sawn in a specific sequence of cuts sothat the blade is always tangent to the annualgrowth rings. Referred to as “sawing aroundthe log” in the lumber industry, this sawingmethod produces boards commonly called“flatsawn.” It’s efficient and produces theleast waste. These boards are easy to spot;the surface displays the familiar “cathedral”pattern. Unfortunately, flatsawn boards reactdramatically to changes in humidity and willcup, bow, and twist, even after being properlydried and milled. Most important, flatsawnboards expand and contract across theirwidth to an appreciable degree, and thatmovement must be taken into accountwhenever you work with flatsawn lumber.

Radially sawn lumber, usually referred toas “quartersawn,” looks and behaves quitedifferently from flatsawn lumber. In quarter-sawing, the blade is positioned radially, similarto the spokes on a wheel. In a quartersawnplank, the annual rings run in straight, par-allel lines to the edges of the board. Whilethis even, straight-grained pattern may seemboring, some species, such as oak, display aflashy “ray” figure when quartersawn.

Working with Wood12

Annual rings are roughly 90˚ to face of board.

Expansion/contraction is greater across the thickness than the width but marginal in both directions.

QQUUAARRTTEERRSSAAWWNN LLUUMMBBEERR

In some species, like this white oak, quartersawn lumber displays a dramaticray figure.

Standard commercial method that yields flatsawn boards

Annual rings tangent to face of board

Expansion/contraction is greatest across the width of flatsawn boards.

SSAAWWIINNGG AARROOUUNNDD TTHHEE LLOOGG

Page 23: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

Quartersawn lumber is much more stablethan flatsawn lumber. Because the growthrings of the tree run perpendicular to theface of the board (instead of at a tangent tothe face) quartersawn lumber expands andcontracts across its width far less than flat-sawn. It also stays flatter after it’s beenplaned. These are two good reasons thatquartersawn spruce is used for the wide, thinsoundboards on acoustic guitars. In fact,before the days of manmade sheet materialslike plywood and particleboard, quartersawnlumber was used as a substrate for veneer.

Unfortunately, it’s both time-consumingand wasteful to saw a log this way. A centuryago, when forests seemed inexhaustible,quartersawn lumber was much more com-mon. In that era, factories mass-producedfurniture made of quartersawn oak, andmany homes had quartersawn hardwoodfloors throughout the house. Because it’smore stable and has less tendency to warp,quartersawn lumber wears more evenly, animportant quality for flooring.

A third method for sawing logs yieldsboards that display both flatsawn and quar-tersawn figure. Sawing “through-and-through” creates wide boards with tangentialfigure in the center gradually shifting tostraight radial figure along the edges. Manyfurniture makers, including me, prefer tohave logs sawn this way for the broad, natu-ral-appearing boards that this method pro-duces. Also, the boards can be easily stackedfor drying just as they come off the log. Thismakes it easy to match boards for grain andcolor when selecting lumber for a project.Because the boards are wider than thosesawn with the two previous methods, youcan often use one wide board in a door

Working with Wood 13

This method yields wide boards with a natural appearance.

SSAAWWIINNGG TTHHRROOUUGGHH--AANNDD--TTHHRROOUUGGHH

SSoommeettiimmeess rreeffeerrrreeddto as crotch figure, this

flashy wood is a real eye-

catcher. It’s formed by the

merging grain in the fork

of a tree or the junction of

a limb with the main trunk.

To make the most of a

crotch plank, it’s often

resawn into veneer. You can

find crotch-wood planks at

specialty lumber dealers.

CCRROOTTCCHH GGRRAAIINN➤

Crotch wood comes from the fork in a tree trunk.

Page 24: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

panel, desk lid, or small tabletop instead ofgluing together two or more narrow boards.

For efficiency, logs at a commercial millare sawn to create the highest grade ofboards. When sawn through-and-throughthe widest boards, those nearest the center ofthe log will contain knots and other naturaldefects, which reduces their commercialvalue. However, for the small shop wood-worker, it’s easy to work around the knots orperhaps even include them as an interestingdetail.

Working with Wood14

The center of the tree, known as the pith, is typically flawed and unstable and should be avoided when choosing boards for projects.

AAss tthhee nnaammee ssuuggggeessttss,

short grain is a condition

where the normal strength

of long grain is compromised

and weak. It occurs most often

when the grain doesn’t run

parallel to the edges of the

stock. Sometimes that happens

naturally, for example, in

highly figured board, but it

can also occur when a tight,

bandsawn curve cuts across

the grain. Either way, the result

is a weakened area that is

prone to breakage.

To avoid this dilemma:

• Select straight-grained stock

for frames and other places

where strength is critical.

• During layout, orient curved

patterns so that the grain in

the stock runs parallel to the

length of the pattern.

• Avoid sharp 180-degree arcs

that cut across one board.

Instead, make arcs from two

pieces of stock.

AAVVOOIIDDIINNGG SSHHOORRTT--GGRRAAIINN PPRROOBBLLEEMMSS

Short grain is weak andprone to breakage.

Wide boards are beautiful and dramatic,compared to several narrow boards gluedtogether.

Orienting the grain this way results in short grain in the ankle area and may lead to breakage.

Orienting the grain this way avoids short grain at the point of greatest stress.

• Avoid bandsawing tight

curves—laminating or

bending are better methods.

With either of these techniques

the grain follows the curve,

which adds tremendously to

the strength.

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

• Use dry wood—6 to 8 percent moisturecontent for most areas of United States.You can purchase kiln-dried wood, oryou can dry it yourself.

• Store the wood in a dry place—woodstored in a basement or unheated storagebuilding will absorb moisture.

• Monitor the moisture content and rela-tive humidity—you can purchase inex-pensive meters to keep tabs on water inthe air—and in your lumber.

• Construct for movement—design andconstruct joints that will allow the small but inevitable wood movement that will occur.

DDeeaalliinngg wwiitthh WWoooodd MMoovveemmeenntt

Wood is hygroscopic—the technical namefor the characteristic that causes wood toexpand and contract with changes in humid-ity. It occurs even in kiln-dried wood andafter applying finish. Fortunately, woodmoves mostly across the grain, not length-wise. (The movement along the length is sosmall that it can safely be ignored.) Butbecause of the cross-grain movement, anyjoint that meets at right angles has thepotential to crack, split, or otherwise fail asthe two members move perpendicular toeach other.

Here are some strategies for minimizingand managing the effects of wood movement:

Working with Wood 15

Square shrinks to diamond.

Cylinder becomes elliptical.

Tangentially sawn plank cups away from pith and shrinks significantly across width.

Quartersawn plank shrinks marginally in thickness and width.

TTHHEE EEFFFFEECCTTSS OOFF WWOOOODD MMOOVVEEMMEENNTT

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

moisture content of your lumber with amoisture meter before you start working it.

There are two common methods for dry-ing lumber: kiln drying and air drying. Kilndrying is done by heating the wood in aclosed container. The heat drives out themoisture quickly, usually over just a fewweeks’ time. I primarily use air-dried lumberthat I dry myself. While a slower processthan kiln drying, it has the advantage ofallowing the wood to naturally reach equilib-rium with the humidity of the surroundingair. Even kiln-dried lumber may be too“wet” if it’s been stored for any length oftime in an unheated or uncooled storageshed at the lumberyard. Lumber stored in anunheated space such as a barn will neverdrop below 12 to 15 percent moisture con-tent. Instead of assuming that you can usekiln-dried wood without moisture problems,check it with a moisture meter. If necessary,allow it to acclimate to an environmentallycontrolled room, such as a heated or air-conditioned shop.

SSttoorriinngg LLuummbbeerr

Regardless of whether you use kiln-dried orair-dried lumber, store it in a dry, stableenvironment. Obviously, if you haul a truck-load of kiln-dried lumber through a rain-storm, it will not be dry once you get it tothe shop, nor will lumber that is stored forany length of time in a damp basement orunheated garage. Before I begin a project, Istore the lumber in my shop, which is cen-trally heated and cooled, and check thewood weekly with a moisture meter until ithas reached equilibrium with the relativehumidity in the shop. I stack it with sticksseparating the layers (called “stickering”) and

BBeeggiinn wwiitthh DDrryy WWoooodd

Unless you’re steam-bending a curved backfor a chair or turning a greenwood bowl,your project should begin with dry wood.Just how dry should it be? Think about itthis way: The wood must contain the correctlevel of moisture to place it in equilibriumwith its environment. The heating and cool-ing systems in your home will dry the air. Sothe relative humidity indoors is usually lowerthan the air outside. As a rule of thumb,lumber for woodworking projects in mostareas of the United States should have amoisture content of 6 to 8 percent. This willplace the wood in balance with the 30 to 40percent relative humidity in your home. Drywood is preshrunk and prewarped, but lum-ber that contains too much moisture willshrink and warp after you’ve constructedthat prized chest-of-drawers. So check the

Working with Wood16

Cup Twist

Bow Crook

TTYYPPEESS OOFF WWAARRPP

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

allow the air to circulate. If you don’t havethe luxury of an environmentally controlledshop, consider purchasing no more lumberthan you can use within several weeks’ time.Once you’ve flattened lumber and planed itto the final thickness, you can keep it fromwarping until you use it by wrapping it inplastic.

CChheecckkiinngg MMooiissttuurree CCoonntteenntt

One of the best investments you can make isin a small, handheld moisture meter. Thesedevices measure the electrical conductivity ina board (water conducts electricity; wooddoes not) and convert it to moisture content,expressed as a percentage.

I prefer pin-type meters, though they’rebest suited to rough-sawn lumber. Pinlessmoisture meters are most accurate on lumberthat’s already planed. Be aware that themoisture content on the outside of the stockcan fluctuate widely. In fact, I’ve seen an

Working with Wood 17

Positioning sticksevenly betweenboards promotes aircirculation and pre-vents warping.

Plastic wrap willseal small boards orparts and preventwarping whileyou’re waiting touse them.

For the most accu-rate moisture-levelreading, cut a smallamount from theend of a board andposition the probesin the center of theend cut.

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

easily keep an eye on relative humidity. Thegraph in shows how relative humidity directlyrelates to moisture content. I keep a copyposted on the wall adjacent to the hygrometer.The relative humidity should be averaged inorder to gauge the likely moisture content ofthe wood. For example, if you’ve got thewood for a project acclimating in the shop,record the relative humidity once each dayover two weeks or more and take the aver-age. Using the graph, you can determine thelikely moisture content of the wood. If yourshop is in the basement, you may find thatthe actual moisture content of the woodnever gets below 12 percent. Sure, the woodhas acclimated to the shop, and buildingyour project may go smoothly. But when thefinished project is moved inside the house,

approaching storm raise the moisture con-tent on the face of the stock in just a fewhours. The most accurate reading comesfrom cutting a small portion from the stockand measuring the core.

Another good investment is a hygrometer.Mounted to the wall of your shop, this inex-pensive box of electronics will allow you to

Working with Wood18

A hygrometer will enable you to keep tabson the relative humidity in your shop.

Equi

libriu

m M

oist

ure

Cont

ent (

EMC)

%

Relative Humidity (RH) % at 70˚

24

68

1012

1416

1820

2224

2628

3032

0 5 10 15 20 25 30 35 40 45 50 55 60 65 70 75 80 85 90 95 100

WWOOOODD MMOOIISSTTUURREE CCOONNTTEENNTT

Pinless moisturemeters work beston stock that’salready planed.

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

Working with Wood 19

HHaarrddwwoooodd lluummbbeerr is expensive and is usually

the single largest expense in any woodworking

project. Fortunately, there are several ways to get

good-quality wood and avoid reaching so deep

into your pockets.

• Purchasing rough lumber can significantly cut the

cost of your lumber bill. And “dressed” boards may

be smooth, yet cupped and warped. Save yourself

money and get flat, square lumber by purchasing

rough lumber and milling it yourself. Nowadays,

there are affordable small-to-medium-sized planers

and jointers. Take a block plane along when shop-

ping for rough lumber so you can skim the rough

surface to reveal the board’s figure.

• Buy from a hardwood lumber dealer rather than

a general-purpose home center. While they’re great

places to buy plumbing supplies or paint, home

centers charge top rates for those select and

shrink-wrapped boards they conveniently stock.

• Buy No. 1 Common; this grade is one notch below

the best (“select”) and is often two-thirds to half

the price. Of course, the boards will have knots

and a few other defects, but you can usually plan

your cuts around them.

• Purchase large quantities of 500 or 1000 board feet,

and many lumberyards will give you a quantity

discount. Consider splitting the cost with other

woodworkers. Your local woodworking club may

be a good source for other woodworkers who

want to take advantage of group buying power.

• Look for small sawmills, those “little” guys who

don’t have the large overhead or the prices that

go with it. These “sawyers” usually have a small,

portable bandsaw mill that can take advantage of

local trees felled for clearing land. Although some

may have a kiln, most don’t. So the lumber may

still have to be dried further.

• Buy green lumber, which is my personal favorite

for preserving the lumber budget. Often green

lumber (still wet with sap) can be had for one-fourth

to one-half the going price for dry lumber.

BBUUYYIINNGG LLUUMMBBEERR➤

Lower grades ofwood, includingsapwood, havemore defects, butyou can often cutthe defects out anduse the remainingwood.

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

tain knots and pith. As an advantage, you’llkeep the sawmill operator on your sidebecause sawing through-and-through is byfar the easiest and least time-consumingmethod.

Once you’ve acquired recently cut boards,you’ll need to dry them before use. You canstack the lumber outdoors, but the best placeto dry lumber is inside a barn or shed. Thiswill avoid the repeated exposure to rain andsun that can cause the boards to split andwarp excessively. Otherwise, try to locate thestack under a shade tree. If the stack is out-doors, you can use inexpensive construction-grade plywood to shed the rain. Weight theplywood down to prevent it from blowingaway in a windstorm. Avoid the temptationto use plastic as a cover. It won’t allow

where the relative humidity is far lower thanin the shop, the wood will shrink. Thatcould result in an array of problems, fromcracked panels and tabletops to overly loose-fitting drawers. The remedy is to lower therelative humidity in the shop, and a simplestep toward that goal is to use a dehumidifier.

DDrryyiinngg YYoouurr OOwwnn LLuummbbeerr

You can buy undried lumber from smallsawmills or local loggers, but be prepared toaccept the boards as they come. Sometimesyou can cut a deal before the log is evensawn and have it sawn the way you want. AsI mentioned earlier, my favorite sawingmethod is through-and-through. You’ll getmuch wider boards, but be aware that you’llalso get some lower-grade boards that con-

Working with Wood20

Weight stack with blocks.

Plywood cover

Seal ends to minimize splitting.

4x4 cross-beam

Concrete block support

1x1 drying sticks

SSTTAACCKKIINNGG GGRREEEENN LLUUMMBBEERR

““SSttiicckkeerrss”” aarree jjuusstt sticks of wood

used to separate the layers of green

lumber. This allows air circulation, pro-

motes drying, and helps avoid mildew

stains on the stock. I usually collect

drying sticks as I’m woodworking by

saving any long, narrow offcuts. Avoid

using green lumber left over from

sawing the logs. The moisture can

often cause staining that will be diffi-

cult to remove. It also helps if you saw

the sticks to a uniform size, 3⁄4 in. by3⁄4 in. or 1 in. by 1 in., so that the stack

rises uniformly.

MMAAKKIINNGG SSTTIICCKKEERRSS➤

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SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

enough air circulation, and mold may develop.Be sure to choose a dry location outside;otherwise the lumber will take longer to dry,and mold can develop in the process.

To minimize warping, give boards goodsupport. I use concrete blocks for a founda-tion and 4-by-4 cross members. Space theblocks 3 ft. to 4 ft. apart, depending on thelumber thickness; thin lumber such as 4/4and 5/4 has a greater tendency to sag underits own weight. As you stack the boards,leave at least 1 in. of space between them forair circulation. Use “stickers” (see the sidebaron the facing page) to provide space betweenlayers. I usually position the sticks about 12 in. apart, further if the lumber is thick.Before the stack grows beyond a comfortableheight, stop. Tall stacks may topple over inthe wind, and lifting heavy, wet lumber upbeyond shoulder height is a lot of work.

Working with Wood 21

IInn lliiffee,, tthhee cceellllss of the tree were an

efficient plumbing system for sap. Once

cut, they provide a conduit for moisture

to escape. As green wood dries, the cut

ends will release moisture too rapidly,

causing the ends to shrink and split.

Sealing the ends minimizes and in some

cases eliminates splitting.

TTHHEE IIMMPPOORRTTAANNCCEE OOFF SSEEAALLIINNGG TTHHEE EENNDDSS➤

Cut the dryingchecks from the end of thelumber beforesizing it.

Sealing the ends of the boards can bedone anytime in the process, but sealing thelogs before sawing them into planks is moreefficient. Apply green lumber sealer (latexpaint works too) with a paintbrush or roller.As the wood dries, monitor the moisture.One year of drying for each inch of thick-ness is the old rule of thumb, so you’ll haveto be patient. Once the lumber has reachedequilibrium with the outdoors, it is time tobring it indoors for further drying or take itto a local kiln for kiln drying.

Page 32: Using Woodworking Tools

HHoollddiinngg tthhee WWoorrkk

While sawing, planing, chiseling, and rout-ing, you’ll need a sturdy workbench to holdthe work. Your workbench need not befancy, but it should be strong and heavy toresist pounding and racking. Additionally,the best workbench is one that fits you, so Iwould avoid purchasing this essential toolunless you can modify the height to suityour height and needs. Consider buying thematerials and making it yourself to fit yourheight and the space available in your shop.To hold the workpiece, you’ll need to outfityour bench with a vise. Purchase the largestvise you can afford and mount it on one cor-ner of your bench so you’ll have the greatestaccess to the workpiece.

Good lighting is important, too. Locateyour bench near a window to take advantageof the natural light. And use plenty of elec-trical lighting as well; fluorescent lights workwell overhead while incandescent fixturesprovide close-up lighting.

Before spending a lot of money ontools and equipment, consider thearea of woodworking you would like

to pursue. For example, if you’re primarilyinterested in constructing kitchen cabinetsand built-ins, you’ll probably need morepower tools and the space to operate them.However, if you enjoy carving, the bandsawand a lathe are perhaps the only machinesyou’ll need.

No matter what, you should obtain a sturdyworkbench, along with a vise and clamps forholding work. When considering hand toolsfor purchase, buy the best you can afford;cheap hand tools are no bargain and tend to lead only to frustration. In the followingsection, I’ll guide you through many of thetools and machines that you should considerfor your shop.

SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

22

Outfittingthe Shop

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

Clamps play an important role in anyshop; they hold glued-up assemblies whilethe glue sets, and they secure work to thebenchtop. The old favorites, such as pipeclamps and handscrew clamps, are versatileperformers and a great choice for your firstclamp purchases. Later on, as your wood-working skills and shop expand, you canpurchase more clamps as the specific needarises.

Outfitting the Shop 23

A solid workbench is an essential tool for any wood-working shop.

A strong vise completes the workbench. A pipe clamp locked in a vise is a great way to hold irregular work, such as thiscabriole leg.

Pipe clamps are inexpensive and useful for a wide array of assem-bly tasks.

Handscrews apply broad clamping pressure, even onnonparallel surfaces.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

EEddggee TToooollss

Edge tools include chisels, planes, handsaws,scrapers, and gouges for turning and carving.This collection of hand tools shapes, cuts,smoothes, and otherwise creates the details inthe furniture that machines simply cannot.

Chisels are available in various shapes,widths, and lengths. The most common,bench chisels, are used to cut joinery and fithinges and other hardware. Carving andturning gouges create shapes for adding dec-orative embellishments to your work. For thegreatest control with any chisel or gouge, itis important to keep it sharp.

Planes are the workhorses among handtools and are used for smoothing, shaping,and fitting joints. A finely tuned benchplane will create a smoother surface than anysander. Bench planes can also be used forflattening and squaring stock that is toolarge for your jointer. For one-handed trim-ming and fitting, especially of small parts,include a block plane in your tool kit; low-angle block planes are ideal for trimmingend grain. Shoulder planes are finely tuned

Outfitting the Shop24

A modest tool kitconsists of a fewplanes, a couple ofchisels, and a dove-tail saw.

Chisels are avail-able in a variety ofshapes and sizes tosuit the job at hand.

Carving chisels andgouges let you createfine details that canonly be done withhandwork.

A bench plane, shoulder plane, and blockplane form the foundation of a versatileplane kit.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

Outfitting the Shop 25

The block plane excels at light trimming.

YYoouu’’llll bbee aabbllee to sharpen, tune, and use your edge tools

most effectively, and you’ll get more enjoyment from them,

if you understand the dynamics of the cutting edge.

An edge is formed by two surfaces that intersect;

the angle and sharpness of the intersection directly affects

how well the edge cuts. A sharply honed edge will slice the

wood and create a thin, delicate shaving while a dull edge

works more like a thick wedge to splinter the wood.

A low-bevel angle, 20 degrees, for example, will slice

more cleanly and with less resistance than a higher angle of

30 degrees. Of course, there are trade-offs, too. A lower angle

weakens the edge, which makes it prone to fracturing.

(This is why you should avoid striking paring chisels with

a mallet.) Also, a lower-bevel angle is not as effective at

breaking and curling the shaving, which can lead to tearout

in difficult grain (such as curly maple).

A higher-bevel angle, such as 30 degrees, is stronger

(which is why it works well for mortising chisels) but also

has a greater cutting resistance. An angle of 25 degrees is a

compromise that works well for most chisels and plane irons.

A plane is essentially a souped-up chisel. As the cutting

edge lifts the shaving, the sole holds it down while the cap

iron breaks and curls it. This is why it is essential to set the

cap iron close to the edge of the blade and close the mouth

of the plane as tightly as possible.

HHOOWW EEDDGGEE TTOOOOLLSS CCUUTT➤

precision tools designed for careful fitting ofjoints. They feature precisely ground solesand irons for removing feathery-thin shavings.

Wooden molding planes feature a profiledsole and matching iron that create a con-toured surface. Many molding planes, suchas hollows and rounds, were once producedin mass quantity and are still available today.These beautiful old planes are still useful forshaping large moldings beyond the capabili-ties of your router table.

Molding planes create profiles with a hand-made look.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

When smoothing bandsawn surfaces, Ireach for a spokeshave. This small plane hasa short sole and handles on each side, whichmakes it the ideal tool for smoothing curvedstock.

Handsaws are for cutting fine joinery andcutting away large portions of stock beforeplanes refine the surface. Dovetail joinery,for example, is cut with a small backsaw,known as a dovetail saw. Backsaws work bestfor joinery because they cut a fine kerf, andthe back is reinforced with a brass or steelspine. Coping saws have a narrow bladedesigned for cutting curves and scrollwork.

Saws are designated by the teeth, either ripor crosscut. Rip teeth are designed for cuttingparallel to the grain, while crosscut teeth areshaped like tiny knives to cleanly sever thewood when cutting across the grain.

Western saws cut on the push strokewhile Japanese saws cut on the pull stroke.Their smooth yet aggressive cutting has

Outfitting the Shop26

The spokeshave is a small plane ideal for smoothingcurves.

All backsaws have a thickened back edge, which stiff-ens the blade for cutting fine joinery.

A rip-tooth saw works best for dovetails.

A bench hook is a companion to the back-saw; it cradles the workpiece perfectly asthe cut is made.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

made Japanese saws a favorite among manywoodworkers.

You can cut your sanding time more thanin half by using a scraper. This tool smootheswood with a small burr, and when sharp, itproduces shavings like a plane yet it doesn’ttear the wood like a plane sometimes can. Ascratch stock is a profiled scraper used forshaping small moldings. This is another toolthat will shape profiles that are difficult orimpossible to shape with a router.

MMeeaassuurriinngg aanndd MMaarrkkiinngg TToooollss

The old adage “measure twice, cut once” isstill good advice. Most every woodworkingproject begins with careful measuring andmarking, otherwise known as layout. Layouttools consist of rules, tapes, squares, dividers,and marking knives, to name a few.

The 6-ft.-folding-wood rule is still myfavorite tool for measuring. This vintage-style rule folds compactly to slip easily into a pocket. Steel tapes quickly retract onto aspool for storage and are useful for measur-ing long lengths of rough lumber.

Outfitting the Shop 27

The cabinet scraper will smooth even themost difficult woods.

Scratch stock arequiet tools forscraping simple profiles.

Accurate layout work begins with an assortment of essential layouttools.

The folding rule, though less common than the measuring tape, isstill an accurate and convenient measuring tool.

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A reliable square is a tool that no shopshould be without. My favorite is a 12-in.combination square. This multipurpose toolserves as an inside square, outside square,45-degree square, depth gauge, and straight-edge. Get the machinist-quality square;those sold at home centers lack the qualityand accuracy for fine work.

The sliding-bevel gauge is used for lay-ing out and checking angles other than 90 degrees. The steel blade pivots and locksin place at virtually any angle.

Dividers, trammel points, and compassesall mark a space between two points. Dividersare used to transfer measurements and stepoff linear dimensions. The compass is similarto a divider, except a pencil is substituted forone of the points. The compass is the tool ofchoice for drawing small arcs and circles.Trammels are used for drawing large circles,such as a tabletop, that are beyond the reachof a compass. Trammels come in a pair and

Outfitting the Shop28

A machinist-qualitycombination squareshould be amongthe first layout toolpurchases.

The bevel gauge is used to lay out, copy, and transfer angles.

Trammel points, the compass, and dividersare useful for layout of circles and arcs.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

clamp to a stick of any length. By adding a third trammel to the stick, you can drawan ellipse.

A marking gauge and layout knife belongin every tool kit. These tools incise thewood, unlike a pencil, and create a sharpguideline for chiseling and sawing. The bestmarking gauges have a graduated beam thatmakes it easier to set the tool for a precisemeasurement. Although you can purchaseexpensive layout knives with rosewood han-dles, an X-Acto® knife is inexpensive, andthe thin blade reaches into areas that areinaccessible to larger knives. And when theblade dulls, you can toss it out and replace itwith a new one.

Outfitting the Shop 29

Dividers measure and allow you to transferpoints on irregular shapes, such as carvings.

Trammels are used to lay out circles and ellipses.

A marking gaugeinscribes the woodwith a tiny knife.

A marking knife isan essential layouttool.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

HHaammmmeerrss aanndd SSttrriikkiinngg TToooollss

Hammers, mallets, and other striking tools areused to deliver a precise impact. Hammersare used to drive nails and brads and featurea crowned, or convex, face that helps preventmarring of the wood surface.

Dead-blow mallets feature a shot-filledhead that eliminates bouncing upon impact.For assembling joints and casework, a dead-blow mallet is used for gently tapping partsinto alignment.

Carving mallets are used to direct con-trolled force to a chisel or carving gouge.Some are made of dense tropical hardwood,while others feature a urethane head fitted toa wood handle. When selecting hammersand mallets for woodworking, choose thelighter ones, typically those that weigh undera pound. Greater force just simply isn’tneeded for most woodworking, and heavymallets are both tiring and awkward to use.

After you’ve acquired a solid mix of handtools, keep them organized and within easyreach. Small tools, such as chisels, squares,and files, store easily in a rack. The rack canbe wall-mounted or attached to the back ofyour bench.

Outfitting the Shop30

No shop should bewithout an assort-ment of hammersand mallets.

A dead-blow mallet(far right) providesa controlled, non-marring impact forassembly.

Carving mallets come in a variety of sizes for delivering a preciseblow to gouges and chisels.

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Outfitting the Shop 31

IItt’’ss ddiiffffiiccuulltt to produce high-quality work with infe-

rior tools. But if you’re on a budget (as most of us

are), one way to extend your woodworking dollars is

to shop for high-quality old tools. A trip to a tool auc-

tion or flea market will yield planes, marking gauges,

and bevels by Stanley®. You’ll also find squares,

calipers, and dividers by familiar names like

Starrett® and Lufkin®. Best of all, most of these tools

can be added to your kit for a fraction of the cost of a

new tool. Tools that show signs of use or need exten-

sive cleaning and reworking are often passed up by

collectors and can be a bargain for the woodworker.

But there are things to avoid when buying old tools,

too. Here’s a list:

• TToooollss wwiitthh mmiissssiinngg ppaarrttss. Avoid tools with broken,

bent, or missing parts. Most parts are not standard

hardware store items, and finding a replacement

can be difficult or impossible.

• PPllaanneess wwiitthh ccrraacckkeedd ccaassttiinnggss.. A plane with a

cracked sole, even one with a good repair, may not

ever function properly again. Besides, there are

plenty of intact planes available that need only light

cleaning and tuning.

• HHeeaavvyy rruusstt.. Most old tools have at least some rust.

But those that have spent years in a wet basement

or old barn may be encrusted with heavy rust.

Although you can clean it off, heavy rust will leave

the surface pitted. If it’s a chisel or other edge tool,

the rust pits create a void at the tool’s cutting edge.

BBUUYYIINNGG OOLLDD HHAANNDD TTOOOOLLSS➤

Old hand toolsare often ofbetter qualitythan commonlyavailable newtools.

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For larger tools, such as planes and saws,a cabinet works well for storage. I avoidstoring tools in drawers, especially thosetools I use often. Drawers easily becomecluttered, and they hide their contents fromview. So finding the tool you need can turninto a busy search. In contrast, cabinets andracks keep tools organized, sharp, and closeat hand.

SShhaarrppeenniinngg EEqquuiippmmeenntt

Although it’s best to send router bits andcircular saw blades out for sharpening, you’llwant to sharpen your own hand tools. Thesteel in hand tools dulls quickly compared tothe carbide on bits and saw blades, and so itisn’t practical to send these tools out forsharpening. To keep your edge tools in topperformance, you’ll need a grinder and a set

Outfitting the Shop32

A storage cabinetwill organize andprotect your handtools.

SShhaarrpp ttoooollss are a pleasure to use, as they slice thin shavings

and leave the surface of the wood glistening. Sharpness gives

you much better control of the tool and enables you to do

your finest, most precise work. Sharp tools slice and shear

the wood cleanly while dull tools crush and tear.

When I’m teaching woodworking classes, two things often

surprise students—how quickly an edge dulls and yet how

quickly it can be brought back to sharpness. Sure, stopping

to sharpen a tool interrupts the work flow. But once you’ve

learned the steps you’ll soon be back to planing, dovetailing,

and carving. You’ll also have mastery of the tool, and your

work will dramatically improve.

TTHHEE IIMMPPOORRTTAANNCCEE OOFF SSHHAARRPP TTOOOOLLSS

A storage rack keeps chisels and gouges sharp andclose at hand.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

of benchstones. Grinders feature a coarsestone wheel and rests or supports to hold thetool at the proper angle. Grinders are power-ful tools that you can use to quickly restorethe bevel of a chisel or plane iron. After-wards, benchstones are used to hone theedge, which sharpens it further.

PPoorrttaabbllee PPoowweerr TToooollss

Portable power tools allow you to take thetool to the workpiece. Sometimes the workis too heavy or awkward to maneuverthrough a stationary power tool. That’s whenportable tools, such as drills and jigsaws, takeover. Some portable power tools, such asrouters and miter saws, can be mounted to atable or stand and used as stationary equip-ment. Yet they cost much less and take upless space in your shop than large, heavy, sta-tionary equipment.

These days, many portable power toolsare cordless. They use powerful batteries thatcan be quickly recharged. This allows you towork without dragging an extension cordaround the room.

Outfitting the Shop 33

To keep edge tools sharp, you’ll need a setof sharpening stones.

Portable planers are affordable alternatives to a stationarymachine.

The cordless drill has quickly become a shop favorite.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

With their narrow reciprocating blade,jigsaws excel at cutting curves. Although itwon’t replace the bandsaw for resawing, thejigsaw is a good option for cutting interiorcuts or cutting curves on a workpiece toolarge to handle at the bandsaw.

Although biscuit joiners and sanders arenot typically used for the finest work, thesetools are great for quickly joining and sand-ing shop and kitchen cabinets and other lessdemanding jobs. Biscuit joiners use a small-diameter saw blade to cut a circular slot. Theslot is cut in two mating pieces and joinedwith a compressed-wood plate, or “biscuit.”

Portable sanders can efficiently level jointsand smooth surfaces. However, these toolscut very aggressively and are not known forcreating flat surfaces, so their best use is oninexpensive cabinetry. To smooth your finestwork, reach for your bench plane andscraper.

Outfitting the Shop34

A jigsaw will cut curves on work too large to maneuverat the bandsaw.

The plate joiner cuts fast joints for simple cabinet construction.

Power sanders don’t leave the surfaces flat,so avoid using them on your finest work.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

table allows you to use large bits that wouldbe unsafe otherwise.

Fixed-base routers feature a motor thatmounts in the router base and locks in place.Plunge routers are designed so that themotor and bit can be lowered into the work-piece while running. Plunge routers are mostuseful for cutting mortises and other types ofjoinery, using a jig to guide the cut.

MMiitteerr SSaaww

The popularity of the electric miter saw(sometimes called a chopsaw) has almost ledto the extinction of the radial-arm saw. It’s aportable tool, found on just about any job

Over the past few years, routers have dra-matically changed woodworking. Once toolsfor shaping the edge of a tabletop or a smallmolding, routers can now cut joints, mortisefor hinges and locks, and even shape theedges of raised panels. The transformation isdue to the large selection of router bits, jigs,tables, and accessories that have been devel-oped for this universal tool.

Although technically portable tools,routers often get the most use mounted in atable. This in effect creates a mini-shaper.Like shapers, router tables have fences andmiter gauges to support and guide the work-piece. Best of all, mounting your router in a

Outfitting the Shop 35

The router is one of the most useful toolsyou can own.

The router table has replaced the shaper in many smallshops.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

Outfitting the Shop36

UUnnddoouubbtteeddllyy tthhee mmoosstt uusseeffuull ppuurrppoossee of a

miter saw is for cutting miters on moldings and trim.

Equipped with a sharp crosscut blade, most miter

saws will cut an extremely smooth miter that needs

no further handwork before assembly.

When attaching molding to a cabinet, such as the

small, dovetailed box in these photos, I begin by

planing the joints flush at the intersections. Position

the plane at a 45-degree angle to avoid tearing out

either of the joining pieces (A). Also, check the sur-

faces for trueness (B). As you can imagine, it’s much

easier to apply molding to a straight surface.

Miter one end of the front molding first (C). Then

position the molding on the cabinet (D) and mark the

miter at the opposite end (E). Now attach the front

molding first (F). Then apply glue (G) and attach the

side returns (H).

UUSSIINNGG AA MMIITTEERR SSAAWW ➤

AA BB

DD

GG HH

EE FF

CC

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

SSttaattiioonnaarryy MMaacchhiinneess

Large machines have the heft and weightto dampen vibration. Generally speaking,they hold settings longer and producesmoother cuts.

Table SawMost people start out woodworking with atable saw. This universal machine can ripand crosscut stock to size; cut tenons,grooves and rabbets, among other joints; andeven shape coves for moldings.

The cabinet-model table saw weighs in ata quarter-ton and features a cast-iron topsupported by a heavy-gauge steel cabinet.The less expensive contractor-style sawsreduce cost by using less iron and more sheetmetal as well as an open stand. Either way,equip your saw with a guard and splitter anda high-quality saw blade.

site where clean crosscuts or miters areneeded. Mounted on a stand and upgradedwith a high-quality blade, the miter sawfunctions more like a stationary power toolin most woodworking shops. It excels atmaking accurate, repetitive crosscuts and isfar more convenient than the table saw forcrosscutting long stock like moldings. Thehead of a sliding miter saw is mounted onrails that allow it to slide outward and cutwide stock beyond the capacity of standardmiter saws. The head of a compound mitersaw tilts for cutting crown molding andother work with compound angles.

When shopping for a miter saw, stick tothe 10-in. models. Twelve-in.-diameterblades don’t cut as accurately because theteeth are further from the support of thearbor. Besides, a 10-in.-diameter saw is largeenough for most work.

Outfitting the Shop 37

A table saw is usually the firstpower-tool pur-chase. In addition to doing rippingand crosscutting, it’sused for finishedjoinery and evenshaping operations.

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Jointers and PlanersJointers and planers work as a team to flat-ten and square rough stock and plane it tothickness. Fortunately, as the popularity ofwoodworking has risen, the price of theseexpensive machines has come down. If youcan, avoid the 6-in. jointers and purchase an8-in. or even a 12-in. machine. To createfine work, you’ll want to flatten boards onthe jointer before planing them to thickness.A 6-in. jointer is simply too small, and you’lloften be reaching for a bench plane to flat-ten rough stock.

After the jointer flattens a face of theboard, the planer mills stock to final thick-ness. Twelve-in. to 15-in. planers havebecome quite affordable, and this size isideal for most small shops.

Outfitting the Shop38

The jointer will truethe faces and edgesof stock.

The planer is a workhorse that mills stock to size.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

The BandsawLike the table saw, the bandsaw is anotheruniversal machine that will surprise you withits versatility. The bandsaw is the tool ofchoice for sawing curves—all types of curvesfrom broad and sweeping to tight and scroll-ing. And the bandsaw is also the onlymachine that will resaw, or rip, a thick boardinto thinner ones. Resawing is a great way tosave money when making small projects thatrequire thin boards. This technique can alsobe used to saw your own veneer from a fig-ured plank. But that’s not all. The bandsawwill also cut surprisingly accurate joinery,such as dovetails and tenons.

The 14-in. bandsaw is a widely popularsize and will handle most any sawing task,especially when equipped with a riser block,which increases the resaw capacity from 6 in.to 12 in.

Outfitting the Shop 39

In addition to cut-ting curves, a goodbandsaw can resawboards and rip stockto rough widthmore safely thanthe table saw.

HHaanndd ttoooollss are a pleasure to use, but I don’t want

to ever handplane a whole pile of lumber for a large

project. A power jointer and planer are the best tools

for that job. For smaller jobs, and if you don’t have a

jointer yet, you might flatten the first face of all your

stock with a handplane, but power plane the second

face with a relatively affordable portable planer. I use

hand tools for creating the fine details that machines

can’t create.

For example, you can flatten boards with a long

bench plane and winding sticks (see p. 146 in planing

section). However, you may soon become weary of

this labor-intensive chore. Instead, consider purchas-

ing a larger jointer. A 12-in. machine will handle

90 percent of the lumber that comes through your

shop. After flattening the face on the jointer to remove

cup or twist, use the power planer to smooth the

opposite face.

The bottom line is this: Savvy woodworkers use

both power tools and hand tools. Power tools can

efficiently handle the labor-intensive chores. This will

give you more time to enjoy using hand tools to cut

dovetails, fit drawers, and carve, as well as creating

other fine details that can’t be produced with

machines.

CCOOMMBBIINNEE MMAACCHHIINNEESS AANNDD HHAANNDD TTOOOOLLSS TTOO BBEESSTT AADDVVAANNTTAAGGEE

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

Drill Press and MortiserThe drill press will do what’s nearly impos-sible with a portable drill—cut perfectly perpendicular holes. When I need a large-diameter, accurately bored hole, I turn to thedrill press. Drill presses are inexpensive, andyou can stretch your budget (and shop space)further with a benchtop model. If you builda dedicated stand for it, you can optimizethe storage space that’s wasted on a floor-model drill press.

Mortise machines are beefy little special-ized drill presses. The mortise machine uses adrill enclosed within a square, hollow chiselto cut mortises. These machines will cutdeep, accurate mortises quickly and efficiently.Benchtop models are inexpensive and easilystowed away inside a cabinet or in a cornerwhen the job is finished.

The ShaperThe shaper is a powerful workhorse forshaping a kitchen full of paneled doors ormiles of moldings. A shaper functions like atable-mounted router but with greater accu-racy and lots more horsepower. However,this is a machine that you can postpone pur-chasing for a while. Later on, after you’vegained plenty of experience with a routertable, you’ll be able to better determinewhether you need a shaper.

The LatheThe lathe spins stock while it is shaped withspecial gouges and chisels. You can use alathe to turn a bowl or a decorative table leg.

Lathes vary tremendously in their size.The most common size is a 12-in. lathe with 36 in. between the head and tailstock.Before purchasing this specialized machine,

Outfitting the Shop40

A hollow-chiselmortising machinecreates precise mor-tises quickly andaccurately.

A drill press has farmore power andprecision than anyhand drill.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

AAccqquuiirriinngg TToooollss

If you’re new to woodworking, you may findthe process of purchasing so many toolsexciting or overwhelming. Oftentimeswoodworking catalogs promote almost everytool within the pages as one that you “musthave.” Also, too often jigs and gadgets arepromoted as a way to avoid acquiring theskills needed for using basic tools. Just beaware that some of the finest furniture andwoodwork ever produced was crafted beforethe age of power tools and dovetail jigs. It’stough to measure the enjoyment and satis-faction that come with using basic hand tools.

If you’re excited about woodworking butare unsure of where to begin, a good place tostart is with a few essential hand tools. A

you may want to take a short course in turn-ing to gain a few skills and determine yourlevel of interest.

Combination MachinesAs the name implies, combination machinescombine the features of several machines onone piece of equipment. Most have a tablesaw, jointer, and planer, and perhaps ashaper. When you turn knobs and releaselevers, the machine makes a quick metamor-phosis from one tool to another.

Although you may find it tedious to con-tinually adapt the machine from one func-tion to another, combination machines canbe a great option for some woodworkers—specially those with limited shop space.

Outfitting the Shop 41

The shaper is a powerful machine thatrequires skill to operate effectively. Here it’sshown with a power-feed attachment thatensures both accuracy and safety.

CCoonnssiiddeerr mmoottoorr hhoorrsseeppoowweerr when shopping for machin-

ery. When you’re making a heavy cut or during extended

periods of use, motors can overheat and temporarily shut

down. This can sometimes be avoided by keeping blades and

cutters sharp and using a slower feed rate. But underpowered

machines are no bargain. Skimping on horsepower can limit

the potential use for a machine. It’s important to compare

horsepower when shopping for machines. Also keep in mind

that when the cutter size increases (for example, from a 6-in.

to an 8-in. jointer), the motor horsepower should increase as

well. As you acquire woodworking machines, you may find

it necessary to hire a licensed electrician to add designated

electrical outlets to your shop—or perhaps even a larger

service panel.

HHOORRSSEEPPOOWWEERR➤

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

The best carbide tips are thick, which allowsfor repeated sharpening, and made fromfine-grain carbide.

The edges of blades and bits can be car-bon steel, high-speed steel, or carbide. Manybandsaw blades are made from carbon steel,the same type found on edge tools, such asplane irons and chisels. Although carbonsteel takes a fine edge, it isn’t as heat resist-ant as high-speed steel and carbide.

High-speed steel can be sharpened to akeen edge and is heat resistant—good quali-ties for tooling. In fact, many turning gougesare made from high-speed steel. However,high-speed steel will not wear as long as car-bide. And high-speed-steel dulls quicklywhen used on man-made sheet stock, suchas particleboard.

Carbide is a hard powder metal that isbonded and brazed to the tip of blades andcutters. Because of the extreme hardness ofcarbide, it is extremely long-wearing.

Be aware that many of the factors that areinvolved in producing high-quality toolingare difficult or impossible to physicallyexamine. The quality is in the cut. One wayto evaluate tooling is to read the reviews andcomparisons in magazines.

DDuusstt CCoolllleeccttiioonn

You can dramatically improve the workingconditions in your shop by adding dust collection. Fortunately, the cost of dust-collection units has come down as the popu-larity of woodworking has increased. Aportable unit on casters can easily be rolledaround the shop and used where needed. Asyou add equipment, you may want to con-sider using a central dust collector. A centralunit is powerful and convenient, and you’ll

couple of planes, a few layout tools, a dove-tail saw, and a set of bench chisels are a greatfoundation for any collection of tools.

BBuuyyiinngg MMaacchhiinneess

Fortunately, there are a number of compa-nies producing affordable woodworkingmachines for the small shop. However, thereare still some to avoid. It’s best to visit awoodworking store or tool show and exam-ine a machine before making a purchase. Fit,finish, and balance of moving parts have themost importance. It’s difficult to do accuratework on a machine that vibrates excessively.Bandsaws are especially prone to vibrationand require precise balancing of pulleys,wheels, and even the motor.

BBllaaddeess,, BBiittss,, aanndd CCuutttteerrss

The cutting tool is the heart of any machine.A great blade will significantly boost theperformance of an average saw, yet the finestmachine will disappoint you when equippedwith poor-quality tooling. High-qualityblades, bits, and cutters are well machinedand balanced, which insures smooth cutting.

Outfitting the Shop42

Every power toolwill perform betterwith quality bits,blades, and cutters.

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SSEECCTTIIOONN 22 OOVVEERRVVIIEEWW

a timer for automatic shut-off, and a remotecontrol. With an ambient air cleaner mountedagainst the ceiling, your shop will stay cleaner—and you’ll breathe less dust, too.

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yyoouurr sshhoopp,, uussee aann aammbbiieenntt aaiirr cclleeaanneerr..

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no longer have to push the portable unitaround to each machine.

No dust collector traps 100 percent of thedust at the source. Here’s where the ambientair cleaner takes over. Using a fan and a furnace-type filter, an ambient air cleanertraps the extremely fine dust that normallyremains suspended in the air for severalhours (giving you plenty of time to inhale it).Most ambient air cleaners have three speeds,

Outfitting the Shop 43

This compact, two-stage dust collectorwill handle almostany machine in yourshop.

A large, central dustcollector can handleseveral machines at once.

WWooooddwwoorrkkiinngg iiss inherently

dangerous. Using tools improperly

can lead to a serious injury or perhaps

even death. Don’t attempt to try the

techniques in this book until you are

sure that they are safe for you in

your own shop.

Here’s an additional set of guide-

lines that I follow in my own shop:

• Always read and follow the

manufacturer’s safety guidelines

that come with any tool.

• Use guards that come with machines.

• Keep blades, bits, and cutters sharp.

• Use safety devices, such as push

sticks and push blocks, to distance

your hands from the cutters.

• Always wear eye and hearing

protection.

• Don’t force tools; if the tool

isn’t working properly, STOP!

WWOORRKKIINNGG SSAAFFEELLYY➤

Page 54: Using Woodworking Tools

GGlluuiinngg aanndd AAsssseemmbbllyy,, ppaaggee 6633BBeenncchheess aanndd CCllaammppss,, ppaaggee 4466

Page 55: Using Woodworking Tools

One of the most essential woodworking tools is a

workbench. A large, sturdy bench provides a work area

for layout, sawing, planing, assembly, and even finish-

ing. The best bench is one you make yourself to suit

your size and the type of projects you’re most likely to make. Along with

the bench you’ll need a vise. A large vise will grip the work securely as

you saw, pare, and plane. And there are numerous accessories you can

make and use in conjunction with a bench for holding your work.

Clamps are also useful for securing work to the bench but are mainly

needed for assembling parts into finished projects. Assembling projects

successfully relies not only on clamps but on choosing the right glue.

Benches,Clamps,and Assembly

PART TWO

Page 56: Using Woodworking Tools

contrast, if your bench is too high, you’ll befrustrated as you stretch to reach the work-piece, and the quality of your work will suf-fer. To determine the best height for yourbench, stand with your arms at your sides,palms parallel to the floor. The top of thebench should be level with your palms.

If this sounds like a lot of criteria, it’s not,really. Through the years, workbench styleshave varied as much as the craftsmen whodesigned and used them. Some are quiteelaborate and time-consuming to construct.But a bench does not have to be elaborate towork effectively.

My own bench, for example, is a simpledesign. Yet it suits me because it’s heavy andabsolutely resists racking as I saw and plane.And unlike the elaborate yet one-size-fits-allbenches available in catalogs, this bench fitsmy height because I built it myself. Whenconsidering a bench, realize that it is mostimportant that your bench fits you and thatyou have systems in place, simple as theymay be, for holding the work.

Fundamental to almost all wood-working is a bench. As you saw, plane,chisel, and scrape, the workpiece will

be pushed and pulled and struck. For first-class work, and for your own personal safety,the work must be firmly gripped and sup-ported by a solid bench. This section showsyou what to look for in a bench, suggestsbench accessories you can make yourself, andalso discusses the numerous types of clampsyou’ll use in conjunction with a bench.

TThhee WWoorrkkbbeenncchh

A good workbench should be heavy and ofsolid construction to resist the pushing andpounding without racking. As you work,your bench continually serves as a referencesurface, so it’s important that the top beabsolutely flat. It should also be thickenough to resist flexing under load. A large,heavy vise is essential, to hold the workfirmly for a variety of tasks. Finally, don’tforget height. Bending over a low bench is asure path to a tired and strained back. In

SSEECCTTIIOONN 33 OOVVEERRVVIIEEWW

46

Benches and Clamps

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If you prefer to construct a bench of yourown, I’ve included a drawing of mine thatyou can copy or modify to suit your specificneeds. My bench features a 3-in.-thickmaple top supported by 3-in. by 3-in. legs.The top is laminated from 6/4 strips on edge to resist warping. The mortise-and-tenon stretcher base is held together withfour heavy steel rods that run the entirelength of the base. When combined with the wide stretchers, the rods provide atremendous resistance to racking. As thehumidity changes, I can tighten nuts thathold the rods to compensate for shrinkage in the wood.

BBeenncchh AAcccceessssoorriieess

To hold work for sawing, layout, and othertasks, I’ve equipped the bench with a largeiron vise. At the same end of the bench I’veadded a drop-down stop that holds work for

Benches and Clamps 47

Laminated top3 in. x 24 in. x 96 in.

End stop for planing

Holes for threaded rods

Holes for nuts

Holes for 3/8-in. x 6-in. bolts

Leg 3 in. x 3 in.

Grooves for steel rods

End stretchers 2 in. x 6 in. x 19 in.

AA TTRRAADDIITTIIOONNAALL WWOORRKKBBEENNCCHH

Steel rods will allow you to tighten yourbench as it inevitably loosens.

A large vise is animportant part of aworkbench.

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planing. The height of the stop is adjustablefor thick or thin work. To complete thebench, I built a two-tiered storage rack thatattaches to the back edge of the benchtopfor holding my large collection of chisels,files, gouges, and squares. The rack keepsthese important tools organized and close athand. The enclosed design of the storagerack also keeps the tool edges sharp and pre-vents me from getting a nasty cut from inad-vertently bumping against a tool.

The classic European bench is a favoriteon both sides of the Atlantic. In addition tothe standard face vise, European benchesalso have a tail vise. Unlike that of the clas-sic iron vise, the unique hardware of this visedoesn’t obstruct the work. Also, because thejaws open 90 degrees to the face vise, it givesyou another position for holding the work.

The movable jaw of the tail vise and thefront edge of the bench are fitted with a rowof holes for “dogs.” Made of steel or wood,bench dogs are useful for gripping stockwhile allowing full access to the face of theworkpiece. Also, unusual shapes that wouldbe difficult to clamp are easy to grip betweenthe faces of bench dogs. Although somewoodworkers prefer wooden dogs to avoiddamaging edge tools, steel dogs have afirmer, more positive grip. Avoiding themetal near the work is as easy as when usingany other metal clamp or vise; simply posi-tion the dogs out of the path of the edgetool you’ll be using.

Regardless of the style of bench you havein your shop, an assembly bench is a goodsecond bench. The assembly bench shouldbe lower than your workbench to positioncasework and other assemblies at a comfort-

Benches and Clamps48

A drop-down bench stop will accommodate stock ofvarious thicknesses.

A drop-down stop is essential for planing.

A chisel rack keeps tools sharp and close at hand.

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SSEECCTTIIOONN 33 OOVVEERRVVIIEEWW

vise is effective for most handwork, you’llneed to build a few jigs and accessories asyour skills increase.

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iinngg ggoooodd wwoorrkk.. II’’vvee llooccaatteedd mmyy bbeenncchh iinn

ffrroonntt ooff aa llaarrggee wwiinnddooww ffoorr pplleennttyy ooff nnaattuu--

rraall lliigghhtt aanndd aa pplleeaassaanntt vviieeww..

able height. The top can be as simple as ply-wood supported by a framework. If you setthe benchtop on folding sawhorses, you caneasily knock it down to save space whenyou’re not using it. No workbench designalone can solve all the problems that arisefor holding work securely. Although a large

Benches and Clamps 49

A European bench is outfitted with two vises and a row of dog holes.

A tail vise positions work 90 degrees from a face vise.

Traditional bench dogs are perfect for grip-ping stock without getting in the way of thework.

This assembly bench is low, for easy access to the work.

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SSEECCTTIIOONN 33 OOVVEERRVVIIEEWW

HHoollddiinngg WWoorrkk ffoorr PPllaanniinngg

Probably the most frequent task performedat any bench is planing. As stock is milled tosize, shaped, fitted, and assembled, holdingit securely for planing becomes more of achallenge.

After bandsawing veneer, you can usesmall brass nails to secure it for planing.Drive the nails into a scrap of plywood andset them slightly lower than the veneerthickness to avoid striking them with theplane iron. Octagonal stock such as taperedlegs and bedposts can be cradled in a V-block. As you plane, use the end stop as youwould for any other planing task.

Flush-fitting drawers are typically planedfor a precise fit after the dovetails are cutand the drawer is assembled. Attempting tosecure the drawer in a vise will cause rackingas pressure is applied from the plane; theresulting force can break the joints. Instead,suspend the drawer over a piece of plywoodthat overhangs the bench. First secure theplywood to the benchtop with clamps and

Benches and Clamps50

Drive the tinyescutcheons justbelow the level ofthe stock.

Brass escutcheonswork well for hold-ing micro-thin stockfor planing.

A V-block will support octagonal work forplaning. Cradle the workpiece in the V-blockand position it against the bench stop.

To plane the sides of a drawer, suspend itover thick plywood that is clamped to thetop of the bench.

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SSEECCTTIIOONN 33 OOVVEERRVVIIEEWW

remember to leave the bottom out of thedrawer until the fitting is complete.

There are several solutions for grippinglong boards for edge jointing. The simplestmethod is to clamp one end of the work inthe vise. The opposite end can be secured ina clamp, and a second clamp will hold thefirst to the edge of the bench.

Another method is to use a V-block and awedge. Bandsaw a long taper into a scrapblock and save the offcut for the wedge.Clamp the V-block to the benchtop, posi-tion the workpiece in the V, and lock it intoplace with the wedge.

A handscrew clamped to the top of thebench is still one more way to hold longstock on edge for planing. Handscrews arecenturies-old clamps with a number of uses.Early handscrews had wooden threads, buttoday’s pivoting steel-thread clamps arestronger and more versatile. And the broadwooden jaws provide a strong, nonmarkinggrip. Use a second clamp to secure the hand-screw to the benchtop.

When milling lumber to size, it’s impor-tant to realize that lumber is seldom flat, and

Benches and Clamps 51

A handscrew supports long stock whenyou’re planing.

This bench hookgrips long stock fortruing an edge.

A wedge locks theboard firmly intoposition.

If you lack a vise, trygripping work withpairs of clamps.

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SSEECCTTIIOONN 33 OOVVEERRVVIIEEWW

so it’s necessary to flatten one face beforeplaning it to thickness. As you flatten thestock, it’s best to plane at an angle to theboard’s grain because stock removal goesfaster when you’re planing slightly acrossgrain. Also, the technique makes it easier toremove distortion across the board’s width.To hold the stock securely, position extrastop blocks along one edge to use in con-junction with the end stop on the bench.

The shooting board is another shop-madeaccessory that has been around for quitesome time. It’s a simple yet effective jig forholding stock while planing end grain. Thejig has two stops; one holds the workpieceand supports the edge to limit chipping ofthe corner. The second stop holds the jig tothe edge of the bench while you’re planing.The base of the shooting board supports theedge of the plane. You can also build shoot-ing boards for trimming miters. Althoughthere are specially designed planes for shoot-ing boards, a large bench plane works well,so long as the sides are ground 90 degrees tothe sole.

Benches and Clamps52

The bench stop and a pair of blocksclamped to the bench hold this wide boardfor planing.

TThheessee tthhrreeee shooting boards are easy to make

from 3⁄4-in.-thick hardwood or plywood scraps.

SSHHOOPP--MMAADDEE SSHHOOOOTTIINNGG BBOOAARRDDSS

Plane against stop

Position hook against edge of bench.

Plane against stop

Clamp in vise for support.

Plane against stop

SShhoooottiinngg BBooaarrdd

EEddggee MMiitteerr SShhoooottiinngg BBooaarrdd

EEnndd MMiitteerr SShhoooottiinngg BBooaarrdd

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After assembling doors, it’s usually neces-sary to plane a few shavings from the railsand stiles to level the joints. Using my broadassembly bench, I fasten strips to the bench-top around the perimeter of the door. Thestrips secure the door in all directions andyet allow full access to the face of the doorfor planing.

Benches and Clamps 53

FFoorr sseevveerraall cceennttuurriieess, woodworkers have used forged-iron

hooks called holdfasts to secure their work to the benchtop.

These simple tools are widely available in woodworking tool

catalogs and are still useful today. Holdfasts fit loosely within

a hole in the benchtop and hold tight with a wedging action.

To use, position the foot over the work and strike the curve of

the hook to set it. To release the holdfast, strike the back corner.

Before drilling holes for holdfasts in your prized benchtop,

consider carefully the type of work you’ll be doing and locate

the holes where they will be most effective.

Deep-reach iron clamps can sometimes serve the same

purpose as holdfasts. Like holdfasts, they usually work best in

pairs. I keep several close at hand when carving or planing

moldings.

HHOOLLDDFFAASSTTSS➤

A traditional holdfast fitswithin a hole in the benchtop.

Strike the front of the hookto lock it into position.

Striking the back corner willrelease it.

This deep-reach clamp hasplenty of holding power.

A shooting board holds stock for preciseend-grain planing.

Plywood strips screwed to an assemblytable hold this door for planing.

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The bench hook is another classic jig thatis similar to the shooting board. It’s designedto hold stock for crosscutting with a back-saw. Like the shooting board, it has twostops, one to hold the workpiece and one tohold the jig against the edge of the bench.

HHoollddiinngg SShhaappeedd WWoorrkk

Carvings, turnings, and curved componentssuch as arms and legs for chairs all presentunique challenges for clamping. With theexception of the handscrew, most clampshave metal parallel jaws that will easily dam-age work with curved shapes.

A pipe clamp will hold a leg from theends while allowing you to shape and refinethe curves. Place the clamp in a bench viseto hold the work at a good height and gainthe advantage of the weight and mass of the bench.

Typically, if a workbench is at the bestheight for planing, it is too low for mostcarving. One easy solution is to place a boxin the vise, which lifts the work to a com-fortable height for carving. Extend the top

HHoollddiinngg WWoorrkk ffoorr SSaawwiinngg

When sawing dovetails for casework, you’llwant to keep the end of the stock relativelyclose to the vise to minimize flexing. Securethe other edge of the stock in a handscrewand clamp it to the bench. The work willremain steady with each stroke of the saw, enabling you to precisely follow the layout line.

Benches and Clamps54

To hold wide stockwhen sawing dove-tails, grip one edgein the vise and theother in a hand-screw clamp. Use with backsaw

Position hook against front edge of bench.

BBEENNCCHH HHOOOOKK

A bench hook holdsstock when youwant to saw theshoulder of a tenon.

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of the box beyond the sides to provide aposition for clamps.

Sometimes the simplest solution for hold-ing odd shapes is to bandsaw a few blocksthat conform to the shape of the workpiece.The blocks can then be clamped to thebench without damaging the work.

Finials for casework and other carvingsare first turned before carving. To hold theround workpiece for carving I construct aV-block. The work is cradled in the V and gripped between stops. The V-block is mounted in the vise for use while I’mcarving.

Benches and Clamps 55

This simple box raises carvings and other detailedwork to a comfortable height.

Pipe clamps are versatile and will easilyhold legs for shaping.

To hold odd-shaped work such as this chair arm, cutblocks that conform to the shape of the workpiece.

Some work, such as this finial, may require construc-tion of a fixture.

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Pipe ClampsPipe clamps are definitely some of the mostversatile clamps you can own. You can usethem for edge-gluing panels, frame assem-bly, casework assembly, and even holdingtable and chair legs for carving. Best of all,pipe clamps are economical compared totheir larger, heavier cousins, the bar clamps.

CCllaammppss

The conventional wisdom is that you cannever have too many clamps. Not true. Justas for other tools, it’s best to make carefulpurchases, buy just what you need, and usethe rest of the woodworking budget forlumber.

Clamps can be used as a third hand forholding stock while you’re planing or rout-ing, but they are most often used for gluingup. And although many glues require severalhours to fully cure, most only need 20 or 30minutes of clamping time. After that, youcan remove the clamps and use them else-where. Also, if you browse the pages of awoodworking catalog, you’ll see that thereare a lot of different types of clamps on themarket these days. However, many of themare specialty clamps you may never need.Here’s a rundown of what I find most usefulin my shop:

Benches and Clamps56

There are a widevariety of clampsavailable for tack-ling every clampingsituation.

Pipe clamps are an economical favorite forpanel, frame, and case assembly.

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As the name implies, pipe clamps are builtupon a length of pipe. The clamp head ispurchased separately, and it threads to anylength of pipe.

I prefer pipe clamps to bar clampsbecause they are lighter weight and less awkward to use. Also, the tail stop is easilyrotated 90 degrees offset to the head forunusual clamping situations. Bar clampscan’t do that. Best of all is the price. You canoutfit your shop with at least two or threepipe clamps for the cost of one bar clamp ofthe same length.

The most common length of pipe clampneeded is 3 ft. Most casework, tabletops, andframes that require assembly will fit within a36-in. opening. When purchasing pipe,remember to add another 6 in. to the lengthfor the clamp head.

Occasionally, you may need long pipeclamps for large assemblies such as theface frame of a kitchen cabinet. An inexpen-sive solution is to purchase couplers andattach one or more shorter lengths of pipeend-to-end.

Bar Clamps Like pipe clamps, bar clamps have manyuses. They also have more clamping powerthan pipe clamps because of the large,I-beam shape of the bar. Yet very seldomdo you need all the crushing power of barclamps. Although I own several bar clamps,I find that I seldom use them becausethey are heavy and awkward. They’re alsoexpensive.

Parallel Bar ClampsParallel bar clamps are a European-style barclamp with several distinct advantages over

Benches and Clamps 57

You can lengthen apipe clamp with a coupling and anextra section of pipe.

The I-beam barclamp providestremendous forcefor demanding situations.

The square, parallel jaws of K-body clampsdistribute pressure evenly.

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standard bar clamps. The most distinctadvantage is that the head and tail stop don’tflex under load; they remain parallel so thateven pressure is always maintained on thesurface of the work. Also, although theseclamps are made of steel, the heads are cov-ered with a tough plastic that is gentle toyour work. And the deep reach of parallelbar clamps gives them versatility unmatchedby conventional bar clamps. Parallel barclamps are a great choice for doors and otherassemblies. However, for edge-gluing boardsto create a wide panel, I still prefer pipeclamps; the offset handle makes it much easier to torque them down.

Mini-Bar ClampsLike their larger counterparts, mini-barclamps have a stop that adjusts by slidingalong the length of a steel bar. These littlebar clamps have lots of clamping power, andtheir scaled-down size makes them extremelyversatile. Mini-bar clamps are ideal for

Benches and Clamps58

A T-handle clamp (top) provides a better grip and greater torquethan the straight post-type handle (bottom).

Light-duty bar clamps offer targeted clamp-ing power in tight quarters.

The deep reach of this clamp firmly grips the compound curves of an arm for a chair.

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HandscrewsLike the pipe clamp, the wooden handscrewis a perennial favorite. Handscrews havelarge wooden jaws that distribute the clamppressure over a broad area. Because of thesefeatures, they don’t have the tendency to marthe work as some other types of clamps do.The jaws also are adjustable for clampingodd-shaped and angled work. By graspingthe two handles and spinning the clamp, youcan quickly open or close the jaws.Handscrews are available in a wide range ofsizes from the diminutive No. 5/0 to thehuge No. 7.

C-ClampsC-clamps are a good choice for securing jigs,fences, and fixtures to machinery. They havegood holding power and plenty of leveragefor tightening. The small pads of C-clampsconcentrate the pressure in a localized area.This characteristic makes them ideal for

clamping smaller assemblies, and accessorypads are available to protect the workpiece.

Another version of the mini-bar clamp isthe ratchet clamp. The ratchet mechanism ofthis clamp makes it quick to open and close.Pulling the handle quickly locks the clampin place; a trigger releases the clamp. Thissmall clamp is ideal for securing work forcarving or for any type of work that must befrequently repositioned.

Benches and Clamps 59

Ratchet clamps can be quickly repositioned.

Plastic clamp pads slip onto the jaws tocushion the work and prevent damage.

The handscrew clamp has jaws that adjust for various angles.

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Benches and Clamps60

SSoommeettiimmeess tthhee bbeesstt clamp for the job at hand is

one you make yourself. The clamp in the photo is for

securing a turned finial while carving the flame por-

tion. Essentially a V-block, this clamp has stops that

are bored to accept round tenons on the turning. One

of the stops is adjustable and locks in position with a

large wing-screw.

Mitered frames can be awkward to clamp; as pres-

sure is applied, the corners tend to slide out of align-

ment. A miter clamping jig solves the problem. It

pulls the miters together, keeps the joints aligned,

and squares the frame, all with one clamp. A row of

holes in each of the four beams allows the jig to

adjust for almost any size frame. Also, the beams

pivot on the clamp blocks to allow clamping of either

square or rectangular frames.

SSHHOOPP--MMAADDEE CCLLAAMMPPIINNGG JJIIGGSS➤

Wing nut

1/4-in. x 2-in. bolt

9/32-in. holes

Notched corner blocks

Adjustable block

Tee-nut

Slot for threaded rod and wing nut

Glue block in place

90°

V-block base

This shop-made mitered frame jig uses just oneclamp to assemble an entire frame.

Threaded rod allows you to make clamp fixtures forunusual shapes.

FFiinnaall CCllaammppiinngg JJiigg

MMiitteerreedd FFrraammee CCllaammppiinngg JJiigg

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screw or ratchet to tighten the strap andprovide pressure. Band clamps are most use-ful for clamping unusual shapes, such asoctagonal pedestals and other polygons,where it is difficult or impossible to use astandard clamp.

securing jigs to the tops and fences ofmachinery. However, I avoid using C-clampsfor most woodworking applications; thesmall pads tend to mar the work and thescrews are too time-consuming to adjust.

Toggle ClampsToggle clamps are designed for securingwork in jigs and templates for sawing andshaping. Toggle clamps grip the stock sothat you can position your hands a safe dis-tance from the cutting action. The base ofthe clamp has mounting holes for securingto the jig, and the lever action, rather than ascrew, makes the clamp quick to open orclose. Toggle clamps are available in a rangeof sizes and designs, so you’re sure to findone for every application.

Band ClampsBand clamps completely encompass thework with a nonmarring nylon strap. Afterwrapping the strap around the work, use a

Benches and Clamps 61

Toggle clamps can quickly secure stock in jigs and fixtures.

C-clamps have a small footprint that can easily damage the work.C-clamps are often the best choice forsecuring jigs to machine tops.

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After use, the bag rolls up for convenientstorage. Once you’ve tried a vacuum press,you won’t go back to the old methods ofclamping veneer and bent laminations.

Spring ClampsSpring clamps work like oversized clothes-pins. A coil spring provides the pressure tosmall plastic pads. Spring clamps are avail-able in a number of sizes, and they are idealfor small repairs. The plastic pads won’t marthe workpiece, and the pads pivot to corre-spond to the angle of the stock.

Vacuum PressesWhile traditional clamps exert pressure witha screw or lever, the vacuum press usesatmospheric pressure. Although technicallyspeaking the vacuum press isn’t a clamp, it isused for clamping. If you enjoy veneering orwant to include bent lamination in yourwoodworking, you’ll quickly see the benefitsof a vacuum press. With a vacuum press, youwon’t have to bother with mating forms,clamping cauls, and a ton of clamps. Best ofall, the pressure inside the bag is uniform, soyou won’t be second-guessing about thepressure on various parts of an assembly.

The vacuum press is available in a rangeof prices to suit most woodworking budgets.Less expensive systems use smaller, lighter-weight bags and continuous running pumps.For more money, you can get larger bagsmade from more durable materials alongwith heavy-duty pumps that cycle on and offto reduce wear on the pump.

Benches and Clamps62

The plastic jaws and light pressure ofspring clamps make them ideal for smallrepairs.

A vacuum pressuses atmosphericpressure to exertforce.

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Gluing and Assembly

➤ Rub Joint (p. 70)

➤ Edge Joint (p. 71)

➤ Leg-and-RailAssembly (p. 72)

➤ Mortise-and-TenonFramework (p. 73)

➤ Mitered Feet (p. 74)

➤ Mitered Box (p. 75)

➤ Dovetailed Casework (p. 76)

➤ Filling a Crack withEpoxy (p. 77)

SSiimmppllee GGlluuee JJooiinnttss

PPrroojjeecctt AAsssseemmbblliieess RReeppaaiirriinngg DDeeffeeccttss

63

Read on to find out how to make yournext assembly trouble-free. You’ll find solidinformation on how to assemble your nextproject and get an idea of the types ofclamps you’ll need.

No discussion of assembling furniturewould be complete without considering thevarious types of adhesives available today. Atrip to the local home improvement centeror woodworking store will yield a dizzyingarray of woodworking glues. While somesimply squeeze from the bottle ready for use,others require mixing two parts, and some,such as hot-melt and hide glue, even requireheating. As you probably suspect, each typeof glue has different working qualities as

A ssembly is a critical time in theprocess of building a piece of furni-ture. You may have spent days or

even weeks sizing stock, cutting and fittingjoints, and shaping parts. Then, in a relativelyshort period of time, you’ve got to apply glue,assemble the various parts in the correct order,position clamps, and check for both align-ment and squareness. And remember thatglue-up is typically irreversible, so you mustassemble it correctly the first time. The key toa smooth and stress-free assembly is to con-duct a rehearsal of the process, often called adry run. The dry run is the time to check fit,alignment, and squareness and make any necessary adjustments. It’s also the time todetermine the number and position of clamps.

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expected, the joints to which they areapplied should be clean, dry, and well-crafted. More specifically, mating surfacesshould touch; adhesives do a poor job of filling gaps. In fact, water-based glues, suchas common yellow glue, shrink as the waterin the glue evaporates, dissolving any hopesof gap-filling properties. Although someglues, such as polyurethane, don’t contractwhile curing, a thick glueline creates a weakbond. For glues to bond effectively, the sur-faces must also be clean, dry, and smooth.The ideal surface is one in which the cellshave been cleanly severed by a sharp planeor chisel. A heavily textured, washboard surface created by feeding the stock tooquickly through a planer or jointer can limitfull contact between the mating surfaces. Forthe best bond, a sanded surface should bevacuumed or cleaned with compressed air to remove dust particles from the pores ofthe wood.

CChhoooossiinngg tthhee RRiigghhtt GGlluuee

Glues vary widely in their working charac-teristics, strength, and temperature range.For example, in cooler temperatures someadhesives slow in their cure rate while otherscreate a weak bond or don’t work at all.When using any adhesive I’m unfamiliarwith, I always carefully read and follow themanufacturer’s instructions. Let’s take a closerlook at some features to consider the nexttime you’re choosing a glue.

Ease of Use Glues that can be squeezed from the bottle,spread onto the wood surface, and cleanedup with water top the list as easy to use.White and yellow glues are the most com-

well as characteristics. By having a basicknowledge of the most common types,you’ll be able to select the best glue for thejob at hand.

PPrreeppaarriinngg SSuurrffaacceess ffoorr GGlluuee

Despite the technological advancement inadhesives during the past 50 years, there areno miracle glues. For glues to work as

Gluing and Assembly64

After an hour of drying time, yellow glueeasily scrapes off.

Today there are a wide variety of glue choices.

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glues, have moderate creep resistance.Contact cement has very little creep resistance.

Water Resistance Nowadays, there are several adhesives thatoffer outstanding resistance to water. Beaware, however, that there are different levelsof water resistance among adhesives. It’simportant to carefully read the label. Forexample, Type II yellow glue is water resist-ant but not waterproof, so it’s suitable foroutdoor furniture but not for boats.Resorcinol and epoxy are both waterproofand the best choices for work that will besubjected to long periods of submersion.These adhesives come as two parts that mustbe measured and mixed prior to application.

Toxicity In general, two-part glues that require mix-ing before use are the most toxic. Theseglues cure by chemical reaction, and thechemicals release harmful fumes. It pays to

monly used woodworking glues not onlybecause they are user-friendly but becausethey’re strong, inexpensive, and emit noharmful fumes. Unfortunately, they also havelittle resistance to creepage and moisture,and they are not reversible.

ReversibilityA glue’s ability to be “unglued” is an impor-tant characteristic for guitar makers and fur-niture restorers. Guitars eventually needrepairs because of the tremendous forcesexerted by the strings. Repairs to antiquesshould be made using reversible glue toavoid spoiling the integrity of the piece.However, for most woodworkers, reversibilityis unimportant; furniture that is well-craftedand cared for should last at least 100 years ormore. The most common reversible glue ishide glue, so named because it is made fromground-up animal skin. However, any gluethat is a basic derivative of a natural productcan usually be reversed and the parts dis-assembled. In contrast, modern syntheticglues are not reversible.

Creep Resistance Any glueline that is subject to excessivestress is subject to creepage. This phenome-non is manifested by a mismatched glueline.Examples include veneer over a solid woodsubstrate and layers of solid wood glued tocreate a heavy bedpost. When these broadsurfaces move as a result of seasonal changesin humidity, the joints often become slightlymisaligned. Glues that have a tendency tocreep are also subject to springback if usedfor bent laminations. An excellent choice forcreep resistance is urea resin glue. Polyvinylacetate glues (PVAs), and white and yellow

Gluing and Assembly 65

Before you begin,gather the toolsyou’ll need.

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be safe. Read the manufacturer’s label andtake the necessary precautions to protectyourself.

TToooollss ffoorr SSpprreeaaddiinngg GGlluuee

When spreading glue, it certainly helps tohave the right tool for the job; you’ll geteven coats of the right amount of glue in theright location. A paint roller works well forlarge jobs, such as when you laminate planksto make a benchtop or spread glue on a sub-strate when veneering. A short roller is usu-ally large enough and will give you goodcontrol of the spread. For smaller applications,an old credit card or phone card works well.

A very simple yet effective tool for glueapplication is a thin, tapered stick. The stickwill easily reach into mortises, and you canuse it as a small paddle for coating the mor-tise walls. A flux brush also works well forreaching into tight spots. However, the bris-tles are too long for good control, so I trimthe ends before putting it to use.

Inevitably you’ll need to make a smallrepair, and a syringe will squeeze just the

Gluing and Assembly66

The best glue applicator is one that enables you to spread the right amount in the right location.

You’ll gain better control with this flux brush if you first trim the bristles.

Mix two-part glues thoroughly.

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the stock with a jointer and planer orwith hand tools.

• MMaakkee jjooiinnttss tthhaatt aarree ttiigghhtt:: Complexjoints, such as the dovetail and mortise-and-tenon, should fit with hand pressureor gentle coaxing with a mallet.Remember, the purpose of clamps is tokeep a joint closed until the glue sets, notto close poorly fitted joints. Joints thatrequire excessive clamp pressure to closewill continually be under stress once theclamps are removed. Under these cir-cumstances, the joints will ultimately fail.

• UUssee mmiinniimmaall ccllaammpp pprreessssuurree:: Assumingthat the joints are well-crafted, rememberthat most clamps can apply much morepressure than is needed to keep a jointclosed. Too much pressure can crush thewood fibers and rack an assembly out ofsquare. As you’re tightening clamps, useonly enough pressure to close the joint.

• UUssee ssuubb--aasssseemmbblliieess:: It’s much easier toglue up just a few parts at a time.Attempting to glue together an entireproject, even a small one, can be an

right amount of glue into any crack orcrevice. The ones I use are available at farmsupply stores. The large needle will allowglues to flow through.

GGlluuee--UUpp SSttrraatteeggiieess

Gluing up is a high-risk venture, and there’sdefinitely a lot at stake. Perhaps you’ve spentdays or even weeks selecting, preparing, andjoining stock. Now it’s time for assembly.Because glue is typically irreversible, you’vegot to get it right the first time. You’ve gotonly a few minutes to work before the gluesets up, and yet everything must be alignedand checked for square. It sounds stressful,but it doesn’t have to be. Glue-ups can becalm, and everything can go as planned. Thekey is to have a plan. I seldom glue anythingwithout first performing a dry run. Think ofa dry run as a dress rehearsal. It’s a time topractice the movements as you assemble thevarious parts and position the clamps. A dryrun will also allow you to check all joints forfit and check the entire assembly for square.If there are any problems, they will be appar-ent when it’s easy to fix them. If there are noproblems during the dry run, then you’reready to apply the glue. All the tools are inplace, and the clamps are adjusted for thesize of the work. Here are some other crite-ria that are important to a dry run, as well asto the glue-up itself.

• WWoorrkk wwiitthh ssqquuaarree ssttoocckk:: Stock for glue-up should be flat, true, and square. Forexample, if you’re gluing boards edge-to-edge to make a tabletop, the face ofeach board should be free of warp andthe edges should be true (straight) and90 degrees to the face. You can square

Gluing and Assembly 67

A low-angle blockplane will cleanlylevel the end-grainpins of a dovetailjoint.

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DDuurriinngg tthhee GGlluuee--UUpp

Before you disassemble the dry run, note thenumber and position of clamps. Gather toolsthat you’ll need for the glue-up, such assquares, pinch rods, glue applicators, and adead-blow mallet to gently coax parts intoposition.

[[TTIIPP ]] WWhheenn ccllaammppiinngg bbooaarrddss

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oovveerr aanndd uunnddeerr ttoo eeqquuaalliizzee tthhee pprreessssuurree oonn

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dduurriinngg gglluuee--uupp..

Spread the glue evenly on all long-grainsurfaces of a joint and methodically assemblethe parts in the same order that you usedduring the dry run. Once clamp pressure isapplied, I like to see just a bit of gluesqueeze out. This is good insurance to letyou know that the joint isn’t glue-starved. Ilike to avoid excess squeeze-out, though; itmakes a sticky mess and is time-consumingto remove from the surfaces, corners, andcrannies of the work. It takes practice toknow how much glue to apply, however.When you’re first starting out, it’s best to erron the side of too much.

The best time to remove glue is after ithas partially set up. At this stage, the glue isno longer liquid but has a soft, plastic tex-ture and will easily scrape away. Wiping thewet glue with a damp rag will push it intothe surrounding pores and haunt you duringfinishing. Allowing excess glue to harden isproblematic, too. Hard, dried glue is tena-cious; as you scrape it away, it will often chipout small areas of the wood surface. Ouch!

invitation for failure. It’s difficult tospread glue on all the parts before theglue begins to “skin over.” Also, the proj-ect may buckle and distort under theweight and pressure of so many clamps.Instead, glue together sub-assemblies, suchas the left and right sections of a smalltable. Then, once the glue has dried, gluetogether the entire table. The dry runwill make you aware of whether you’reattempting to assemble too much at once.

• GGlluuee uupp oonn aa ffllaatt ssuurrffaaccee:: Even thoughyour joinery is flawless, it’s still possibleto glue a twist into a paneled door ordovetailed drawer if the work surface isdistorted. I prefer to glue assemblies onthe top of my bench because I know thatit is flat. I’ll sometimes use sawhorseswhen gluing large work, but I’ll firstmake certain that the top of each saw-horse is positioned in the same plane. Ifnecessary, I’ll shim one leg of a sawhorse.

Gluing and Assembly68

Even a small projectshould be glued upin sub-assemblies.

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Gluing and Assembly 69

SSoommeettiimmeess aasssseemmbblliieess that seem

straightforward end up being difficult once

you get the glue and clamps on. That’s why a dry

run with clamps is important. Study the joint to

determine where the pressure is needed and use

clamp blocks to direct the pressure. For example,

on a typical leg-and-rail assembly, the pressure

is needed behind the rail, not across the entire leg.

Pressure applied to the entire leg will twist it out

of square, yet a simple clamp block will distribute

the pressure correctly. Some joints, especially

on corners that are not square, require a more cus-

tomized clamp block. Dovetail joints require

notched clamp blocks that direct clamp pressure

to the tails.

DDIIRREECCTTIINNGG TTHHEE CCLLAAMMPP PPRREESSSSUURREE➤

Clamp pressure on center of leg forces assembly out of square.

Clamp blocks direct pressure behind rail.

Notch block to apply pressure only to tails.

3/4-in. plywood Clamp pressure

Bird’s mouth joint

Clamp block

Face frame

CCllaammppiinngg aa LLeegg--aanndd--RRaaiill

AAsssseemmbbllyy

CCllaammpp BBlloocckk

ffoorr DDoovveettaaiillss

CCoorrnneerr CCaabbiinneett

CCllaammpp BBlloocckk

Page 80: Using Woodworking Tools

SSIIMMPPLLEE GGLLUUEE JJOOIINNTTSS

RRuubb JJooiinntt

A rub joint is simply an edge-to-edge joint thatuses no clamp pressure. This technique workswell for small joints and/or awkward assembliesin which it’s difficult to position a clamp. Theedges must fit perfectly with no gaps or spring inthe joint ((AA)). Mark the position of the stock witha pencil to make realignment easier ((BB)). Next,spread the glue evenly along one edge, ((CC)) andrub the joint back and forth a couple of times toeven out the film of glue ((DD)). Align the joint onthe marks you made previously, and allow theglue to dry ((EE)).

Gluing and Assembly70

AA

CC

EE

DD

BB

Page 81: Using Woodworking Tools

SSIIMMPPLLEE GGLLUUEE JJOOIINNTTSS

EEddggee JJooiinntt

For several years I lived near a professional log-ger and would often purchase large hardwoodlogs from him. Another neighbor with a portablebandsaw mill would saw the logs to my specifi-cations. Consequently, I have a large stockpile ofwalnut, cherry, maple, and poplar boards, manyas wide as 2 ft. These beautifully figured boardsare ideal for small tabletops, door panels, desklids, or anywhere I want a show of eye-catchingwood. I don’t like to use more than one board forthese surfaces; the seam is just too distracting.Even so, there are times when I must gluetogether two or three boards to make a largetabletop or bottoms for drawers.

When gluing boards edge-to-edge, I don’t usesplines, dowels, biscuits, or any other device toadd strength or help with alignment. An edge-to-edge joint comprises long grain, and so it’salready stronger than the surrounding wood. Andbecause the boards were flattened on the jointerbefore thickness planing, alignment is a cinch. AsI apply clamp pressure, I just pull or push thejoint into alignment.

Begin with a dry run ((AA)). Check the boards with astraightedge to be certain that the assembly isflat ((BB)). Next, spread an even coat of glue alongone edge only ((CC)). Too much glue lubricates thejoint, causing the boards to slide out of alignmentas clamp pressure is applied. Start clamping inthe middle of the panel and work toward eachend. Before you tighten the clamp, check thealignment in that area with the tip of your finger((DD)). If necessary, push the boards at the ends toalign the joint. As you continue clamping, positionthe clamps over and under the assembly toequalize clamp pressure ((EE)). Finally, snug eachclamp slightly and set the work aside to dry ((FF)).

Gluing and Assembly 71

AA BB

CC

EE

DD

FF

Page 82: Using Woodworking Tools

PPRR OOJJEECCTT AASSSSEEMMBBLLIIEESS

LLeegg--aanndd--RRaaiill AAsssseemmbbllyy

Leg-and-rail construction is commonly used ontables, chairs, beds, and even some forms ofcasework. The legs are often two or three timesas thick as the rails, which produces a challengeduring clamping. If clamp pressure is appliedacross the entire surface of the leg, it racks theleg out of square in relation to the rail. (See thesidebar on page 69.) The solution is to useclamping blocks. Because the blocks are thesame thickness as the rail, they focus the clamppressure only to the joint area, which preventsracking. Even so, it’s best to check the legs to becertain that they’re in the same plane.

Begin by gathering your tools and performing adry run ((AA)). Check the joints for closure, and, ifnecessary, slightly undercut the tenon shoulderto close the joint. Next, coat the mortise wallsand tenon faces with glue ((BB)). Position the clampblocks on the legs directly behind the joint ((CC))

and apply moderate pressure to close the joint((DD)). Now, invert the assembly and position astraightedge across the inside surfaces of thelegs ((EE)). These surfaces should lie in the sameplane. If necessary, reposition the clamp blocksslightly to correct the problem. Allow any gluethat squeezes from the joints to dry until it is firmbut not hard ((FF)). Then carefully pare it away witha chisel. After the left and right assemblies havedried, glue together the entire table ((GG)).

Gluing and Assembly72

AA

CC

EE

GG

FF

DD

BB

Page 83: Using Woodworking Tools

PPRR OOJJEECCTT AASSSSEEMMBBLLIIEESS

MMoorrttiissee--aanndd--TTeennoonnFFrraammeewwoorrkk

Mortise-and-tenon framework has broad applica-tions in woodworking. The framework is com-monly used as a face frame on casework. Byadding a panel to the framework, you’ve createda door. The long frame members are called stilesand are mortised to accept the tenons on theends of the horizontal members called rails. Theframework in this photo-essay will be used as abase under a chest to attach the bracket feet.

Notice in the photos the extra length of the stiles.This is a solid, tried-and-true method for buildingframes. The extra length, called “ears,” is leftintact until after assembly, at which time it issawed off. The ears serve several purposes. Theyadd strength to the stile when you’re mortising,and they eliminate the need for absolutely perfectalignment during glue-up. Instead, the ears aresawn flush with the rails. Also, when you’re dis-assembling a paneled door after the dry fit, theears provide a spot to tap open the joints withoutdamaging the door.

After a dry run, coat the walls of each mortise ((AA))

and the face of each tenon ((BB)) with a film of glue.Assemble the frame and apply a small amount ofclamp pressure to hold the joints firmly in place((CC)). Finally, check the frame for square ((DD)). I’musing an accurate framing square (not all framingsquares are 90 degrees), but pinch rods workwell, too. If necessary, loosen the clamps slightly,tap the end of a stile with a dead-blow mallet tosquare the frame, then retighten the clamps ((EE)).

Gluing and Assembly 73

AA

CC

EE

DD

BB

Page 84: Using Woodworking Tools

PPRR OOJJEECCTT AASSSSEEMMBBLLIIEESS

MMiitteerreedd FFeeeett

Ogee feet must support the weight of the case-work on which they are attached. So for additionalstrength and help with alignment, I use a 1⁄4-in.plywood spline. Before glue-up, I bandsaw thebracket profile; after glue-up, I use the bandsawto saw the ogee contour in the faces of the foot.Remember to offset the spline toward the insideso that you can avoid inadvertently cutting into itand spoiling the foot.

Small bar clamps work well for gluing up feet.These mini-clamps are available in differentlengths, provide plenty of clamping pressure, andare not nearly as awkward as larger clamps.

I start with a dry run to adjust the clamps and doa final check on the fit of the joint ((AA)). Next, Iapply a thin, even film of glue on both halves ofthe joint, including the spline grooves ((BB)). I beginassembly with the spline and gently push thejoint together. As I position each clamp, I startwith a small amount of pressure ((CC)). Too muchclamp pressure on the first clamp will misalignthe joint, in spite of the spline.

Once all the clamps are in place, I tighten themeach once more. If the miter is slightly mis-aligned, loosen one clamp and gently tighten the opposing clamp to bring the joint back intoalignment ((DD)).

Gluing and Assembly74

AA

CC

DD

BB

Page 85: Using Woodworking Tools

PPRR OOJJEECCTT AASSSSEEMMBBLLIIEESS

MMiitteerreedd BBooxx

Mitered boxes can be tricky to clamp; the jointsdon’t interlock, and they easily slip out of align-ment as clamp pressure is applied. Small boxesare especially difficult because there is little areain which to position clamps. One sure method isto assemble the box with packing tape ((AA)). Thesticky tape holds surprisingly well, and it hasenough tensile strength to apply sufficient pres-sure as the glue dries. The tape is available in dif-ferent colors, but I prefer the clear as it allowsme to view the assembled joints. This is a neattrick, it works well, and it’s fun. As with most glu-ing operations, try this technique first withoutglue to get a feel for it.

Begin by unrolling a length of tape on the bench,sticky face up ((BB)). Apply glue to the miters ((CC))

and stick them to the tape end-to-end ((DD)). Nowsimply fold up the box ((EE)). When you get to thelast corner, stretch the tape to apply pressure tothe joints and stick it to the box ((FF)). Now set thebox aside and allow the glue to dry ((GG)).

Gluing and Assembly 75

AA

CC

EE

GG

FF

DD

BB

Page 86: Using Woodworking Tools

PPRR OOJJEECCTT AASSSSEEMMBBLLIIEESS

DDoovveettaaiilleedd CCaasseewwoorrkk

Dovetails, especially those that are cut by hand,typically only fit one way. Gluing together a dove-tailed box can be like solving a puzzle as yousearch for mating parts. To avoid trial-and-error fit-ting or frantically searching for labels as the gluesets up, I use a different approach. I begin byassembling the box and checking for fit andsquareness ((AA)). Next, I use a dead-blow malletto gently tap the joints partially open but notcompletely apart ((BB)). This allows me access tothe inner workings of the joint to apply glue, yet Ican easily tap the joints closed again. Next, Igather the tools I’ll need for glue-up, includingclamps, clamp blocks, and a square ((CC)). Pinchrods work well, too, for checking boxes forsquare, especially large casework. To spread theglue without making a sticky mess of the box, Iuse a thin, tapered stick. Quickly and carefully Iapply glue to the long-grain surfaces of each pin.((DD)). After driving the joints home with careful,gentle taps of the mallet, I position the notchedclamp blocks over the tails ((EE)). A moderateamount of clamp pressure will keep the jointclosed tightly until the glue sets ((FF)). Rememberto check for square ((GG)). If necessary, gently pushon the acute corners to square the box. Finally,set the box aside on a flat surface until the gluehas completely dried ((HH)).

Gluing and Assembly76

AA

CC

EE

GG

DD

FF

HH

BB

Page 87: Using Woodworking Tools

RREEPPAARRIINNGG DDEEFFEECCTTSS

FFiilllliinngg aa CCrraacckk wwiitthh EEppooxxyy

The most beautiful, highly figured wood oftenhas the greatest number of natural defects, suchas knots and stress cracks ((AA)).. An easy way torepair loose knots and other defects is withepoxy. Mixing sanding dust with the epoxy willeasily conceal the repair. Squeeze equal amountsof clear, five-minute epoxy onto the mixing board((BB)).. Mix the two components ((CC)), then mix in asmall amount of sanding dust ((DD)).. Apply theepoxy with a stick and completely fill the void.After the epoxy has fully cured, scrape away theexcess and sand it level with the surroundingsurface.

Gluing and Assembly 77

AA

CC DD

BB

WWAARRNNIINNGG TTwwoo--ppaarrtt eeppooxxiieess

ggiivvee ooffff ffuummeess tthhaatt mmaayy bbee hhaarrmmffuull,,

ssoo uussee aa rreessppiirraattoorr oorr pprroovviiddee

aaddeeqquuaattee vveennttiillaattiioonn..

▲!

Page 88: Using Woodworking Tools

HHaannddssaawwss aanndd CChhiisseellss,, ppaaggee 9966MMeeaassuurriinngg aanndd

MMaarrkkiinngg TToooollss,, ppaaggee 8800 PPllaanneess aanndd PPllaanniinngg,, ppaaggee 112244

FFiilleess aanndd RRaassppss,, ppaaggee 116644SShhaarrppeenniinngg HHaanndd TToooollss,,

ppaaggee 116688

Page 89: Using Woodworking Tools

Peruse the pages of almost any woodworking catalog

and you’ll see a dizzying array of hand tools. At the same

time, there are more affordable choices in woodworking

machinery than ever before. So why use hand tools?

Part of the appeal is certainly the romance. Hand tools are a pleasure

to use, and they leave behind a distinct surface texture that says

“handmade.” Using hand tools is skilled, quiet work that provides

a great sense of personal satisfaction and accomplishment. The fact is,

there are many times when a hand tool is also the most efficient choice.

Setting up a machine for a complex cut can gobble up time.

Additionally, you can create fine detailed work with hand tools that

is often difficult or impossible to produce with a machine.

Hand Tools

PART THREE

Page 90: Using Woodworking Tools

each joint every few months, and this peren-nial favorite will provide years of service.

When rough-cutting lengths of lumber, Ireach for a steel tape measure. A 20-ft. tapeprovides plenty of length, and the steel isstiff enough to extend it several feet withoutflexing.

For dividing or transferring measurements(without math!), dividers are often the mostaccurate and efficient choice. Their steel legspivot under spring tension and are held inposition with an adjustment screw. Dividersare especially effective for layout of curvedand irregular objects such as carvings. Wherea rule or tape just isn’t practical, dividers areavailable in several sizes ranging from 4 in.to 12 in. As the points get dull, sharpenthem using light strokes with a mill file.

Spring calipers are used for measuringdiameters when you’re turning, carving, andsculpting. As with dividers, a simple adjust-

Measure twice, cut once” is stillgood advice; nothing is quite asdisappointing as miscutting a

prized board. But accurate layout is just asimportant. Layout provides a critical roadmap to give you direction and sequence foreach series of cuts. Layout is the process ofmeasuring and marking the location forjoints, curves, and other important details.

MMeeaassuurriinngg TToooollss

In any shop, measuring tools should be closeat hand. My favorite measuring tool is stillthe classic Lufkin x46® folding wood rule.It will measure up to 6 ft. (quite a bit largerthan many woodworking projects), yet itquickly folds up and fits in a hip pocket.Unlike a steel tape, a folding rule lies flat onthe work and doesn’t inadvertently retractduring use. It also doubles as a depth gaugefor cutting mortises. Put a drop of oil on

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

80

Measuring and Marking Tools

Page 91: Using Woodworking Tools

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

ment screw keeps the spring under tension.When turning, I may use a half-dozen dif-ferent calipers so that I don’t lose efficiencyby continually resetting the same pair.

When fitting joints or machining parts toprecise dimensions, you’ll find a machinistcaliper useful. They’re available in both ana-log and digital readout. Equipped for bothinside and outside measurements, a machinistcaliper will measure in hundreds or eventhousandths of an inch. Although thisdegree of precision isn’t needed for mostwoodworking, it’s useful for milling wood toexact thickness or setting up a table saw tocut tenons for a precise fit within a mortise.

Measuring and Marking Tools 81

The 6-ft. folding rule is versatile and compact.

The slide on a folding rule is ideal formeasuring the depth of a mortise.

The steel tape is agreat choice formeasuring longlengths of lumber.

A divider is the besttool for layout ofcarvings.

Use the springcaliper to gaugecarvings and turnings.

Page 92: Using Woodworking Tools

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

Squares and Bevel Gauges The square is one of the most essentialwoodworking tools. My favorite is themachinist’s combination square; it’s highlyaccurate and extremely versatile. A slidingiron head locks in place anywhere along thelength of the steel rule. Both the head andthe rule are carefully machined for accuracy.The numerical markings and divisions areengraved in the face of the rule to eliminatewear, and the best rules have a satin finish,which is much easier to read. It’s the slidinghead that makes a combination square so

Once you have a machinist caliper in yourshop, I’m sure you’ll find other uses for it.

For hanging cabinets or shelves, a studfinder will help you ensure that they stayput. This small, handheld device uses elec-tronics to locate the edges of a wall stud. It’salso much kinder to your walls than the oldmethod of driving nails until you hit some-thing solid. Simply turn on the device andslide it along the wall until it lights up andemits a tone.

Measuring and Marking Tools82

A dial caliper is use-ful for making pre-cise measurements.

An electric studfinder is invaluablewhen you’re hang-ing shelves andcabinets.

A combination square also works as agauge for marking parallel lines.

Rules made of satin chrome (bottom) areeasier to read than ones made of polishedsteel (top).

Page 93: Using Woodworking Tools

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

versatile. When you move the head to a newposition, the square functions as both aninside and outside square. However, it’s alsouseful as a depth gauge for checking mortisesand other joinery, a height gauge for machinesetup, and a 45-degree square for checkingmiters. The large, 12-in. combination squareis the most flexible, but it’s helpful to haveseveral smaller sizes. The 6-in. square will fitinto smaller spaces, and the 4-in. easily slipsinto your pocket for use all around the shop,including layout and checking joinery.

When using a combination square, alwaysremember to lock the head to the rule aftermaking adjustments. And avoid the inex-pensive hardware-store squares. Often con-structed of aluminum, plastic, and stampedsteel, these poorly made varieties are no bar-gain. In fact, they are often not even square.The drawing shows how to check the accu-racy of any square.

Measuring and Marking Tools 83

The sliding head of the combination squarecan be positioned for inside corners.

To check the depthof a mortise, use acombinationsquare.

This small square isideal for setting thedepth of a router bit.

A combinationsquare is also effec-tive for checkingmiters.

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SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

You can also purchase accessories to giveyour combination square even greater versa-tility. The center head makes it quick andeasy to locate the center of both round andsquare stock. And the protractor headrotates 360 degrees to easily locate anglesother than 90 degrees.

Although intended for rough carpentry,the framing square is useful for large layoutwork as well as for checking large assembliesfor square. As with all layout tools, be sureto purchase a quality framing square.Although you can make minor adjustmentsto a framing square that isn’t quite 90 degrees,

Measuring and Marking Tools84

Draw two lines from same starting point.Jointed edge

Lines will coincide if square is accurate.

Difference between separating lines is twice the error of the square.

CCHHEECCKKIINNGG AA SSQQUUAARREE

A center head will accurately locate the center of roundor square stock.

Identify specific angles easily with a protractor head.

Strike with a hammer and punch.

Strike here to spread square.

Strike here to close square.

AADDJJUUSSTTIINNGG AA SSQQUUAARREE

Page 95: Using Woodworking Tools

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

a cheap square isn’t worth the trouble.Finally, for accurate machine setup, a smallmachinist’s square is handy. These littlesquares are precisely machined, and theblade is securely pinned to the head.

For laying out angles other than 90 degrees,the sliding bevel is the tool of choice. Like asquare, the bevel has a blade and head, butthe joint that fastens the two pivots andlocks them in place at any angle. You can setthe bevel using a protractor or by graphingout a ratio of whole numbers, such as one tosix, as shown in the drawing.

The dovetail joint has been a mark ofcraftsmanship for centuries. Today, despitemyriad router jigs, there are still good reasons

Measuring and Marking Tools 85

A small machinist’s square is handy forsquaring blades and bits.

A bevel gauge willadjust to transferany angle.

The bevel gauge isavailable in a num-ber of sizes.

Ratio of Whole Numbers

SSEETTTTIINNGG AA BBEEVVEELL GGAAUUGGEE

Page 96: Using Woodworking Tools

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

for cutting dovetails by hand—for nothingbut the pleasure. Although you can lay outdovetails with a sliding bevel, the dovetailgauge is preset for marking the angles of thedovetails. Designs vary widely, but myfavorite is a simple, inexpensive aluminumextrusion. It’s available in two differentangles, and the soft aluminum allows you toeasily alter this basic tool to any angle youmay need.

MMaarrkkiinngg TToooollss

Whether you’re rough-cutting stock tolength or laying out fine joinery, most layoutis done with a pencil. Pencils are inexpen-sive, readily available, and obviously, you canerase a pencil line if needed. To increase theaccuracy of a pencil, try a hard No. 4 typerather than the standard No. 2, which isquite soft. For even greater precision trysharpening the point to a chisel edge with ascrap of sandpaper. This old draftsman’strick results in a finer, more precise layoutline. The standard No. 2 pencil has a softlead that is ideal for laying out curves forbandsawing. For layout on dark woods, youcan find white pencils at art supply stores.

Measuring and Marking Tools86

This inexpensivegauge is the perfecttool for dovetail layout.

For the most precise marks,sharpen a pencil to a chisel edge.

Thin plywood patterns make it easy to duplicate curves.

Page 97: Using Woodworking Tools

SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

hardened steel pin that easily removes forsharpening. All the wear points are fittedwith brass.

When correctly sharpened, a gaugeshould scribe a crisp, sharp incision with oracross the grain. The conical point of pingauges tends to tear the wood fibers insteadof scoring them. You can correct this by

Their soft, waxy core isn’t sharp enough forprecise joinery layout, but they’re great for out-lining curves for bandsawing or scrollsawing.

For the greatest accuracy during layout, Iuse a knife. Woodworking catalogs offerelaborate knives with polished blades andexotic wood handles, but I prefer an inex-pensive modeling knife. The blade is thin forreaching into tight areas, sharp, and veryprecise. As the blade dulls I simply toss itout and install a fresh one.

MMaarrkkiinngg GGaauuggeess

The marking gauge is a centuries-old toolthat is still one of the most useful. It consistsof a wooden head that slides along thelength of a wooden beam and locks in placewith a thumbscrew. A steel marker fixed toone end of the beam scribes a permanentline with or across the grain. The marker canbe a round pin, a small knife, or a tinywheel. My favorite marking gauge is theStanley No. 65®. Long out of production, itcan still be found where old tools are sold. Itfeatures a graduated boxwood beam with a

Measuring and Marking Tools 87

For the most precise layout, use a knife.

It’s easy to set this marking gauge because it’s graduated.

The pin of this gauge can be removed for sharpening.

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SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

TToooollss ffoorr CCiirrcclleess,,

CCuurrvveess,, aanndd AArrccss

Remember that cheap, pressed-steel compassfrom fifth-grade math class? It’s time toreplace it with something sturdier. A goodcompass has forged steel removable legs anda thumbwheel for fine adjustments. If youreplace the pencil with a steel leg, this versa-tile tool doubles as a large divider.

grinding a chisel profile on the pin and hon-ing it as you would any chisel. I avoid wheelgauges because most create a soft indenta-tion rather than a crisp incision.

When shopping for a marking gauge, youmay want to look at the old ones. Like mostold tools, old marking gauges have usefulfeatures not found on many new tools soldtoday. For example, most older gauges have agraduated beam. The graduations makesetups much faster and far more accurate.Some old gauges have an opening at theopposite end of the beam for use with a pen-cil. Others feature a special face for scribingcurved work.

Measuring and Marking Tools88

This gauge holds apencil at one endand a tiny knife atthe opposite end.

This special gaugeis designed formarking a line par-allel to a curve.

A compass is used to mark circles and arcs.

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To lay out large circles and ellipses fortabletops, I reach for a pair of trammelpoints. This classic tool clamps to a stick tolay out circles beyond the reach of a com-pass. If you need just an occasional circle, ahomemade trammel may suffice. Just drill ahole at each end of a stick, one sized toaccept a nail and the other a pencil.

Drawing free-form curves is best donewith the help of a flexible stick. Simply flexthe stick along several predetermined pointsand trace along it with a pencil.

An awl is a good tool for marking thecenter of a circle before drilling or locatingcenters of lathe work. Its sharp point createsa positive indentation that prevents the drillfrom skipping off-center. Awls are very sim-ple tools, so an inexpensive one will suffice.As the point dulls, sharpen it with a fewstrokes of a mill file.

Don’t be tempted to use your awl as ascribe for scoring layout lines. The conicalpoint will tear the fibers and make it diffi-cult to achieve tight-fitting joinery.

Measuring and Marking Tools 89

Trammel points clamp to a stick used todraw large arcs and circles.

A stick fitted with a nail and pencil makes an economicaltrammel.

To mark free-form curves, try flexing a thin stickbetween brads.

An awl will accurately locate the center point for drilling.

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Measuring and Marking Tools90

CCaarreeffuull mmeeaassuurriinngg and marking, or layout, is one

of the most essential aspects of woodworking. When

I’ve cut a joint in the wrong location or built a door

that doesn’t fit the opening, I can usually trace the

error to the layout. I like to think of layout as a road

map; it points me in the right (or wrong) direction.

Here are the steps I use to get it right:

• MMeeaassuurree ttwwiiccee,, ccuutt oonnccee..This old saying is

still good advice. Always double-check your

measurements.

• MMeeaassuurree tthhee lloonnggeesstt lleennggtthh ffiirrsstt.. For example,

if you’re making a chest of drawers, measure the

chest height first, then mark the smaller measure-

ments, such as the drawer locations, moldings,

and feet.

• TTrraannssffeerr tthhee llaayyoouutt.. After the initial layout is

made, transfer it to the mating pieces. This ensures

that all pieces correspond. For example, when mak-

ing a table, lay out the mortise location on the first

leg, then transfer the measurements around the

corner to the adjacent surface. Finally, clamp mat-

ing legs to the first and transfer the layout. This

method avoids the inevitable errors that can occur

when you measure each layout separately.

• UUssee aa kknniiffee ffoorr hhaannddwwoorrkk..You can follow a knife

line with a handsaw or chisel much more easily

than you can follow a pencil line. Pencil lines have

thickness, which leads to inaccuracy. Yet a chisel will

easily follow an incision made from a knife.

• KKeeeepp tthhee llaayyoouutt ttoooollss sshhaarrpp.. Whether using a

pencil (appropriate for some types of layout) or

a knife, don’t allow it to become dull. Stop during

layout and resharpen as the pencil lines widen or

the knife begins to tear the wood.

SSMMAARRTT LLAAYYOOUUTT PPRROOCCEEDDUURREESS➤

Strike layoutmarks on oneface first, thentransfer themarks to adjacent faces.

Clamp like partstogether andcheck that theends are even.

Transfer marksfrom one piece to another likepiece.

• WWaattcchh tthhee rreeffeerreennccee ssuurrffaacceess.. Layout tools have

reference surfaces, such as the head of a square or

the face of a marking gauge. For accurate layout,

the reference surface must stay in contact with the

workpiece as you strike your marks or lines.

Maintain constantpressure as youstrike lines with a marking gauge.

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DDrraaffttiinngg SSuupppplliieess

Every good design begins with a drawing; atrip to the office supply store will yield anumber of inexpensive plastic drafting toolsuseful for woodworking layout and design.Triangles are available in 45-degree/45-degree/90-degree or 30-degree/60-degree/90-degree and in a number ofsizes. There are also a number of templatesavailable for drawing small circles andellipses. After you’ve sketched your design,you can smooth it out with a French curve.These curvaceous templates are available in several sizes, and they make drawingbeautiful curves within everyone’s reach.

You can easily copy existing curves froman antique with a tracing tool. This usefullittle tool is a snap to make. The blunt pointfollows the curves of a three-dimensionalobject while the pencil duplicates the existingoutline.

Measuring and Marking Tools 91

Drafting triangles are inexpensive andaccurate.

Drafting templatesare available fordrawing commongeometric shapes.

A French curve will enable you toreadily create free-form curves.

This simple shop-made tool will easily trace com-pound curves.

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Measuring and Marking Tools92

MMuucchh ooff ffuurrnniittuurree design and layout is drawing geometric

shapes. Of course, layout of squares, rectangles, and circles

is relatively straightforward. Many shapes are interrelated; for

example, an octagon is drawn from a square, while an ellipse

is drawn from a rectangle. The following drawings show how

to lay out some of the most common shapes you’ll use in

building a lifetime of furniture.

GGEEOOMMEETTRRIICC CCOONNSSTTRRUUCCTTIIOONNSS➤

1. Draw a square.2. Draw diagonals to locate center point.3. With a compass, draw arcs from corners through center point.4. Connect points at corners.

Framing square guides trammel bar

Trammel bar

Major axis

Minor axis

1. Draw a rectangle.2. Find center points along four sides and draw major and minor axes.3. Make a trammel bar as shown.4. Position framing square as shown.5. Guide trammel points against framing square and draw one quarter of ellipse.6. Reposition framing square and repeat for other three quarters.

Trammel bar

Pencil

Small dowels or brads

1/2 minor axis

1/2 major axis

DDrraawwiinngg aann EElllliippssee

DDrraawwiinngg aann OOccttaaggoonn

TTrraammmmeell BBaarr

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SSEECCTTIIOONN 55 OOVVEERRVVIIEEWW

After you have painstakingly created yourdesign, you can store the data for the nextlayout with a story stick and patterns. Astory stick is a full-size record of all the hor-izontal or vertical measurements in a piece.Once drawn, the story stick eliminates mathand layout errors. It’s especially useful formaking multiple pieces and works effectivelyfor everything from small turnings to largecasework. Thin plywood patterns make iteasy to duplicate curves, and the edges won’tbecome ragged or torn like those of a paperpattern. I like to write dimensions, construc-tion notes, and other data right on the pat-terns so I’ll have this important informationclose at hand and permanently recorded.

Measuring and Marking Tools 93

Bore angled hole for pencil.

Screw holds pencil in position.

Point of pencil should align with point at lower corner of block.

CCOONNTTOOUURR TTRRAACCEERR

1. Draw a square.2. Divide into unequal rectangles.3. Draw curves in diagonal rectangles.

Asymmetrical

Symmetrical

1. Draw a square.2. Divide square into 4 smaller squares.3. With a compass, draw curves from diagonal corners through center point.

Trammel points areadjustable so you can drawfigures in a variety of sizes.

DDrraawwiinngg OOggeeee CCuurrvveess

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It’s always useful to have a few precisionstraightedges available for checking surfacesof tools and machines. Look for those withprecisely machined edges; cheap exampleswill have rough, stamped edges.

Whenever you’re flattening wide boardswith a plane, it’s helpful to have a pair ofwinding sticks. Positioning a contrastingstick across each end of the board makes itmuch easier to spot twist in the board.

While you’re making winding sticks, milla couple of extras and point the ends, for useas pinch rods. This simple tool works fromthe principle that diagonal measurements areequal when the corners of any rectangularbox are square. Hold the pointed rods inopposite corners; pinch them together at theoverlap, and then check the adjacent cornerswithout releasing your pinch. (You can alsouse a spring clamp to hold them together.)The difference, if any, is twice the error.

Measuring and Marking Tools94

A story stick con-tains linear meas-urements for eachlayout.

Patterns store valu-able design infor-mation for easilyduplicating parts.

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Measuring and Marking Tools 95

Make winding sticks from contrasting woods.

Line of sight

Make sticks of equal size but incontrasting wood.

UUSSIINNGG WWIINNDDIINNGG SSTTIICCKKSS

Cut steep angle on one end of each rod.

With pointed ends in corners, pinch or clamp the rods together, then check other diagonal.

MMEEAASSUURRIINNGG DDIIAAGGOONNAALLSS

WWIITTHH PPIINNCCHH RROODDSS

A reliable straight-edge is widely use-ful for layout andchecking accuracy.

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other hardware, and carving embellishments.Together, handsaws and chisels provide aone-two punch for producing numerousjoints common to all types of furniture andcasework.

HHaannddssaaww TTyyppeess

Handsaws cut with a long row of teeth.With each stroke of the blade, each tooth,much like a tiny chisel, removes a shaving.As the cut, or kerf, as it is called, is deep-ened, it has the potential to rub the sides ofthe sawblade and cause binding. To preventbinding, the teeth of a saw are set; that is,each tooth is slightly bent. Alternate teethare bent in opposite directions so that thesaw will cut a straight path. The resulting

Despite the proliferation ofpower tools in today’s woodwork-ing shops, handsaws still play an

important role. One reason is that powersaws—table saws, for example—consumesetup time. And the setup time is directlyproportional to the complexity of the cut. Soit’s often more efficient to make the cut witha handsaw. Also, by their nature, handsawscan make cuts that power saws can’t. Forexample, no power tool, saw, or router canduplicate the fine dovetail joinery createdwith a dovetail saw and a chisel.

Chisels are also among the most essentialtools that woodworkers use. They’re used forcutting and fitting joints, paring surfacesflush, cutting recesses for locks, hinges, and

SSEECCTTIIOONN 66 OOVVEERRVVIIEEWW

96

Handsaws and Chisels

➤ Cutting a ThroughDovetail (p. 106)

➤ Half-Blind Dovetails(p. 109)

➤ Leg-to-Rail Dovetails(p. 113)

➤ Mortise-and-TenonJoint (p. 115)

➤ Cutting a LockMortise (p. 118)

➤ Cutting a HingeMortise (p. 120)

➤Techniques forTuning Chisels (p. 122)

SSaaww aanndd CChhiisseellJJooiinneerryy

IInnssttaalllliinngg HHaarrddwwaarree TTuunniinngg CChhiisseellss

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kerf is wider than the body of the blade.However, too much set will cause the bladeto wander and make it difficult to saw astraight line. To further reduce binding,better-quality panel saws are tapered fromthe teeth toward the back of the saw.

A close examination of sawteeth willreveal that their shape is designed specificallyfor ripping or crosscutting. Ripsaws havelarge, square-edged teeth for aggressive cut-ting with the grain. To cleanly sever thetough fibers, crosscut teeth are ground with abevel that produces a knifelike edge. Crosscutsaws are also finer than ripsaws; that is, theyhave more teeth per inch. This places moreteeth in contact with the stock for smoothcutting across the grain.

Handsaws and Chisels 97

Handsaws are necessary for making cutsthat are too cumbersome to make withpower saws.

A set of good benchchisels is a centralpart of any wood-working tool kit.

Handsaws cut withrows of teeth. Aclose examinationreveals a distinctdifference betweenripsaws and cross-cut saws.

Rip teeth plow a groove parallel to the grain.

Crosscut teeth cleanly shear the tough fiberswith a beveled edge.

RRIIPP VVSS.. CCRROOSSSSCCUUTT TTEEEETTHH

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As a handsaw is pushed through thestock, the natural tendency is for the thinsteel blade to bow and buckle. Saws aredesigned to resist buckling in one of severalways. Panel saws incorporate a thick steelbody. This helps overcome the problem, butthe thick blades of panel saws create a widekerf unsuitable for fine joinery. Backsaws, asthe name implies, have a reinforced back ofsteel or brass to stiffen the blade during thecut. Large, heavy backsaws are designed foruse in miter boxes, while smaller, lighter-weight saws are ideal for sawing tenons.Like backsaws, dovetail saws are also rein-forced along the back. However, the steeland “set” of dovetail saws is finer still forproducing fine, closely spaced dovetail joints.

In recent years, Japanese handsaws havequickly become a favorite among manywoodworkers. Unlike Western saws, whichcut on the push stroke, Japanese saws cut onthe pull stroke. This design naturally placesthe blade in tension during each stroke ofthe saw, which significantly reduces theblade’s tendency to buckle and distort.Consequently, the steel of a Japanese saw isthin in comparison to that of Western sawsand creates a thin kerf ideal for dovetails and

Handsaws and Chisels98

Panel saws create a wide kerf that is unsuitable for fine joinery.

A backsaw has fine teeth and a stiff back forsawing fine joinery.

Dovetail saws are scaled-down backsaws with very fine teeth.

The fine teeth (15 tpi) and slight “set” of this dovetail saw are idealfor sawing precise joints.

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SSEECCTTIIOONN 66 OOVVEERRVVIIEEWW

other fine joinery. So that you can avoidsharpening the complex teeth, manyJapanese dozuki saws feature a replaceableblade.

Coping saws have a thin, narrow blade forsawing the tight curves in scrollwork. Toprevent buckling, the disposable blade isheld in tension by the framework of the saw.When replacing the blade, remember thatthe teeth face the handle, which places theblade in tension during the cut.

The teeth of flush-cutting saws are set injust one direction. This unique design allowsyou to trim through tenons, pegs, and otherjoinery flush, without scratching the adjacentsurface.

CChhiisseell TTyyppeess

There are many different types of chisels;the most common is the bench chisel, whichfeatures a thin, tapered blade. The sides ofthe blade are beveled, which allows you touse the chisel in tight, acute corners, likethose in dovetails.

Handsaws and Chisels 99

Japanese saws cut on the pull stroke andcreate a very fine kerf.

This Japanese sawhas a replaceableblade.

A flush-trim saw is “set” only to one side to avoid scratching thesurface.

The open frame andnarrow blade of acoping saw aredesigned for sawingscrollwork.

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Short bench chisels work best for chop-ping, a process of severing the grain withsharp blows from a mallet. The shorterlength, around 9 in. to 10 in., gives greatercontrol when the chisel is positioned verti-cally and struck with a mallet. To preventthe edge from fracturing from the impact ofa mallet, chisels used for chopping should beground with a steep bevel, typically around30 degrees.

Paring chisels are longer versions ofbeveled-edge bench chisels, typically 12 in.or more in length. The greater length pro-vides the leverage that’s often requiredwhen you’re paring and allows you to reachareas that are inaccessible to shorter benchchisels. The bevel angle of a paring chisel isshallow, typically 25 degrees, but sometimesas low as 20 degrees. The shallow bevelgives paring chisels the sharp edge toremove thin, delicate shavings. But don’tstrike the chisels with a mallet or you mayfracture the fragile edge.

Handsaws and Chisels100

9 in.

Socket butt chisel—short length provides control when chopping.

Leather washers absorb shock.

12 in.

Socket firmer chisel—long length provides leverage for paring.

10 in.

Tang chisel—tang fits into handle.

CCHHIISSEELL TTYYPPEESS

Socket chisels provide perfect balance and control for a variety of tasks.

The short length of these socket chiselsmakes them ideal for chopping the spacebetween dovetails.

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The older-style socket chisels are still myfavorites. These strong chisels feature atapered handle that fits within the forgedsocket and is driven tight with each use.You can still find these chisels wherever oldtools are sold. When shopping for benchchisels, consider the balance and feel of thetool. Chisels with large, heavy handles feelawkward and top-heavy when used forchopping. Try to select a set of chisels thatfeels comfortable in your hand, and you’lldo better work.

Mortise chisels have a thick, narrow bladedesigned for chopping mortises by hand.The heavy rectangular blade resists twistingwhen driven by sharp blows of a mallet.

Like Japanese handsaws, Japanese chiselshave unique features that distinguish themfrom the Western varieties. The blades ofJapanese chisels are actually laminated fromtwo types of steel. The hard, brittle steel atthe cutting edge is supported by a softer,more resilient steel behind the edge. Thesides of the blade are sharply beveled for

Handsaws and Chisels 101

Socket chisels areamong my personalfavorites.

Short chisels work best for chopping, whilelonger chisels provide leverage and controlwhen paring.

A mortise chisel hasa thick shank forstrength.

Japanese chiselsfeature good bal-ance and hard steel.

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SSEECCTTIIOONN 66 OOVVEERRVVIIEEWW

pair of skew chisels from many woodwork-ing catalogs, it’s much less expensive togrind your own from bench chisels.

Carving gouges have a curved face, calleda sweep. The curves allow you to carve andshape a variety of embellishments for yourwork. The degree of curvature, or sweep, isindicated by a number stamped on the shankof the tool. Higher numbers indicate a morepronounced curve. The best carving toolscome with a highly polished, mirror finishthat allows you to easily hone the tool to arazor edge.

Finally, it’s a good idea to purchase a fewframing chisels for use in home repair. Withtough plastic handles and steel end caps,these tools can take the inevitable punish-ment that comes when you’re working on adeck or other carpentry projects around thehouse. Save your best chisels for cuttingdovetails and other fine work.

CChhiisseell GGrriippss

Having good control of a chisel is para-mount for creating precise-fitting joineryand other details. Two factors contributegreatly to control of the tool: edge sharpness

Handsaws and Chisels102

reaching into tight areas, and the wood handleis protected by a metal ring for use with amallet. Additionally, the backs of Japanesechisels are hollow-ground, which makeshoning the back easier.

The ends of skew chisels are ground to a45-degree angle. This creates a sharplypointed edge that allows you to carve intocorners that are inaccessible to ordinarybench chisels. Although you can purchase a

A pair of skew chisels will carve into corners.

Gouges are used for carving. These heavy-duty chisels can take abuse.

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An overhand grip will give you bothpower and control for efficiently removingcoarse shavings. As you grip the chisel, posi-tion the base of your palm against the work-piece. This will provide you with control andleverage. Use a long chisel, and as you pushthe edge into the stock, use your fist to leverthe tool. This technique creates a skewingaction that cuts cleaner with less resistance.

and the use of the proper grip. Two surfacesof the chisel merge to create an edge—thebevel and the back. Be aware that most newchisels come with heavy grind marks on theback that must first be polished away. Thereare several ways to grip a chisel, dependingon the type of work you are doing. However,with most every grip, it’s important that youposition one hand against the workpiece forgreatest control. Also, always clamp thework securely in a vise or to the benchtop.Holding the work with one hand while chis-eling with the other is an invitation to anasty cut.

When paring, choose between an under-hand grip or an overhand grip. An underhandgrip will give you control when removingthin, precise shavings, such as when paring ashoulder of a dovetail or tenon. Grasp theblade of the chisel and grip it with yourthumb and index finger. Steady the tool bypositioning your index finger against theworkpiece.

Handsaws and Chisels 103

New chisels must be polished on the back.

When paring atenon shoulder,place your indexfinger against thework.

When paring with the grain, position the base of your palm againstthe work.

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Chopping involves holding the chisel per-pendicular to the stock and severing thewood fibers. When chopping, always beginby outlining the area with a knife or mark-ing gauge. The chisel edge will easily slipinto a thin knife line for great precision. Incontrast, a pencil line is thick and leaves noincision to guide the chisel.

When removing small amounts of wood,such as for the lock mortise in the photoabove, at right, you can power the tool suffi-ciently with hand pressure alone—a malletisn’t needed. For greatest control, grip theblade between your thumb and index fingerand position your hand against the stock.

For more power, such as for removing thewaste when cutting dovetails, drive the chiselwith sharp blows of a mallet. If cuttingthrough the stock, cut halfway from bothsides. This method ensures accuracy andprevents tearout on the face of the stock. Ihave a separate set of chisels for chopping

Handsaws and Chisels104

Always positionyour hand on thework to steady the cut.

Light cuts across end grain can easily be made withouta mallet.

It’s easier and moreaccurate to chisel toa knife line than to apencil line.

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Best of all, you’ll get the personal satisfac-tion that comes with skilled handwork.Although seemingly difficult, cutting dove-tails is just a matter of sawing and chiselingto a line. The best layout line for dovetailingis an incised line; it’s much easier to saw andchisel to an incised line than to one drawnwith a pencil. I encourage you to sharpenyour tools, review the following pages, andgive it a try.

into tight corners, such as during dovetail-ing; I’ve ground the sides of the tool to asharp edge.

CCuuttttiinngg DDoovveettaaiillss

There’s probably no better way to developyour skills with handsaws and chisels thanby cutting dovetails. Dovetails have beenused for centuries as the premier joint forcasework and drawer construction. Becauseof the mechanical interlock between the tailsand pins and the numerous long-grain glu-ing surfaces, no other joint can rival thestrength and beauty of the dovetail.

Although myriad dovetail jigs exist, thebest method for cutting dovetails is still byhand. Setting up jigs consumes time andmaterial, and besides, no jig can begin tomatch the beauty of hand-cut dovetails.

Handsaws and Chisels 105

When you grind the sides of your chisels,they can easily trim into the tight spaces ofa dovetail.

Baseline

Tail

Baseline

Pin

Half pin

TTHHRROOUUGGHH DDOOVVEETTAAIILLSS

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SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

CCuuttttiinngg aa TThhrroouugghh DDoovveettaaiill

Begin by selecting soft, straight-grained stock.Although poplar is technically a hardwood, it isphysically soft and works well for developing andpracticing technique. After milling the stock tosize, smooth the surfaces with a bench plane((AA)). Smoothing the stock after cutting the jointwill alter the fit, creating gaps at the baseline ofthe tails. After smoothing the stock, you’re readyfor layout. Set a marking gauge to the stockthickness ((BB)) and scribe the baseline on bothfaces of each piece ((CC)). Also scribe the edges ofthe tail board but not the pin board ((DD)).

The next step is to lay out the pins. First mark thepin spacing with a pencil ((EE)). Then mark the pinswith a knife ((FF)). Remember, the pins are slopedon the end grain of the board. Now transfer thelayout marks around the corner to the face of theboard ((GG)).

Now begin sawing the pins. Secure the boardupright in the vise. To start the cut, hold the sawon the corner of the stock adjacent to the layoutline. As you pull the saw, guide the blade withyour thumb ((HH)). Once the kerf is established,

Handsaws and Chisels106

AA

CC

EE

GG

FF

DD

BB

HH

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SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

lower the blade and continue sawing to the base-line ((II)). Once all the sawcuts are made on the pinboard, you’re ready to remove the waste with achisel. Position the chisel 1⁄8 in. away from thebaseline and drive it into the wood with sharpblows of a mallet ((JJ)). Don’t attempt to cut all theway through; instead, cut halfway from each faceof the board. Notice how the chisel compressesthe wood with a wedging action. Attempting tocut on the baseline initially will force the chiselbelow the baseline and spoil the joint. However,once most of the waste is cut away, you canaccurately cut to the baseline. Position the edgeof the chisel in the baseline. Notice how it easilyslips into the incision made from the markinggauge. To make the cut, angle the chisel intoward the board so that the base of the joint willbe undercut 2 or 3 degrees; this insures a tight fitand yet it doesn’t spoil the integrity of the joint((KK)). Cut halfway, then make a second series ofcuts from the opposite face ((LL)).

The next step is to lay out the tails from the pinboard. Position the pin board over the tail board,making sure that the narrow part of the pin facesoutward. Now trace the pins with a knife to markthe tails ((MM)). Afterwards, transfer the tail layoutaround the corner to the end of the board, then

Handsaws and Chisels 107

KK

II

JJ

LL

MM

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saw the tails ((NN)). To keep the angle consistent,make all the cuts going one way first, then makethe cuts angled in the opposite direction ((OO)).Next, saw the area on each corner adjacent tothe tails ((PP)). Position the saw slightly above thebaseline and finish to the baseline by paring witha chisel ((QQ)). Now chisel to the baseline betweenthe tails ((RR)). To check the fit, gently press the tailboard over the pins and note areas that mayseem too tight ((SS)). If necessary, pare a shavingoff the pin until the joint slips together ((TT)).

Handsaws and Chisels108

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

OO

QQ

SS

TT

RR

PP

NN

Page 119: Using Woodworking Tools

HHaallff--BBlliinndd DDoovveettaaiillss

Half-blind dovetails can only be viewed fromone face of the joint ((AA)). Because one-half ofthe joint is hidden, the pin board becomes arow of “sockets” to be chiseled out, square anduniform—a great exercise for developing tech-nique with chisels.

Begin by scribing the baselines on the pin board((BB)) and the tail board ((CC)). Use dividers to step offthe spacing of the pins ((DD)). Now lay out the pinangles with a bevel or dovetail gauge ((EE)) andtransfer the layout to the face of the board ((FF)).When building casework, you can save time byclamping mating parts together and transferringthe complete pin layout to the opposite casemember ((GG)).

((TTeexxtt ccoonnttiinnuueess oonn pp.. 111100..))

Handsaws and Chisels 109

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

Pin

Tail

Baseline

BaselineHalf pinAA

CC

EE FF

DD

BB

GG

Page 120: Using Woodworking Tools

Remove the area between the pins. A router willquickly remove the waste and provide you withthe opportunity to chisel the sockets square. Setthe router bit depth to the baseline ((HH)) and routthe space between the pins ((II)). Next, chisel thepins and the baseline. Position the chisel in thebaseline and cut the baseline to the bottom ofthe socket ((JJ)). As you drive the chisel with a mal-let, tilt the handle toward you and undercut thebaseline slightly. Now pare the sides of the pinsto the baseline ((KK)) and clean up the acute, insidecorners with a 1⁄4-in. chisel. When complete, thepins should be clean with sharp corners ((LL)).

Handsaws and Chisels110

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

JJ

LL

KK

IIHH

Page 121: Using Woodworking Tools

Next, lay out and cut the tails. Position the pinboard over the tail board and clamp it into place((MM)). Carefully trace the pins with a knife ((NN)).Complete the tail layout by transferring the marksaround the corner to the end of the board ((OO)).

Now you’re ready to saw the tails. Secure the tailboard in the vise with the layout close to the jawsto limit vibration as you saw. Make all the cuts inone direction first, then angle the saw in theopposite direction and make the second series ofcuts ((PP)). As you saw, space your feet for a broadstance to steady the cut, and use long, smoothstrokes ((QQ)). A third series of cuts through thecenter of the waste piece will make it easier tochisel out the waste between the tails ((RR)).Finally, saw the waste area on either edge of theboard ((SS)).

((TTeexxtt ccoonnttiinnuueess oonn pp.. 111122..))

Handsaws and Chisels 111

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

NN

OO

QQPP

MM

RR SS

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SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

Next, chisel the baseline between the tails.Beginning with the corners, carefully pare downto the incision from the marking gauge ((TT)). Avoidundercutting this area or you’ll see a gap whenthe joint is assembled. Instead, keep the surfacesquare to the face of the board ((UU)). Cut to thebaseline between the pins with a narrow chisel((VV)). After cutting half of the board’s thickness,turn the stock over and cut from the baseline onthe opposite face ((WW)). To avoid damaging thetails, it’s a good idea to bevel the sides of thechisel.

Finally, assemble the joint. If the sawcuts fol-lowed the line, a few gentle taps with a malletwill close the joint ((XX)). If the joint seems toosnug, don’t force it, or you may split one of theboards. Instead, examine each pin closely, andpare a shaving from those that appear to binduntil the joint closes completely ((YY)).

Handsaws and Chisels112

TT

VV

YY

WW

XX

UU

See “Tuning a Chisel” on p. 122.➤

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SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

LLeegg--ttoo--RRaaiill DDoovveettaaiillss

The large, single dovetail that joins a leg to therail provides yet another good opportunity to prac-tice technique with handsaws and chisels ((AA)). Forvariation, I’ll cut the tail first. The ongoing argu-ment of pins first versus tails first is nonsensical.Both methods work. I suggest that you try bothand use whatever way works best for you.

After sizing the stock, begin layout by markingthe baseline on both the rail ((BB)) and the top ofthe leg ((CC)). Next, mark the sides of the dovetailon the rail ((DD)). Now you’re ready to saw the tail.Begin sawing on the corner. This technique creates less drag on the saw, making it easier toestablish an accurate kerf. Use your thumb toguide the blade and pull the saw to start a kerf((EE)). Now lower the saw and follow the layout line((FF)). After sawing the tail, carefully pare to thebaseline with a sharp chisel ((GG)). Grasp the bladeof the chisel between your thumb and index fin-ger and take light, controlled cuts. Steady thechisel by resting your index finger against thestock.

((TTeexxtt ccoonnttiinnuueess oonn pp.. 111144..))

Handsaws and Chisels 113

Rail

Dovetail

Socket

LegAA

BB

CC

DD

FF

EE

GG

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Next, lay out the socket on top of the leg thataccepts the tail. As with any layout, accuracy isthe key. Secure the leg in a vise and clamp therail in position over the leg. Use a straightedge tocheck alignment ((HH)). Now carefully trace the tailwith a knife ((II)).

Next, saw and chisel the socket. Realize that thesawcut is stopped; it doesn’t go through thestock. Because the cut is on the corner, it’s easierto maneuver the saw if you position the leg in thevise on an angle ((JJ)). After sawing, secure the legto the benchtop with a clamp and chisel out thearea between the saw kerfs ((KK)). Now completethe socket at the sharp, acute corners ((LL)) andslide the dovetail into place ((MM)). The assembledjoint is clean and strong ((NN)).

Handsaws and Chisels114

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

HH

JJ

LL MM

NN

KK

II

Page 125: Using Woodworking Tools

MMoorrttiissee--aanndd--TTeennoonn JJooiinntt

Like the dovetail, the mortise-and-tenon has along history in woodworking. Although othercontemporary joints exist, such as dowels orwood plates, the mortise-and-tenon remains thechoice for strength and longevity. Although it canbe easily and efficiently cut with machines, themortise-and-tenon is a good joint to add to yourlist of hand-tool skills. Often it’s more efficient tocut the joint by hand than to consume time set-ting up a machine. This is especially true whenthe joint is complex, such as the compoundangled joint found in chairs. As always, accuratelayout is a key to success.

Begin by setting a gauge to the tenon length andscribing the shoulder of the tenon ((AA)). Next, markthe location of the mortise ((BB)). The final step inlayout is to mark the edges of the stock, whichindicates mortise width ((CC)) as well as tenon thick-ness ((DD)). To insure a friction fit between thesemating parts, mark them with the same gaugesetting to insure accuracy. A sharp marking gaugeleaves an incision, whereas the conical points ofa mortise gauge tear the wood fibers, leaving animprecise layout line. Make certain to set thegauge so that the scribe marks equal the thick-ness of your mortise chisel ((EE)).

[[TTIIPP ]] WWiitthh aannyy mmoorrttiissee--aanndd--tteennoonn jjooiinntt,,

aallwwaayyss ccuutt tthhee mmoorrttiissee ffiirrsstt,, tthheenn ccuutt tthhee

tteennoonn ttoo ffiitt.. IItt’’ss aallwwaayyss eeaassiieerr aanndd mmuucchh

mmoorree pprreecciissee ttoo aaddjjuusstt tthhee ffiitt bbyy sshhaavviinngg tthhee

tteennoonn rraatthheerr tthhaann eennllaarrggiinngg tthhee mmoorrttiissee..

Before mortising, stick a small strip of tape to thechisel to indicate the mortise depth ((FF)). Beginmortising approximately 1⁄4 in. from one end of themortise and work toward the opposite end. Holdthe chisel vertically with the bevel turned inward,

((TTeexxtt ccoonnttiinnuueess oonn pp.. 111166..))

Handsaws and Chisels 115

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

AA

CC

EE FF

DD

BB

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and drive the tool with sharp blows of a mallet((GG)). Lever the chisel against the bevel to removethe chips ((HH)) and work your way to the oppositeend of the mortise ((II)). After removing most of thewaste, position the back of the chisel at the endof the mortise and chop the end wall square ((JJ)).

With the mortise complete, saw the tenon. Thesurface of a tenon is broad, so for accuracy, it’sbest to saw from opposite directions and formtwo kerfs that meet in the middle. Position theworkpiece in the vise at an angle and begin saw-ing into the corner ((KK)). Next, turn the workpiece inthe vise and saw the opposite corner until thekerfs meet ((LL)). Now, make a third cut that com-pletely joins the two ((MM)). When making the thirdcut, saw within 1⁄32 in. of the shoulder of the tenon.For the final sawcut, you’ll need a bench hook.

Handsaws and Chisels116

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

HH

JJ

LL

MM

KK

II

GG

See “Bench Accessories” on p. 47.➤

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Position the workpiece against the stop on thebench hook and align the saw approximately1⁄16 in. from the tenon shoulder. Now saw down tothe face of the tenon ((NN)).

Next, use a wide chisel to incise the shoulder ofthe tenon. As you work across the width of thetenon, guide each cut by slipping the chisel edgeinto the incised layout line ((OO)). The final step is tosmooth away the saw marks with a rabbet orshoulder plane ((PP)). Test the tenon for a snug butnot tight fit within the mortise; ((QQ)) the jointshould assemble with firm hand pressure ((RR)).

Handsaws and Chisels 117

SSAAWW AANNDD CCHHIISSEELL JJOOIINNEERRYY

NN

PP QQ

RR

OO

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IINNSSTTAALLLLIINNGG HHAARRDDWWAARREE

CCuuttttiinngg aa LLoocckk MMoorrttiissee

The practice of installing locks on furniture goesback hundreds of years, to when people securedimportant documents, jewelry, and spices insidedrawers and behind doors of fine casework.Although most people today don’t keep spicesunder lock and key, a lock still adds a touch ofclass to a fine piece of furniture. And installing alock is a good exercise in learning to use a chisel.

Begin by measuring for the location of the key-hole ((AA)). Mark the spot with an awl to preventthe drill from wandering ((BB)). Now, drill a row oftwo or three holes to form an elongated hole forthe key ((CC)). Position the lock over the keyholeand lay out a shallow mortise for the body of thelock ((DD)). Now select a wide chisel for cutting themortise. Hold the chisel vertically with the edgeperpendicular to the grain, and chop a row of inci-sions ((EE)). These cuts will sever the grain andmake paring easier and more efficient. Pare awaythe incised wood and repeat the process until thelock body fits the mortise.

Handsaws and Chisels118

AA

CC

EE

BB

DD

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IINNSSTTAALLLLIINNGG HHAARRDDWWAARREE

Next, cut a shallow mortise for the backplate ofthe lock. Position the lock body in the mortise andalign it with the keyhole. Then outline the perime-ter of the backplate with a knife ((FF)). Now incisethe wood to the outline and pare to a depth ofthe backplate thickness ((GG)). Check the fit, and, ifnecessary, pare a shaving or two until the back-plate is flush with the wood surface, and theninstall the lock in the mortise ((HH)).

The last step of the process is to cut a mortise inthe cabinet for the bolt of the lock. Begin byextending the lock bolt and marking the bolt loca-tion on the face of the cabinet ((II)). Now transferthe layout lines into the doorjamb. Drill a row ofshallow holes and complete the bolt mortise bysquaring the perimeter with chisels. A narrow,1⁄8-in. wide chisel will cleanly square the ends ofthe mortise ((JJ)). Make sure the bolt operatessmoothly ((KK)).

Handsaws and Chisels 119

FF

HH

JJ KK

II

GG

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CCuuttttiinngg aa HHiinnggee MMoorrttiissee

Unlike surface-mount hinges, butt hinges aremortised into the door stile and the cabinet. Theresults yield an uncluttered look; when the dooris shut the barrel of the hinge is all that isrevealed. For the door to fit properly, the depthof the mortise must equal the leaf thickness. Ifthe mortise is too shallow, the reveal will appearas a large, unsightly gap. If the mortise is toodeep, the door may bind on the cabinet, creatinga “sprung” door that will not stay shut.

Begin by marking the location of the hinge ends((AA)). Mark the width of the mortise using thehinge as a gauge. Position the barrel of the hingeagainst the edge of the door stile and mark theoutline with a knife ((BB)). The final step in the lay-out is to mark the mortise depth. For the greatestaccuracy, set a marking gauge from the hinge leaf((CC)). Now scribe the depth on the door ((DD)), andyou’re ready to cut the hinge mortise.

Select a chisel that is slightly wider than the mor-tise. Hold the chisel vertically and position theedge 90 degrees to the wood grain. Use a malletand gently tap the chisel to cut a row of shallowincisions ((EE)). Now position the chisel parallel tothe stock and pare across the grain to the depthof the mortise ((FF)). Because the grain was firstsevered, it will pare easily. Next, place the hinge

Handsaws and Chisels120

IINNSSTTAALLLLIINNGG HHAARRDDWWAARREE

AA

CC

EE FF

DD

BB

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in the mortise and check the depth ((GG)). If neces-sary, pare a bit more until the hinge is flush withthe surrounding wood.

The mortises on the cabinet will be markeddirectly from the door. First mark the location forthe hinge screws ((HH)). Then drill the screw holes((II)) and mount the hinge to the door ((JJ)). (Drivesteel screws first to form tight pilot holes; other-wise the brass screws might break.)

Position the door in the opening and mark thehinge locations on the cabinet ((KK)). Use woodenshims to hold the door in position and provide aneven space around the perimeter of the door.Now repeat the mortising procedure on the cabi-net and hang the door ((LL)).

Handsaws and Chisels 121

IINNSSTTAALLLLIINNGG HHAARRDDWWAARREE

GG

II

KK

LL

JJ

HH

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TTUUNNIINNGG CCHHIISSEELLSS

TTeecchhnniiqquueess ffoorr TTuunniinngg CChhiisseellss

Chisels are used for a variety of tasks, from chop-ping the waste between the pins of a dovetail toparing a thin shaving when fitting a hinge ((AA)).Although chisels are simple tools, there are still afew steps you can take to make them work moreeffectively. As with all edge tools, for the greatestcontrol a chisel must be sharp. And rememberthat the back and bevel merge to create the cut-ting edge. If you focus your sharpening efforts onthe bevel alone, you’ve only sharpened one-halfof the edge.

Most new woodworking chisels come from thefactory with heavy grinding marks that are incom-patible with a sharp edge ((BB)). As the grindingmarks reach the cutting edge, they form tiny ser-rations that lift and tear the wood. Rust pits alsoform small nicks and serrations at the cuttingedge. So if you’re shopping for old chisels, avoidthose with excessive rust.

To prepare a chisel for sharpening, begin by rub-bing the back of the tool across a coarse sharpen-ing stone to remove the grind marks or discol-oration from surface rust ((CC)). This process willflatten the back as you polish the steel with pro-gressively finer stones. After its polishing withthe last benchstone, the surface should have amirror finish ((DD)). Next, grind the bevel and hone itas you would any edge tool ((EE)).

Handsaws and Chisels122

AA

CC

EE

DD

BB

See “Sharpening a Chisel” on p. 175.➤

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TTUUNNIINNGG CCHHIISSEELLSS

The next step in the tuning process is to grindthe side bevels of the chisel ((FF)). A sharp, almostknifelike edge along the sides will allow you tocut between dovetails without crushing theadjacent surfaces. As you grind the edge, use alight touch and follow the angle of the originalbevel. There’s no need to further hone or polishthe sides.

Next, turn your attention to the handle. Whenyou’re driving a chisel with a mallet, it’s importantthat each blow land squarely on the end of thehandle. Unfortunately, many new chisels comeequipped with handles that have rounded ends((GG)); when the chisel is struck, the mallet tends toglance off. The solution is to saw a small portionoff the end of the handle ((HH)). Then, smooth awaythe sawmarks and chamfer the edges slightlywith a file ((II)). When finished, the end of the han-dle should resemble those found on older socketchisels ((JJ)). Once you’ve spent a few minutes tun-ing the chisels in your kit, you’ll quickly seeimprovements in your joinery ((KK)).

Handsaws and Chisels 123

FF

HH

JJ

II

KK

GG

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BBeenncchh PPllaannee AAnnaattoommyy

As the edge of a plane iron enters the wood,it encounters a considerable amount ofresistance. A well-constructed plane, whentuned and sharpened, can effectively over-come the resistance as it lifts and curls ashaving. But as the edge of the iron entersthe wood and lifts a shaving, the naturaltendency is for the blade to continue belowthe wood surface, producing tearout. To

Planes are unique among wood-working tools; few tools are quite asuseful and yet such a pleasure to use.

No other tools have the finesse to removelong, consistently thin shavings from highlyfigured hardwoods. Their pleasant, wispysound as they pass over the wood and theglistening, smooth surface they leave behindcombine to create one of the most enjoyableof woodworking experiences.

TTuunniinngg PPllaanneess

SSEECCTTIIOONN 77 OOVVEERRVVIIEEWW

124

Planes and Planing

➤ Basic PlaningMechanics (p. 145)

➤ Flattening a WideBoard (p. 146)

➤Thicknessing aBoard by Hand (p. 147)

➤ Planing Glued-UpPanels (pg. 148)

➤ Jointing an Edge(p. 149)

➤ Planing End Grain(p. 150)

➤ Planing Small Stock(p. 151)

➤ Smoothing aTapered Leg (p. 152)

➤ Fitting a Door (p. 153)

➤ Planing CabinetEdges (p. 154)

➤ Flush-PlaningDovetails (p. 154)

➤ Planing a Rabbet(p. 155)

➤ Planing a Chamfer(p. 156)

➤ Planing a Quirk Bead (p. 157)

➤ Planing a Curve (p. 157)

➤Tuning a BenchPlane (p. 158)

➤Tuning a WoodenMolding Plane (p. 160)

➤Tuning aSpokeshave (p. 161)

➤ Restoring an OldBench Plane (p. 162)

PPllaanniinngg TTeecchhnniiqquueessPPllaanniinngg PPrroojjeecctt

PPaarrttssPPllaanniinngg SShhaappeess

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prevent tearout, the sole of the plane, justahead of the mouth, places pressure on thestock. At the same time, the cap iron breaksand curls the shaving upward, effectivelyeliminating tearout. However, if the plane ispoor quality, needs adjustments, or if theblade is simply dull, the cutting edge willvibrate or “chatter,” and the plane may clogwith shavings or skip and hop across theboard. Several factors contribute to success-ful planing. Simply stated, planing requiresa thick, sharp iron that is firmly bedded to aheavy plane. Let’s take a closer look at thedynamics of planing.

If the wood you’re working is soft pineand you’re planing in the direction of thegrain, the resistance is minimal. However, ifthe wood is dense and figured, such as withtiger maple, the resistance is substantial.When the plane is tuned for optimum per-formance, the edge is supported by the otherparts of the plane, such as the cap iron, frog,and main body. These assorted parts, plusthe mass of the plane, work to absorb anddistribute the force of planing. In fact, witheverything else equal, a heavy plane performsbetter than a light one. A small mouth isimportant, too. Bench planes have anadjustable frog to control the size of themouth and adjust for the thickness of theshaving desired. Other types of planes, suchas block planes, have an adjustable toe thatserves the same purpose.

OOlldd VVeerrssuuss NNeeww PPllaanneess

Years ago, plane manufacturers such asStanley, Sargent®, and Ohio Tool® madeplanes for nearly every conceivable purpose.There were planes for truing and sizing

Planes and Planing 125

Cap iron

Iron Shaving

Sole

As iron lifts shaving from board, the sole holds it down and the cap iron breaks it.

HHOOWW AA BBEENNCCHH PPLLAANNEE WWOORRKKSS

Lever cap

FrogCutting depth adjustment nut

Lateral adjustment lever

IronMouth SoleFrog adjustment screw

Cap iron (sometimes called chip-breaker)

BBEENNCCHH PPLLAANNEE AANNAATTOOMMYY

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stock, planes for smoothing the wood’s sur-face, planes for cutting and fitting joints, andeven planes for shaping curves and moldingprofiles. Through the years following WorldWar II, a number of factors caused the qual-ity and variety of planes produced to dropsignificantly. Fortunately, many fine oldplanes survive and can be found at flea mar-kets, tool auctions, and estate sales. Withcleaning, tuning, and perhaps a new iron,these beautiful old planes can be made toperform as well, or perhaps even better, thanwhen new.

Today there are new sources for high-quality planes, too. As the popularity ofwoodworking has expanded, entrepreneurssuch as Tom Lie-Nielsen have risen to thedemand for high-performance planes. Basedupon designs from Stanley, Lie-Nielsen®planes include dramatic improvements, suchas thicker castings and irons and more pre-cise fittings. Additionally, cryogenics has sig-nificantly improved the edge retention of thesteels used for blades since the early days ofStanley. Undoubtedly, whether using a refur-bished classic or a newer, high-tech model,woodworkers today have access to some ofthe finest planes ever produced.

BBeenncchh PPllaannee SSiizzeess

Bench planes are the workhorses amongplanes. When I need to carefully fit a drawer,flatten a wide board, or smooth away millmarks after sizing stock on machines, I reachfor a bench plane. Bench planes range in sizefrom the diminutive No. 1 to the huge No. 8.Nos. 1 through 4 are referred to as smoothplanes, intended for smoothing the roughsurface created by larger planes, or, more

Planes and Planing126

EEffffeeccttiivvee ppllaanniinngg requires more than the skill of

using a plane; it also requires that you read the

wood. No matter how sharp the plane is, if you

plane against the grain (top), the wood fibers will

tear out. Planing with the grain (bottom) will yield

perfect results.

HHOOWW GGRRAAIINN DDIIRREECCTTIIOONN AAFFFFEECCTTSS PPLLAANNIINNGG

Iron

Cap iron

Torn surface

Grain direction

Grain direction

(Side view of board)

(Side view of board)

Smooth surface

Iron

Cap iron

Torn surface

Grain direction

(Side view of board)

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The larger bench planes, Nos. 5 through8, are designed for truing the faces and edgesof stock. The long, flat soles of these planeswill span the low areas to remove only thehigh spots and create a flat edge or surface.

BBeeddrroocckk PPllaanneess

In the years following the Civil War, planemakers such as Leonard Bailey were devis-ing improved metal planes to replace the

commonly today, the milled, textured surfacecreated by the table saw, jointer, and planer.The tiny No. 1, although a working plane, ismore a tool collector’s novelty and is too smallto be practical. At 9 in. long and 33⁄4 lbs., theNo. 4 is the most popular size for smoothing.The No. 41⁄2 is slightly longer, wider, andheavier than a No. 4 and is a favorite forsmoothing large panels for tabletops and sidesfor casework.

Planes and Planing 127

Bench planes are among the most common and usefulhandplanes.

The most popular bench plane is the No. 4 smoothingplane.

The No. 41⁄2 is better suited for smoothingwide panels.

Long bench planesare best for flatten-ing rough stock andstraightening edges.

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wooden planes that were common at thetime. With lateral adjustment levers, screwfeed depth adjusters, and iron soles (which,unlike wooden soles, didn’t expand and con-tract with the weather), metal planes quicklycaught on. Leonard Bailey was bought outby Stanley and the Bailey-type planes, essen-tially unchanged for the past 100 years, arestill popular today.

In the early 20th century, Stanley Toolsdeveloped an improved version of its popular“Bailey” bench planes. Labeled “Bedrock,”the new, more expensive design featured amuch-improved frog that gave much greatersupport to the iron. Compared to the earlierdesign, the frog in the Bedrock design wasfirmly bedded to a broad machined surfacein the body of the plane, hence the nameBedrock. Additionally, grooves milled alongthe edges of the frog kept it aligned with themouth of the plane. Furthermore, adjust-ments to the frog position could be madewithout removing the lever cap and iron

Planes and Planing128

II rreemmeemmbbeerr working on a project in high school shop many

years ago. I was aggressively sanding a joint in an attempt to

level the mating surfaces. The instructor stepped up behind

me with a sharp plane and leveled the joint in what seemed

like an instant. Even better, the surface was smooth—I mean

really smooth. Ever since, I’ve been hooked on planes.

Sandpaper smoothes the wood surface by abrading, and it

leaves behind telltale scratches. Machines such as planers and

jointers smooth and flatten stock with a series of small cuts as

the cutterhead spins. This machining process produces a

series of small but distinctive ridges. Planes, however, slice

through the wood fibers and remove one long, continuous

shaving, creating an incredibly smooth, polished surface.

SSAANNDDIINNGG VVEERRSSUUSS PPLLAANNIINNGG➤

Bedrock planes can be identified by the “60” prefix. The plane atleft is a standard No. 6; at right is a Bedrock No. 606.

The frog of “Bedrock”-style planes is amuch-improved design over “Bailey”planes.

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straight-grain softwoods rather than figuredhardwoods. Even so, the long-discontinuedBedrock planes sell for many times morethan when they were new. Woodworkerssearch for usable examples that they can putto work, while tool collectors desire the pris-tine planes, preferably with the original box.When cleaned, restored and fitted with anew, thicker iron (see p. 162), Bedrockplanes perform quite well and considerablybetter than Bailey-type planes.

As the popularity of woodworking hasrisen, so has the demand for high-qualityhand tools. Several companies are now pro-ducing new lines, including layout tools,edge tools, and planes, to meet that demand.

LLiiee--NNiieellsseenn TToooollwwoorrkkss

Lie-Nielsen produced its first plane in theearly 1980s. Based upon the Bedrock designs,Lie-Nielsen bench planes feature a mating,machined fit between the plane body and thefrog. Lie-Nielsen also improved the Bedrockdesign by adding thicker castings, thickerirons, and cryogenically treated double-

from the plane. Rather than screws to securethe frog to the plane body, Bedrock planesused pins that are dimpled to engage withscrews from the back of the frog. Stanleycontinued to sell its less costly Bailey-typeplanes, so to make it easier for the public todistinguish between the two, it modeledsquare sides into the body of the Bedrockplanes. Although the frog design is a dra-matic improvement, Bedrock planes still suf-fered from the thin cutting iron that was,and is still, provided with the Bailey-typeplanes. The idea was that a thin iron waseasier to sharpen. Remember, too, that theseplanes were primarily intended for use on

Planes and Planing 129

A machined groove in the Bedrock frogkeeps it aligned with the sole.

A Bedrock plane is easily distinguished byits square sides.

This Lie-Nielsensmooth plane is animproved version ofBedrock designs.

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tempered steel. Additionally, you can alsopurchase Lie-Nielsen bench planes with ahigh-angle frog. On a standard bench plane,the frog supports the iron at a 45-degreeangle. However, the high-angle frog, oftenreferred to as a York pitch, supports the ironat a 50-degree angle. (1302) The steeper pitchprovides a noticeable improvement in cuttingquality over the typical Bailey-style plane,particularly in highly figured hardwoods.Undoubtedly, Lie-Nielsen planes are amongthe finest available to woodworkers today.

BBlloocckk PPllaanneess

The block plane is another tool that shouldbe part of every woodworking tool kit.Because of their small size, block planes areuseful for a wide variety of planing tasks. Ihave several types of block planes, and I usethem frequently for everything from surfac-ing small sheets of freshly bandsawn veneerto trimming and fitting doors and drawers.

In some ways you can think of blockplanes as scaled-down bench planes. Bothare used for smoothing and both typically

Planes and Planing130

45° cutting angle

30° grind angle

30° grind angle

50° cutting angle

BBEENNCCHH PPLLAANNEE

CCUUTTTTIINNGG GGEEOOMMEETTRRYY

SSttaannddaarrdd

YYoorrkk PPiittcchh

York pitch planes perform better on highly figured woods. Block planes are small enough for one-handed use.

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have a 45-degree cutting angle. But there arealso distinct differences that affect their use.For example, as mentioned earlier, you canpurchase a high-angle bench plane forsmoothing difficult grain, while low-angleblock planes are available for trimming endgrain. Additionally, block planes don’t havean adjustable frog, but better ones have anadjustable mouth at the toe of the plane thatserves the same purpose. Pressure may beapplied to the cap with a lever or spinwheel.Some old Stanley block planes feature anunusual “knuckle-joint” lever cap. There areother differences, too, between block planesand bench planes. Block planes typically

Planes and Planing 131

45° cutting angle

20° bed angle

25° grind angle

37° cutting angle

25° grind angle

12° bed angle

BBLLOOCCKK PPLLAANNEE

CCUUTTTTIINNGG GGEEOOMMEETTRRYY

The “mouth” on abetter-quality blockplane is adjustable,allowing for finercontrol and cutting.

This old low-angleblock plane featuresan adjustable mouthand a knuckle-jointlever cap.

This small blockplane uses a spin-wheel cap to applypressure to the cut-ting iron.

SSttaannddaarrdd

LLooww--AAnnggllee

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SSEECCTTIIOONN 77 OOVVEERRVVIIEEWW

plane is a great choice anytime you need tosmooth large end-grain surfaces.

The rabbeting block plane features anopen mouth on both sides of the plane. Thisunusual block plane makes fitting largetenons a snap. And the knurled thumbwheelat the back of the plane makes it easy toadjust the cutting depth.

A rather unique tool is the edge-trimblock plane. With an integral fence, thisplane makes it easy to trim and square 90-degree edges. The skewed blade makesclean cuts, especially on end grain.

don’t have a cap iron, and the iron itself isbedded bevel up. These differences result ina small, easily maneuverable plane that isuseful for a variety of planing tasks, yet mostblock planes are not nearly as effective atplaning difficult grain as the best benchplanes.

At first glance, the tool at the left, in thetop left photo above, looks like a benchplane. However, because it lacks a cap ironbut has the iron bedded bevel up and a lowangle, it’s really a large block plane. As onmost block planes, the frog is cast as part ofthe plane body, and mouth adjustments aremade by sliding the casting at the toe. This

Planes and Planing132

The cutting iron ofa block plane isbedded in theplane body withthe bevel up.

You can smoothand trim the tough-est end grain withthis large blockplane.

This rabbet block plane is ideal for trim-ming tenons.

This edge-trim block plane features a 90-degree fence.

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tight curves in a chair leg. To use, simply flexit between the fingers and thumbs.

For scraping the framework of doors andcasework, my favorite is the small scrapingplane. Its thick blade limits chatter, and theshort sole keeps surfaces flat yet allows foreasy maneuverability.

When you’re scraping tabletops, casesides, and other large panels, the large scrap-ing plane is the tool of choice. The large soleand wide blade eliminate dips and irregulari-ties during scraping. The handle and knobprovide a positive grip and allow you to uselong, powerful strokes.

SSccrraappiinngg PPllaanneess aanndd SSccrraappeerrss

Although not usually considered planes,scrapers are tools for smoothing wood thatwork much like high-angle planes. Butunlike planes, scrapers cut with a tiny burr.It’s the burr that makes scrapers special; itlimits the cutting depth to reduce tearoutto a bare minimum on even the most diffi-cult woods. It is also the burr that makesscrapers so difficult to sharpen. (See“Sharpening Hand Tools,” p. 168.) Butonce you understand the steps involved, itis really quite easy. Using a sharp scraper isquite an experience—it will dramaticallyreduce the time that you spend sanding.Remember, sanding removes wood byabrading. To smooth effectively, sandingmust be done with progressively smallergrit sizes. However, a sharp scraperremoves shavings, not dust, so it’s muchmore efficient than sandpaper.

There are several types of scrapers tochoose from. The humble appearance of thecabinet scraper belies its capabilities. It’seffective for a variety of scraping jobs, fromsmoothing a difficult area in a door panel to

Planes and Planing 133

A sharp cabinet scraper will quickly removetearout and other surface defects.

This small scrapingplane will level jointson the most difficultwoods with notearout.

A scraping planewill smooth large,highly figured pan-els with no tearout.

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Planes and Planing134

TThhee ccaabbiinneett ssccrraappeerr is a deceptively simple tool.

But getting the hang of it takes some patience,

and it also needs to be properly sharpened.

UUSSIINNGG AA CCAABBIINNEETT SSCCRRAAPPEERR➤

To use a cabinet scraper effectively, first secure the work to the bench.

Grasp the scraper with both hands and flex thesteel with your thumbs. Tilt the scraper slightlytoward the direction in which you’re cutting.

When the scraper is sharp, it will produce thin, fluffy shavings.

To remove small areas of tearout, scrape a larger area around the defect to avoid creating a depression.

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PPllaanneess ffoorr FFiittttiinngg JJooiinnttss

Almost every woodworking project you’llundertake will have at least one joint, andthere are a variety of planes for cutting andfitting joints. No shop should be without atleast one shoulder plane; my own shop hasseveral. Often referred to in woodworkingcatalogs as a rabbet plane, the shoulder planeis designed for trimming cheeks and shoul-ders of tenons for a precise fit with the mat-ing mortise. While most rabbet planes take acoarse shaving, a true shoulder plane has afine mouth and a low cutting angle for pre-cise shavings across the end grain of shoul-ders. Once you’ve learned to tune and usethis tool, you’ll find the clean, controlledcuts you’ll get with a shoulder plane addic-tive. A large, heavy shoulder plane is the bestchoice for trimming the end grain of broadtenons. The best ones feature sides that areground perfectly square to the sole. Thisensures that the tenon shoulder is trimmedsquare to the face of the tenon. Smallershoulder planes are useful, too, for trimmingin close areas where a larger plane may notfit. Some shoulder planes feature a remov-able toe that converts the tool into a chiselplane for trimming into corners.

Planes and Planing 135

This large, heavy shoulder plane willremove precise shavings.

The sides of a shoulder planeshould be absolutely90 degrees to the sole.

Small shoulder planes will cut into tight areas where a larger plane won’t fit.

The nose of thisshoulder plane slipsoff to convert thetool to a chiselplane.

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RRaabbbbeett PPllaanneess

Like shoulder planes, rabbet planes feature amouth open at the sides for trimming intocorners. However, most rabbet planes aredesigned specifically for cutting, not justtrimming rabbets. The most elaborate rabbetplanes feature nickers, fences, and depthstops. The nickers, or spurs, sever the fibersahead of the iron to prevent tearout whenyou’re cutting across the grain. Fences andstops control the size of the finished rabbet.The fence rides the edge of the stock tocontrol the rabbet width. Successive cuts aretaken, and eventually the depth stop rubs thesurface of the board and limits the cuttingdepth.

Flip through the pages of a woodworkingtool catalog, and you’ll see a number of rab-bet plane designs from which to choose. Therabbet block plane features a skewed iron forcleaner cuts. It also has a removable sideplate on the main body so that this uniquetool can serve double duty as a block planewhen it’s not cutting rabbets. A small fenceattaches to the plane to guide the cut during

Planes and Planing136

Rabbet planes fea-ture nickers, whichscore the fibersahead of the cuttingiron when you’replaning cross-grainrabbets.

This rabbet planefeatures a fence anddepth stop to con-trol the size of therabbet.

A skewed iron on this little rabbet plane makes for cleaner cuts.

This large “jack-rabbet” plane will smoothlarge rabbets with ease.

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rabbeting. The jack-rabbet is essentially abench plane with open sides. Its large size,extra mass, and handles will allow you to cutor smooth large rabbets with ease. The han-dles on this unusual plane tilt so that youcan plane close to corners without bangingyour knuckles.

SSppookkeesshhaavveess

Spokeshaves have been around for centuries.They’re essentially a short-soled plane withhandles on either side, and they’re the tool Ireach for when smoothing and fairing band-sawn curves. Like many planes, spokeshavesare available in both wood and metal ver-sions. With its low cutting angle, the woodenversion is a true shave and is the best choicefor working the green riven spindles of a

Planes and Planing 137

IInn tthhee hheeyyddaayy of plane-making, there were dozens

of specialty planes manufactured, each having a very

unique and specific function. Here are two examples.

A quite odd-looking tool is the matched tongue-and-

groove plane. Equipped with two handles and two

irons, this plane can be pushed in one direction for

cutting a groove and in the opposite direction to cut

the mating tongue. A fence cast into the body of the

plane guides each cut, and integral stops control the

cutting depth. The swing-fence match plane also cuts

a matching tongue-and-groove joint. Fitted with two

separate irons to cut a tongue, the offset fence pivots

to cover one iron and cut the corresponding groove.

SSPPEECCIIAALLTTYY PPLLAANNEESS➤

You can work thistongue-and-groove plane ineither direction.

This tongue-and-groove plane fea-tures an offsetswinging fence.

A spokeshave is really a short-soled plane that is ideal for smooth-ing curves.

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Windsor chair. For most woodworking, how-ever, I prefer a metal spokeshave. Its highercutting angle and greater mass combine tomake smoother cuts on hard, dried stock.Like most metal planes, metal spokeshaveshave thumbwheels that make cutting depthadjustments quick and positive. Years ago,metal spokeshaves were made in numeroussizes and varieties. The soles were availableround or flat, concave or convex. Sometimestwo profiles were on the same shave to elimi-nate switching between tools. Because therewere so many manufactured, old spokeshavesare still widely available today. And a numberof various types of spokeshaves are still beingproduced today. Despite all the varieties,you’re likely to find that the ordinary flat-bottomed shave is the most useful.

CCoommppaassss PPllaanneess

With their heavy iron bodies and milledsoles, most planes are designed to create flat,true surfaces. But the compass plane has athin, flexible steel sole that allows it to flexfor smoothing curved surfaces. An adjust-ment knob on top of the plane pushes orpulls the sole into a convex or concave con-tour. While the compass plane is a usefultool, it works best on arcs or circles, ratherthan free-form curves.

MMoollddiinngg PPllaanneess

In the years before power tools, cabinet-makers fashioned moldings for their furni-ture using specialized molding planes.Each molding profile required a separateplane that was pushed repeatedly over thestock until the full depth of the profile was

Planes and Planing138

Spokeshaves are available with either wood or metal bodies.

This small spokeshave will smooth tight contours.

The flexible steel sole of a compass plane will flex to smooth con-toured surfaces.

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reached. Large, complex moldings couldalso be cut with a single plane, but largemolding planes were expensive and diffi-cult to push. Instead, a series of smallerplanes were often used to shape widemoldings. To determine the shape of amolding created by a specific plane, turn itover and examine the sole.

The sole of the molding plane, along withthe iron, has a profile that’s the opposite ofthe molding profile it creates. A slenderwooden wedge locks the iron firmly into thebody of the plane. As the shaving is produced,it is pushed out the side of the plane.

Planes and Planing 139

This wooden planewill shape a beauti-ful ogee profile.

The sole of a mold-ing plane has thenegative shape ofthe profile it creates.

DDeessppiittee tthhee proliferation of routers,

jigs, and templates, planes designed

specifically for shaping are some of

the most useful you can own. Molding

planes, spokeshaves, compass planes,

and scratch beaders were the routers

and shapers of their day. But why use

them today? Because fine furniture

has many subtle details that machines

can’t create. The sensuous curves of a

cabriole leg are still best refined with a

sharp spokeshave. And only a scratch

stock can shape a quirk bead on the

compound curve of a chair’s crest rail.

These quiet tools are much more

enjoyable, too, than any power tool.

WWHHYY UUSSEE PPLLAANNEESSFFOORR SSHHAAPPIINNGG??

Wooden moldingplanes are still use-ful for shapingmoldings.

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cult to find matching pairs today, or evenpartial or complete sets. And you’re sure tofind plenty of uses for them. Besides shapinglarge complex moldings that otherwiserequire a heavy, industrial shaper, hollowsand rounds can also be used for shaping andsculpting curves.

When considering molding planes forpurchase, look for those that are completewith iron and wedge. It’s difficult and very

Profiles of molding planes are familiar—ogee, ovolo, quirk bead—to name a few. Themost versatile profiles, hollows and rounds,are still common at flea markets and toolauctions everywhere. Hollows have a con-cave sole that produces a convex profile.Rounds shape a matching concave profile.Hollows and rounds were once produced inmatching numbered pairs and full sets of upto 24 sizes. If you are patient, it is not diffi-

Planes and Planing140

This sidebead plane shapes a bead along the edge of a board.

Hollow and roundplanes like thesewere numbered.

The maker’s mark indicates that this is amatching pair.

Molding planes use a simplewooden wedge to apply pres-sure to the cutting iron.

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large, and the plane will have a greater ten-dency to tear the wood. The soles of better-quality planes were carefully fitted withdense boxwood strips along wear points toextend their working life. Wooden moldingplanes were produced in mass quantity by anumber of companies up until the late 19thcentury. Many survive in excellent condition,

time-consuming to fashion a new wedgeand/or iron to fit an old plane. Avoid planeswith excessive wear on the soles or split endsdue to contact with moisture. The mouthshould be tight in order to effectively breakthe shaving as it is lifted by the iron. If thesole shows signs of excessive wear, or wasreshaped due to wear, the mouth will be

Planes and Planing 141

Avoid buying molding planes that are miss-ing the cutting iron or wedge.

Look for woodenplanes that have little wear on thesole, as indicated bya tight mouth.

Complete matchingsets of hollow andround planes canstill be found andare quite useful.

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Planes and Planing142

IIff yyoouu aarree nneeww to woodworking and have not

begun to acquire planes, you may be wondering

where to start. A bench plane is a good first choice.

Once you learn to use this essential tool, you’ll reach

for it often for smoothing panels, fitting drawers,

and leveling joints at assemblies.

Woodworkers disagree on the optimum size for

a smooth plane; no doubt that’s why there have

always been a number of different sizes from which

to choose. I feel that the No. 4 is the best choice for

the first smoother. The plane has enough weight to

give it power through the stroke, yet it has excellent

balance and maneuverability. Close cousins to the

No. 4, the No. 3 is just slightly too small and light,

and the No. 41⁄2 is a bit heavy.

Later on, consider adding a No. 6 or No. 7 to your

tool kit. Either of these bench planes will allow you

to flatten wide boards that exceed the width of your

jointer. They’re also useful for fine-tuning the edges

of stock before glue-up.

The second plane on my list of essential hand

tools would be a block plane. This small, one-handed

plane can be used for a number of light tasks, from

smoothing the end grain of a small tabletop to fitting

small drawers to light chamfering and shaping.

Look for a low-angle plane with an adjustable mouth.

The third and final plane on my essentials list

would be a shoulder plane. Unlike the previous two

planes on the list, this tool has open sides at the

mouth so it can trim into corners. Shoulder planes

are the best tools for trimming and fitting tenons

to their mortises. Although I prefer a large shoulder

plane, one of the fine-quality smaller planes is a

good choice.

Determining what to add to your list of planes

will become easier once you’ve mastered using

these three. As your woodworking knowledge and

skills increase, you’ll develop your own working

style, and you can add planes as the need for

them arises.

TTHHEE EESSSSEENNTTIIAALL PPLLAANNEE KKIITT➤

The bench, block, and shoulder planes (right to left)are essential for any furniture craftsman.

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for a scratch stock cutter should be hardenough to hold an edge, yet soft enough totake a burr. Old handsaw blades are ideal.You can shape the profile on the cutter withsmall files.

show little evidence of wear, and can be hadat a reasonable price, so it just isn’t worth thetime and trouble to rework those in poorcondition.

SSccrraattcchh SSttoocckk

Part molding plane and part scraper, scratchstock are best defined as small, high-anglemolding planes. They excel at effectivelyshaping small, simple profiles, especially quirkbeads, on curved surfaces and difficult woodson which a router may not be effective.

Scratch stock cut like a scraper—with asmall burr. However, the edge is profiled likethat of a molding plane. You can purchase ametal-frame scratch stock along with severalprofiled cutters, or you can make one of yourown with an old marking gauge or even ascrap wood block. If you need to shape pro-files along the edge of concave curves, shapea curve on the face of the gauge. The steel

Planes and Planing 143

A scratch stock caneasily be madefrom a wood blockand a piece of anold cabinet scraper.

This metal scratch stock has interchangeable cutters of various pro-files.

This “boxed” plane has a boxwood insertat the wear point, which significantlyextends its working life.

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SSttaannlleeyy MMooddeellss 4455 aanndd 5555

Throughout the late 19th and early 20thcenturies, Stanley Tools was busy devising itsown metal versions of wooden planes. TheNo. 45 and later the No. 55 were the com-pany’s metal versions of molding planes. TheNo. 45 was marketed as a combinationplane—able to cut a variety of symmetricalprofiles, such as rabbets, dadoes, and quirkbeads. Soon to follow was a more complexversion of the plane, labeled No. 55.Stanley’s No. 55 could also cut asymmetricalprofiles such as the ogee and thumbnail. Thecomplete 55 plane, with all its cutters,fences, and accessories, was boldly advertisedas a “planing mill within itself.”

However, although both of these planesare functioning tools, the No. 55 is quiteawkward to use. And with the many partsincluded with these planes, both can requirea bit of setup time, especially for the morecomplex molding profiles.

Undoubtedly, many earlier craftsmen feltthe same; it’s not uncommon to find theseold planes in their original boxes with littleor no signs of wear.

Planes and Planing144

The Stanley No. 55 will cut a number of different molding profiles

This Stanley No. 45 will adjust to cut beadsor rabbets.

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BBaassiicc PPllaanniinngg MMeecchhaanniiccss

Despite the wide variety of hand planes, thetechniques for using them are often very similar.So once you’ve mastered the basic technique,you are well on your way to performing a varietyof planing tasks. A good place to begin is byusing a No. 4 bench plane to smooth the edge ofa board. First make certain that the plane issharp and well-tuned (see p. 158).

When I reach for a plane, I usually check the cut-ting depth before I begin planing. In most cases,a light, thin shaving is preferable to a thick, coarseone ((AA)). You’ll discover that the plane is easier topush, and the surface will be smoother, with lesstearout. The most precise method for adjustingthe iron is to sight along the sole of the plane.Grasp the front knob with one hand while makingadjustments to the depth screw and lateraladjustment lever with the other. When properlyadjusted, the edge of the iron should just peekthrough the mouth of the plane. Use the lateraladjustment lever to correct any unevenness.

To start the cut, apply pressure to the toe of theplane ((BB)). Use your other hand to push the plane((CC)). As you reach the end of the stock, pushdownward on the heel of the plane ((DD)).

When pushing the plane, use your upper body aswell as your arms. Begin each cut with yourelbows bent ((EE)). As you push the plane forward,begin to extend your arms and lean forward intothe cut. To complete the cut, keep your feet firmlypositioned and extend your arms as you rock yourbody forward ((FF)). To keep the cut square, positionyour hand against the face of the board to steadythe plane ((GG)).

Planes and Planing 145

AA

CC

EE

GG

FF

DD

BB

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FFllaatttteenniinngg aa WWiiddee BBooaarrdd

I avoid gluing several narrow boards edge-to-edge to create a wide panel. The mismatchedgrain and color is just too distracting. Instead, Iprefer to use one wide board for tabletops anddoor panels. It’s best to flatten stock before plan-ing it to thickness to remove any warp or twist. Ifyour jointer is too small to accommodate any-thing beyond 6-in. or 8-in. wide, you can use abench plane to flatten the board. A long plane,such as a No. 7 or No. 8, works best. The extralength will bridge the low areas, making it easierto flatten the board. And the extra weight of along plane will help propel it through each cutwith minimal chatter.

You’ll want to use a heavy cut; remember thatthe purpose is to flatten the board, not to smoothit. I grind the iron convex and adjust the frog andiron for a coarse, heavy cut ((AA)). Afterwards, I usea No. 41⁄2 bench plane to smooth the surface ofthe plank.

Begin by examining the board for twist withwinding sticks ((BB)). A quick sight across the top ofthe sticks will reveal the high corners. Positionstops against two adjacent edges and plane theboard diagonally, from corner ((CC)) to oppositecorner ((DD)). After the initial planing, the highestpoints will be cut down.

Next, turn the plane slightly and broaden theareas cutting across the grain ((EE)). Continue plan-ing until the two broad areas at each corner meetin the middle of the board ((FF)).

Finally, use a straightedge to find any remaininghigh spots and plane them away. When you’re fin-ished, the board should be flat and ready for plan-ing to final thickness ((GG)).

Planes and Planing146

AA

CC

EE

GG

FF

DD

BB

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TThhiicckknneessssiinngg aa BBooaarrdd bbyy HHaanndd

To thickness a board with planes, begin by flat-tening one face of the board, The easiest andfastest method is to use a long bench plane,such as a No. 6, 7, or 8, and push the plane diag-onally across the face of the board ((AA)). It’s notnecessary to smooth the board with the large,coarse cutting plane, only to flatten it ((BB)).Afterwards, smooth the flat face with a smooth-ing plane and carefully follow the grain ((CC)).

Next, set a marking gauge to the dimension ofthe final thickness and carefully scribe all fouredges of the stock ((DD)). As you plane the secondface, the scribe line will appear as a fine, featherywisp of wood ((EE)).

Planes and Planing 147

AA

CC

EE

DD

BB

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PPllaanniinngg GGlluueedd--UUpp PPaanneellss

After gluing panels edge-to-edge, I use a benchplane to flush the mating surfaces before planingthe panel to thickness ((AA)). In this photo-essay,I’m planing panels created from walnut andpoplar. The panels will be resawn to createdividers inside a spice cabinet. Because most ofthe divider will be hidden by drawers, I gluedinexpensive poplar to the walnut primary woodto reduce costs.

If you’re careful to match the grain direction inthe mating boards, it will greatly simplify planing.Just plane in the direction of the grain ((BB)). If thegrain changes direction in either board, it oftenworks best to plane the stock diagonally ((CC)) tominimize tearout ((DD)). Then finish smoothing thepanel with a sharp scraper ((EE)).

[[TTIIPP ]] DDrriieedd gglluuee ccaann dduullll aa ppllaannee bbllaaddee,,

ssoo aallwwaayyss rreemmoovvee tthhee gglluuee ssqquueeeezzee--oouutt

bbeeffoorree ppllaanniinngg aa gglluuee--uupp ppaanneell..

Planes and Planing148

AA

CC DD

EE

BB

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JJooiinnttiinngg aann EEddggee

Edge jointing is the process of straightening the edge of stock prior to ripping or gluing it toanother piece of stock. In the process of straightening the edge, it’s also important thatthe edge is square to the board’s face.

The sole of a plane is a great aid in truing theedge, provided that the sole is flat. However, thenatural tendency is to hollow the edge of thestock when planing, or to remove more woodfrom the center of the cut. To compensate forthis tendency, it’s helpful to apply pressure at thetoe of the plane when starting the cut ((AA)), thento transfer the pressure to the heel of the planetoward the end of the cut ((BB)). Use your thumb toapply downward pressure and your index fingerto steady the plane against the stock ((CC)). If nec-essary, a final pass with an edge-trim plane willinsure that the edge is absolutely square ((DD)).

Planes and Planing 149

AA

CC

DD

BB

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PPllaanniinngg EEnndd GGrraaiinn

End grain is often hidden by a strip of molding ora breadboard end. But when it’s in full view, thesurface will be dramatically improved by planing.End-grain fibers are tough and can often be diffi-cult to work. The best plane to use is a verysharp, low-angle plane. A low-angle block planewill work, as will a longer low-angle bench planelike this one ((AA)). To prevent splintering of thetrailing edge and help in keeping the surface flatand square, a shooting board is a great aid ((BB)).

After cutting the stock to final length, position itagainst the stop of the shooting board and hold itfirmly in place. With the other hand, push theplane with long, continuous strokes. If the iron issharp and adjusted for a light cut, wispy see-through shavings will spill from the plane ((CC)),leaving the surface crisp and distinctive.

Planes and Planing150

See “Shooting Board” on p. 52.➤

AA

CC

BB

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PPllaanniinngg SSmmaallll SSttoocckk

During planing, the plane is usually pushedacross the stock as it is held in place on thebench. However, for planing small stock, you mayfind it easier and more precise to reverse theprocedure ((AA)). By placing the plane in the vise((BB)), you can, in effect, create a very small jointer.You can even clamp a strip of wood to the soleof the inverted plane to serve as a fence. Beginby pressing the stock firmly to the toe of theplane ((CC)). As you push the work past the iron,keep pressure applied to the area nearest theiron ((DD)). Pushing the stock continuously fromend to end will create a smooth, square, uniformedge ((EE)).

Planes and Planing 151

CC

DD EE

AA

BB

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SSmmooootthhiinngg aa TTaappeerreedd LLeegg

Machines and hand tools often make great com-panions; machines cut stock efficiently, and handtools create the details. This tapered leg is agood example. After tapering the leg on the tablesaw, you can quickly smooth away the offensivesaw marks with a bench plane ((AA)).

Begin by examining the leg to determine graindirection. In most cases, the grain will run towardthe foot of the leg. Position the toe of the plane onthe taper with the cutting edge slightly behind thetaper ((BB)). Lean forward and push the plane withthe force of your upper body ((CC)). As the planeapproaches the end of the leg, apply downwardpressure at the heel ((DD)). If necessary, skew theplane slightly to improve the surface quality ((EE)).

Planes and Planing152

AA

CC

EE

DD

BB

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FFiittttiinngg aa DDoooorr

There are three types of doors: overlay, lipped,and flush fitting ((AA)). Flush-fitting doors are themost tedious to fit because, unlike the other twotypes, they must fit perfectly. Any variationbetween the door and the casework is easilyspotted when the door is closed. A sharp, well-tuned bench plane makes achieving a clean, tightfit much easier.

When constructing the door, make the stiles andrails 1⁄32 in. wider than the final dimension. Also,make the door the same size as the opening.Position the door over the opening to check thefit. Most likely you’ll need to work the stiles andrails to correspond to the cabinet ((BB)). Mark a stileand the adjacent rail where they overhang thecabinet. Secure the door in a vise and carefullyplane a shaving or two from the marked area ((CC)).When planing the rail, work toward the middle ofthe door to avoid splintering the end grain on thestile ((DD)).

Once the trimmed stile and rail correspond to theopening, place the door back on the cabinet.Mark the cabinet where the opposite stile ((EE)) andrail ((FF)) overhang. Next, measure the overhang((GG)), and plane equal amounts from the door.

Planes and Planing 153

AA

CC

EE

GG

FF

DD

BB

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When cutting dovetails, I scribe the baseline larg-er than the thickness of the tail board. With thismethod, the pins are slightly proud after assem-bly. After I trim them flush, the joint appearscrisp and clean, just the look I’m after.

Begin by securing the work to the bench. I usedlarge handscrews to clamp this spice cabinet tothe edge of my benchtop ((AA)). Now use a sharp,low-angle plane set for a light cut. As you shavethe end grain of the pins, skew the plane so that the planing force is directed toward the cabinet ((BB)). This way you’ll get a clean, crisp surface without splintering along the edges of the box ((CC)).

PPLLAANNIINNGG PPRR OOJJEECCTT PPAARRTTSS

PPllaanniinngg CCaabbiinneett EEddggeess

After assembly, furniture components must besmoothed and leveled to correct the inevitablesurface variations that occur. This small spicecabinet is a good example. After the casework isdovetailed and assembled, one or two passeswith a plane will level the intersections at thejoints. Attempting to work these surfaces withsandpaper would leave them rounded andscratched at the intersections.

Begin by examining the case parts to determinegrain direction. It’s not unusual for grain to changedirections somewhere along the length of thestock. As you plane, use your thumb to applydownward pressure to the toe of the plane andyour index and middle finger to steady the planeand keep it running square ((AA)). As you approachthe corner, skew the plane 45 degrees to avoidtearout at the intersection ((BB)). When you continuedown the adjacent face, be prepared for thechange in grain direction ((CC)). Afterwards, checkthe surfaces for true with a straightedge ((DD)) andmake any necessary adjustments.

Planes and Planing154

AA

AA

CC

BB

CC DD

BB

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PPllaanniinngg aa RRaabbbbeett

A rabbet is a recess along the edge of a board.It’s a common woodworking feature that haswide applications, such as for the lipped edgesof doors and drawers. Unlike shoulder planes,rabbet planes feature a fence and depth stop forcontrolling the dimensions of the final cut. Toplane a rabbet, begin by setting the fence to thedesired width ((AA)). Then adjust the sliding depthstop and lock it into place ((BB)).

Start the cut as you would with a bench plane, byapplying pressure to the toe of the plane ((CC)). Asyou push the plane forward, extend your armsand lean into the cut ((DD)). As you approach theend of the cut, apply downward force to the heelof the plane ((EE)). Throughout the entire cut, useyour index and middle fingers to apply pressureto the plane’s fence; this will insure that the rab-bet is full width ((FF)).

After repeated passes of the plane, the depthstop will rub the work and stop the cutting action. ((GG)).

Planes and Planing 155

AA

CC

EE

GG

FF

DD

BB

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PPllaanniinngg aa CChhaammffeerr

A chamfer is a decorative 45-degree bevel alongthe edge of the stock. Although you can cut achamfer with the router, it’s often more efficientto use a plane, especially if you have just one ortwo pieces to cut. Also, chamfering with a planeyields subtle inconsistencies that give your worka pleasant, handmade look.

Begin with layout. Use a pencil and a combinationsquare to mark the limits of the chamfer alongthe edges ((AA)) and face of the stock ((BB)).Chamfering is perfectly suited to a small blockplane ((CC)). Starting with the ends, push the planeat a 45-degree angle with the plane skewedslightly downward ((DD)). As you approach the layout lines, adjust the angle of the plane if necessary.

After chamfering both ends, complete the job byplaning the long-grain edges ((EE)). Saving theedges for last will insure that minor tearout at thecorners will be planed away.

Planes and Planing156

AA

CC

EE

DD

BB

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PPllaanniinngg aa QQuuiirrkk BBeeaadd

Wooden molding planes are still a great way toshape distinctive furniture moldings. This exam-ple is a quirk bead, commonly used along theedges of backs and face frames of cabinets.

For the best results, always select straight-grained stock and plane in the direction of thegrain. As you plane, keep the fence firmly againstthe stock ((AA)). Once the full depth of the profile isreached, the built-in stop on the plane will rub thestock ((BB)).

Planes and Planing 157

AA BB

PPllaanniinngg aa CCuurrvvee

Bandsaws excel at sawing curves, but like othermachines, they leave behind a distinctive patternthat must be removed prior to finishing. Just as abench plane is used to smooth away mill markson flat stock, a compass plane can be used tosmooth and refine curves ((AA)).

Begin by adjusting the flexible sole of the planeto correspond with the curve to be planed ((BB)).For this convex curve, I’ve adjusted the plane tobe slightly flatter than the radius of the stock. Aswith any plane, follow the grain direction. Whenplaning a curve, this means you’ll want to start atthe apex ((CC)) and push the plane “downhill” ((DD)).

AA

CC DD

BB

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TTuunniinngg aa BBeenncchh PPllaannee

Attempting to use a poorly tuned plane can be alesson in frustration as the plane chatters, or theiron digs in and the throat clogs with shavings. Toget the best performance from any plane, you’llhave to first tune it. The sole of a plane should beflat, but many are not. Unfortunately, many newplanes have warped or improperly ground soles.And older planes may show signs of wear.

Flatten the sole by abrading it with a flat, coarseabrasive, such as a diamond lapping plate ((AA)).Stop periodically and check the sole for flatnesswith a machined straightedge ((BB)). Next, flattenthe frog. Use a mill file to carefully smooth awayany high spots or burrs that may be left over fromcasting ((CC)). The iron should rest firmly on the sur-face of the frog without rocking.

During planing, the iron also gets support fromthe cap iron, sometimes called a chipbreaker. Thecap iron is a steel plate fastened to the back ofthe iron with a large screw. Consider replacingthe iron ((DD)) and cap iron with thicker componentsthat have greater resistance to deflection ((EE)). Themodest amount that you spend to replace thethin, vibration-prone iron and cap iron that camewith your plane will dramatically improve the per-formance of the plane.

Next, check the fit of the cap iron to the iron. Thecap iron plays an important supporting role for theiron. It reinforces the edge of the iron and curlsthe wood shaving as it exits the throat of theplane. To maintain consistent pressure near theedge of the iron, the cap iron should be slightlybent, or sprung, along its length and absolutelystraight along its leading edge. If necessary, youcan bend the cap iron by placing it in a vise andstriking it gently with a mallet ((FF)). To straighten theedge of the cap iron, stroke it with a mill file ((GG)).Be sure to retain a consistent bevel along the

Planes and Planing158

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CC

EE

GG

FF

DD

BB

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TTUUNNIINNGG PPLLAANNEESS

edge. To check the results, fasten the cap iron tothe iron and torque the screw down firmly ((HH)).Now sight along the leading edge of the cap ironand look for traces of light, which indicates a gapin the fit ((II)). For fine, wispy-thin shavings, theedge of the cap iron should be set approximately1⁄32 in. below the edge of the iron ((JJ)). Now sharpenthe iron.

Finally, adjust the mouth of the plane by movingthe frog. For smoothing, the mouth should besmall—just enough for the finest shavings topass through. Before reassembling the plane, flat-ten and polish the leading edge of the lever cap((KK)). Then apply a coat of paste wax to all theparts and a drop of oil to moving parts, includingthe depth adjustment wheel and lateral adjust-ment lever. Adjust the iron for a light cut and aneven shaving. Sight down the sole of the plane((LL)) and turn the adjustment wheel until the ironslightly protrudes ((MM)). To move the iron laterally,pivot the lateral adjustment lever located at thetop of the frog.

Planes and Planing 159

HH

JJ

LL MM

KK

II

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TTUUNNIINNGG PPLLAANNEESS

TTuunniinngg aa WWooooddeenn MMoollddiinngg PPllaannee

Old wooden molding planes are enjoyable to use,and they’re still widely available. When shoppingfor old molding planes, avoid those with solesthat display signs of excessive wear, or with pit-ted irons or cracked soles from exposure tomoisture.

Begin by disassembling the plane. These uniquetools are simple in design—just a body, wedge,and iron ((AA)). To loosen a stuck wedge, tap theheel of the plane gently with a mallet ((BB)). Beginby sharpening the iron. Polish the back to a mirrorfinish as you would any other plane iron ((CC)). Theprofile of the iron should match the wooden soleof the plane. However, repeated sharpenings byits former owner may have changed the profile. Ifthis is not corrected, it may be impossible to setthe iron to a consistent cutting depth. You cancorrect the iron profile by using small mill files((DD)), followed by polishing with slipstones ((EE)). Fitthe iron back into the plane and adjust it for alight shaving by sighting down the sole ((FF)).

Planes and Planing160

AA

CC

EE FF

DD

BB

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TTUUNNIINNGG PPLLAANNEESS

TTuunniinngg aa SSppookkeesshhaavvee

To tune a spokeshave, first remove all the parts,including the thumbscrews used for adjustingthe cutting depth ((AA)). Use a mill file to flatten thearea of the casting that supports the iron ((BB)).Flatten and polish the leading edge of the levercap ((CC)) and sharpen the iron.

Planes and Planing 161

AA

CC

BB

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TTUUNNIINNGG PPLLAANNEESS

RReessttoorriinngg aann OOlldd BBeenncchh PPllaannee

Here’s a good example of what you can oftenfind in the old tool market. This plane is a StanleyBedrock No. 606 ((AA)). Although it’s not a rareplane, any example of a Bedrock is uncommon,and the No. 606 is a desirable size. While theplane in these photos is somewhat rusty, it isintact, and the rust will not affect how it per-forms ((BB)).

Begin by disassembling the plane ((CC)). If thescrews that secure the frog are frozen with rust,spray it with a lubricant ((DD)). You can get extratorque by placing a wrench on a square-shankedscrewdriver ((EE)).

Planes and Planing162

AA

CC

EEDD

BB

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TTUUNNIINNGG PPLLAANNEESS

Place all the rusty parts of the plane in a pan ofmineral spirits ((FF)). The mineral spirits help toloosen the rust as you clean the various partswith fine steel wool. A good sign—once all thedirt and rust was washed away, most of theJapanning (painted finish) was still intact. Best ofall, the machined surfaces on the frog and solestill revealed their mill marks from machiningyears ago. The rust, although very distracting,was only on the surface.

After cleaning, reassemble the parts on the planebody. A drop of oil on the threads of screws anda film of oil on the machined surfaces of the frogmake these parts work smoothly. The oil alsohelps prevent future rust ((GG)).

Although the iron in this plane was pitted withrust, it wasn’t a concern. I had already plannedto replace the thin Stanley iron with a cryogeni-cally treated replacement iron. The new iron isalso substantially thicker than the original,which, along with a new, improved cap iron,greatly adds to the performance of this fine oldBedrock plane ((HH)).

The frog position, sharpening, and tuning are allimportant elements of the performance of theplane.

After assembly, apply a coat of wax to the sole ofthe plane ((II)). The wax will fill the microscopicpores in the cast iron to help prevent rust. Thewax also lubricates the plane so it glides easilyover the stock during use ((JJ)).

Planes and Planing 163

FF

GG

II

JJ

HH

See “Restoring an Old Bench Plane” on thefacing page, and “Sharpening Hand Tools”on p. 168.

Page 174: Using Woodworking Tools

bastard files (I’m not sure where the unusualname came from), are great for smoothingsurfaces after shaping with a rasp. Aftersmoothing with a bastard file, I usually skipthe next two in the series, second-cut andsmooth files, and switch to using a scraper.Second-cut and smooth files cut too slowlyand clog easily.

Files are also categorized by shape. Themost versatile shapes are flat, half-round,and round. Although there are other shapesavailable, such as triangles and squares, Idon’t find them useful for woodworking. Ofthe various shapes, I find the half-roundmost useful; the flat side works well for con-vex curves, while the half-round face of the

F iles and rasps cut with rows oftiny teeth. Rasps are really coarsefiles with extra-large teeth for fast,

aggressive shaping and sculpting of com-pound curves. Files are the smoother cuttingcousins.

SSiizzeess aanndd SShhaappeess

Open a catalog and you’ll find a bewilderingassortment of files from which to choose.File lengths typically range from the dimin-utive 4 in. to the huge 16 in. For smoothingsurfaces in tight contours, you can purchaseslender needle files.

Files are also categorized by the smooth-ness of the cut. The coarser cutting files,

SSEECCTTIIOONN 88 OOVVEERRVVIIEEWW

164

Files and Rasps

➤ Smoothing aShaped Leg (p. 167)

FFiilleess aanndd RRaassppss

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file easily shapes and smoothes concavecurves. By having both shapes on one file,you can quickly switch back and forth whilesmoothing.

Files are also categorized by the toothdesign. Single-cut files cut more smoothlythan the more aggressive double-cut type.Mill files have rows of fine teeth and workwell for the initial dressing of scrapers toremove the old burr. Rifflers are special files

Files and Rasps 165

For smoothing tightcontours, select aslim needle file.

Rasps and files are available in a wide variety of shapes and sizes.

Single cut—cuts slowly, leaves a smooth surface

Double cut—cuts more aggressively, leaves a coarser surface

TTWWOO TTYYPPEESS OOFF FFIILLEESS

The fine-tooth pat-tern of a mill fileworks well fordressing the edgeof a scraper.

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quickly. Finally, equip all your files withhandles. Equipped with handles, files aresafer to use and the handles will also pro-vide you with greater leverage. The bestfile handles have hardened steel threadsthat “bite” into the tang of the file and seat firmly.

with compound curves; they are ideal forsmoothing tight areas in carvings. As filesbecome clogged, you can clean them with a file brush. This special file brush has short, stiff wire bristles that are well-suitedto this task.

When not using your files, store themseparately in a tool roll or a wall-mountedrack to keep them sharp. Files tossedtogether in a drawer or toolbox will dull

Files and Rasps166

Rifflers are curvedalong their length.

The short, stiff wire bristles of a file brush are specially designedfor cleaning files.

This file handle has threads that seat firmlyon the tang of a file.

For safety and greater control, equip yourfiles with handles.

Page 177: Using Woodworking Tools

FFIILLEESS AANNDD RRAASSPPSS

SSmmooootthhiinngg aa SShhaappeedd LLeegg

Rasps and files are simple yet versatile tools thatexcel at sculpting and smoothing compoundcurves. These tools are not intended for creatingcurves; the curve should first be created by saw-ing, steam bending, or laminating.

When the curve is bandsawn, the rasp is oftenused first to remove minor imperfections. In orderto smooth away bumps and dips, position therasp askew to the workpiece ((AA)) rather than at 90 degrees. During sculpting, the rasp is pushedin two directions simultaneously—downward withthe grain along the workpiece, and forward,stroking the tool across the workpiece ((BB)). Usethe flat side of the rasp for shaping convex sur-faces and the convex face of the rasp for concavesurfaces.

When shaping tight curves, roll the rasp withyour wrist as you push it through the stock ((CC)).For speed and efficiency, it works best to turn therasp end-for-end and pull it ((DD)) rather than to con-tinually reposition the work. With practice, you’llbe able to blend and sculpt compound curveseasily and efficiently ((EE)).

Once you’re satisfied with the shape you’ve cre-ated with the rasp, switch to a file. The sametechniques apply to both tools; the finer teeth ((FF))

of the file will quickly smooth the coarse surfacefrom the rasp.

Files and Rasps 167

AA

CC

EE FF

DD

BB

Page 178: Using Woodworking Tools

nance for the greatest control. Fortunately,it’s not difficult to develop sharpening skills.Sharpening is simply a gradual process ofremoving steel with abrasives. As increas-ingly finer abrasives are used, the scratchesin the steel become finer, the steel morepolished, and the edge sharper.

There are many types of tools and abra-sives from which to choose, from water-stones to sandpaper, and the type you selectis largely a matter of personal preference.Although the various stones and grindershave different working characteristics andcosts, all will adequately sharpen steel. Let’stake a closer look at what’s available.

Sharpening machine tooling, suchas carbide-tipped sawblades androuter bits, is best left to the experts.

Professional sharpening shops have both theequipment and knowledge and will handlethese maintenance chores for a modest fee.Sharpening hand tools is another story.Possessing the skills to hone chisels, planeirons, and carving tools to a razor edge is anessential part of woodworking. Sometimes achisel or other edge tool is inadvertentlynicked as it comes into contact with asquare or other tool lying on the benchtop.Even under normal use, edge tools dullrather quickly and require continual mainte-

SSEECCTTIIOONN 99 OOVVEERRVVIIEEWW

168

SharpeningHand Tools

➤ Sharpening a Chisel (p. 175)

➤ Sharpening aCabinet Scraper (p. 177)

SShhaarrppeenniinngg CChhiisseellss

SShhaarrppeenniinngg SSccrraappeerrss

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Today there are a number of wet grindersavailable featuring large-diameter, widegrinding wheels that run in a water bath.Wet grinders have several advantages overstandard bench grinders. The biggest advan-tage is that the continuous water bath overthe wheel and tool edge makes it impossibleto overheat the steel. Also, the wide wheel ofa wet grinder is more effective for sharpen-ing broad edges, such as the iron from abench plane. Because wet grinders aredesigned specifically for woodworking tools,the tool rests usually provide better supportthan those typically found on benchgrinders. The only real disadvantage to wetgrinders is their higher price tag. Of course,grinding leaves a coarse surface, so it’s vitalto follow up by honing the tool edge withfiner abrasives.

GGrriinnddeerrss

Sometimes it is necessary to grind the steelto restore the edge of a chisel or plane iron.Perhaps the edge is nicked or worn fromrepeated honings. The most efficient way torestore the edge is with a grinder. You canchoose between a common bench grinder ora more expensive wet grinder. Benchgrinders require greater skill and a lighttouch to avoid overheating the steel anddestroying the temper or hardness. Also, thetool rests on bench grinders are not well-designed for supporting woodworking tools.However, if you construct tool supports, up-grade your bench grinder with cooler-runningaluminum-oxide wheels, and frequently coolthe tool edge by dipping it in water, a benchgrinder can be an effective, inexpensivemachine for restoring the edges of yourplanes, chisels, and other edge tools.

Sharpening Hand Tools 169

There are a variety of abrasives, burnishers,and other tools available for sharpening adull edge.

The larger wheel of this grinder (onright side) spins in a water bath thatkeeps the steel cool.

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SSEECCTTIIOONN 99 OOVVEERRVVIIEEWW

EEddggee PPrrooffiilleess

Plane irons are ground either square or con-vex, depending on the type of plane and thework that you’re producing. Planes for join-ery, such as rabbet and shoulder planes,should be ground square. The iron of asmooth plane works best when groundslightly convex. This profile prevents thecorners of the plane iron from creatingridges in the board.

Bench planes used for flattening roughstock are called scrub planes. But any benchplane can be used as a scrub plane if yougrind a pronounced convex profile on theiron. Just remember to adjust the frog of theplane for a coarse shaving.

BBeevveell AAnngglleess

The first step in sharpening is to grind thebevel. I typically use a hollow bevel becauseit is faster and easier to hone than a flatbevel. Bevel angles usually range from 20 to30 degrees, with 25 degrees being standard.A shallow bevel is sharper and creates lesscutting resistance but may fracture more eas-ily. A steeper bevel is more durable but hasmore resistance and provides less control. Ihave several sets of chisels in my kit, and Igrind them according to how I plan to usethem. For example, I grind a steeper angleon the short chisels I use with a mallet, anda shallow bevel on paring chisels.

Also, it’s sometimes necessary to adjustthe bevel angle slightly to compensate forthe hardness of the steel. For example, if theedge fractures easily, try grinding a steeperbevel.

Grinding on edge of wheel produces a concave, or “hollow grind,” which simplifies honing.

Grind angle is typically between 20 and 30 degrees.

GGRRIINNDDIINNGG EEDDGGEE TTOOOOLLSS 20°

Shallow angle for paring; edge is fragile.

25°

Standard angle works well for most tasks.

30°

Steep angle is good for chopping because the edge is stronger.

BBEEVVEELL AANNGGLLEESS

Sharpening Hand Tools170

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Arkansas StonesUntil recently, most craftsmen honed theirtools with Arkansas stones. These naturalstones are still quarried, graded, ground flatand square, and boxed ready for use. NaturalArkansas stones create a sharp, highly pol-ished edge, and because they are hard, theyretain their flatness for long periods of use.However, because Arkansas stones use oil asa lubricant, they tend to be messy. But theirmain drawback is that they cut so slowly.Sharpening a chisel to a razor edge withArkansas stones is time-consuming in com-parison to newer alternatives, such as man-made waterstones, so I retired my Arkansasstones years ago.

Ceramic StonesI remember back several years ago whenceramic sharpening stones débuted. Theywere heralded as both hard and fast-cut-ting—great qualities for a sharpening stone.Additionally, because they were used dry,they were not as messy as other types ofstones. When they became dirty with use,

Chisels are usually ground square to theedge, but skewed chisels are useful for manytasks, especially cutting dovetails. You canbuy skewed chisels, but you can also regrinda skewed edge on a regular chisel.

TToooollss ffoorr HHoonniinngg

After the grinding to restore the bevel orremove a nick in the edge, the next step ishoning. Honing is the process of abradingthe edge of the tool over progressively finerabrasives. The back of the tool should bepolished, too; it converges with the bevel tocreate the cutting edge. However, the besttime to polish the back of the tool is afteryou first purchase it. Later on, each time youhone the tool, you can concentrate yourefforts on the bevel.

There are a number of tools available forhoning. Man-made stones, such as syntheticwaterstones, tend to cut quickly—but alsowear quickly. In contrast, natural stones, suchas Arkansas stones, wear slowly but becomeclogged easily and are tediously slow-cutting.Let’s take a closer look at what’s available soyou can decide for yourself.

Sharpening Hand Tools 171

Square

90° 90°

Rabbet and shoulder planes

.002Crowned

Smooth planes

Convex

Scrub planes

PPLLAANNEE IIRROONN PPRROOFFIILLEESS

Arkansas stones require oil as alubricant.

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they could be easily cleaned with a mildhousehold cleaner and water. However, Isoon became disappointed with these stones;after several cycles of cleaning and use, theircutting ability gradually diminished.

Diamond PlatesAnother form of sharpening “stone” is actu-ally diamond particles bonded to a hardplastic block or flat-ground steel plate.Diamond cuts quickly, and because of itshardness, it can retain its cutting ability foryears. A 600-grit diamond plate is great forflattening the back of edge tools and thesoles of planes. However, most diamondsharpening stones are too coarse for the finalstages of honing. A great option, though, isto use diamond paste on a hardwood blockfor the ultimate in sharpness.

WaterstonesThese days, many woodworkers preferwaterstones for their fast-cutting features.First imported from Japan, waterstones areavailable in a wide variety of grit sizes, andthe finest stones will produce an incrediblysharp edge. Because they use water as alubricant, they are not as messy as stonesthat use oil. The only real downside towaterstones is that they wear quickly, so theymust be reflattened often. Norton Abrasivesoffers its own line of waterstones, which alsocut quickly but wear slowly in comparison totraditional waterstones.

SandpaperStill another choice for honing is sandpaper.You just need to back up the sandpaper witha truly flat surface, like plate glass. The wetor dry abrasive sheets sold at auto paint

Sharpening Hand Tools172

This “stone” is actually diamond particles bonded to a steel plate.

Waterstones cut very quickly compared to other sharpeningstones.

A diamond plate works well for flattening a sharpening stone.

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stores are your best choice; just moisten thepaper and position it on the plate glass. As itwears, just toss it out and replace it with afresh sheet. Best of all, you’ll never need toflatten it. This is a simple solution to sharp-ening that has become quite popular with anumber of woodworkers.

StropsFor the final polish of the edge, it’s tough tobeat a leather strop. Although you can pur-chase a strop from many woodworking toolcatalogs, it’s much less expensive to makeyour own. You can purchase a scrap ofleather from your local shoe repair store andglue it to a block of hardwood. Charge thestrop with rouge, a very fine polishing abra-sive in a wax stick.

SlipstonesSlipstones feature thin, contoured surfacesfor honing the curved edges of turning andcarving tools. For the final polish after usingslipstones, flex a small piece of leather toconform to the shape of the gouge.

Sharpening Hand Tools 173

Sandpaper backed up by plate glass hasbecome a favorite sharpening system formany woodworkers.

For the final polish, a leather strop workswell.

Slipstones come in many shapes for hon-ing gouges.

To polish the edge of a gouge, you can flexa strip of leather to conform to the contour.

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SSEECCTTIIOONN 99 OOVVEERRVVIIEEWW

CCaabbiinneett SSccrraappeerrss

The cabinet scraper is a great tool forsmoothing wood and reducing sanding to aminimum. If you find it difficult to sharpen,you’re not alone. Scrapers cut with a tinyburr that is formed after honing. The key tosharpening a scraper is to avoid rounding theedge while honing it. It’s impossible to forma hook on a rounded edge.

Scrapers are first sharpened, then bur-nished to create a burr. The angle of thescraper edge depends upon the type of scraperand how it will be used. The edge of a cabinetscraper is filed 90 degrees to the face. Forscraper planes, an angle of 15 to 20 degreesworks well. After you polish the face andedge, a burnisher is used to draw the burr.

Unlike other edge tools, scrapers cut with atiny hook or burr. So after polishing a scraper,you’ll need a burnisher to hook the edge.The traditional burnisher is simply a hard,polished-steel rod equipped with a handle.Newer-style burnishers feature a small carbiderod mounted in a wooden or plastic block.The block serves as a jig to maintain the cor-rect angle as the burr is created.

Sharpening Hand Tools174

Cabinet scraper

90°

Hook is created by deforming edge with burnisher.

Scraper planes

15°

Angle varies 15 to 45 degrees.

SSCCRRAAPPEERR HHOOOOKKSS

A magnifying glass or photographer’sloupe will allow you to spot defects in thecutting edge.

IIff yyoouu pprrootteecctt the teeth of your handsaws as you use them

and store them in a safe place, you’ll find that they don’t need

to be resharpened often. In fact, it may be several years

between sharpenings. Sharpening handsaws isn’t difficult, but

it is tedious and time-consuming. If there’s a reputable saw-

sharpening shop in your area, you may decide to let them

handle this job. Japanese saws have a complex tooth geome-

try that is best left to someone with experience. Fortunately,

many Japanese saws have disposable blades that fit into the

frame of the saw. Coping-saw blades are also disposable and

quite inexpensive.

SSHHAARRPPEENNIINNGG HHAANNDDSSAAWWSS➤

Page 185: Using Woodworking Tools

SSHHAARRPPEENNIINNGG CCHHIISSEELLSS

SShhaarrppeenniinngg aa CChhiisseell

Sharpening a bench chisel is a good way to begindeveloping your skills. Remember that it alwaysrequires two surfaces to create an edge. Whensharpening a chisel, you must polish both thebeveled edge and the back. Also, the back of achisel should be absolutely flat. The back oftenguides or registers the cut; if the back is round-ed, the accuracy of the cut will be lost.

Sharpening is a two-step process. First grind thebevel, then hone the edge. Remember, grindingquickly removes a lot of steel. This is the bestoption when the edge has been damaged ((AA)) orthe hollow bevel has been worn away throughrepeated honing ((BB)). However, it’s not alwaysnecessary to grind an edge. In fact, in mostcases, an edge can be honed back to sharpnessin just a few minutes with bench stones.

As you grind the edge, keep it cool to avoidannealing or softening the steel. If you’re using adry grinder, dip the tool in water often. Also,check the bevel angle as you grind and adjust thetool rest if necessary ((CC)).

Next, examine the back of the cutting edge. If thetool is a recent purchase, it may be necessary toremove grind marks, or, if it’s an older tool, it maybe marked by surface rust ((DD)). Starting with acoarse stone, flatten and polish the back to a mir-ror finish. You only need to polish about an inch orso back from the cutting edge ((EE)).

The next step is to hone the bevel. Be careful notto become overzealous and hone too much. Anedge can usually be honed several times before itneeds to be reground. However, honing too muchsteel away initially shortens the life of the edge.

To begin honing, position the bevel on a finestone so that the edge and heel are both in con-tact ((FF)). You may find it helpful to rock the beveluntil you feel the edge and heel make contact.

((TTeexxtt ccoonnttiinnuueess oonn pp.. 117766..))

Sharpening Hand Tools 175

AA

CC

EE FF

DD

BB

Page 186: Using Woodworking Tools

SSHHAARRPPEENNIINNGG CCHHIISSEELLSS

Lock your wrist and glide the bevel across thesurface of the stone with long, smooth strokes((GG)) until you can feel a slight burr across the backof the edge. You can also buy a simple guidewheel that holds the blade at a consistent anglefor honing. Then stroke the back of the chiselacross your finest stone to remove the burr. Thebevel should reveal a narrow shiny surface acrossthe edge and heel ((HH)). Finally, polish the edgefurther by passing it several times over a leatherstrop ((II)).

You can check the edge for sharpness by slicing athin shaving from a soft wood, such as pine orpoplar ((JJ)). When sharp, the tool will sever theend grain cleanly and reveal the cell structure ofthe wood ((KK)). In contrast, a dull edge will crushthe soft fibers.

Sharpening Hand Tools176

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sslliiddee vviieewweerr oorr jjeewweelleerr’’ss lloouuppee tthhaatt wwiillll

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iillyy ssppoott tthhee sslliigghhtteesstt ddeeffeecctt..

GG

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KK

JJ

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Page 187: Using Woodworking Tools

SSHHAARRPPEENNIINNGG SSCCRRAAPPEERR SS

SShhaarrppeenniinngg aa CCaabbiinneett SSccrraappeerr

A sharp scraper will smooth the most difficultgrain without producing tearout. The secret is inthe burr. Before creating the burr, the edge mustbe sharp and highly polished. Because cabinetscrapers are made from relatively thin steel, it iseasy to inadvertently round the edge during hon-ing, making it impossible to form the burr.

Begin by filing the edge with a smooth mill file toremove the old burr and square the edge. To filethe edge, use a technique called draw filing; holdthe file perpendicular to both the face and theedge of the scraper and “draw” or pull it towardyou ((AA)). Surprisingly, the scraper will cut quitewell at this stage, although it leaves the surfaceof the wood somewhat rough. For a cleaner-cutting scraper, you’ll need to take the sharpeningprocess further.

Next, hone the face and edge of the scraper withbench stones ((BB)). To keep the edge square, flexthe blade with your thumbs as you push it back and forth over the bench stones ((CC)).Flexing the scraper effectively creates a broadfootprint to prevent the scraper from tipping androunding the edge.

The next step is burnishing. But first wipe awaythe stone residue from the surface of the scraperand apply a drop of oil to the edge. The oil willlubricate the burnisher to create a smootheredge. Hold the burnisher at an angle of 5 to 10degrees, and with moderate downward pressure,push it across the edge several times until youcan feel a small burr ((DD)). A burnishing jig willmake the job easier and maintain a consistentangle ((EE)).

Sharpening Hand Tools 177

AA

CC

EE

DD

BB

Page 188: Using Woodworking Tools

TThhee BBaannddssaaww,, ppaaggee 221155TThhee JJooiinntteerr aanndd PPllaanneerr,, ppaaggee 220011

DDrriilllliinngg aanndd MMoorrttiissiinngg,, ppaaggee 225599

TThhee TTaabbllee SSaaww,, ppaaggee 118800

TThhee RRoouutteerr TTaabbllee,, ppaaggee 224477TThhee SShhaappeerr,, ppaaggee 223366

Page 189: Using Woodworking Tools

If you’ve ever tried smoothing a rough board entirely

with a hand plane, you’re sure to appreciate the efficiency of

power tools. The jointer and planer remove the drudgery of

smoothing a stack of rough boards by hand. The table saw rips

and crosscuts stock to size, while the bandsaw cuts curves and resaws

thick boards into perfectly matched thinner ones. And both saws can be

used for cutting fine joinery. Add a router table (or shaper) and a drill

press, and you’ve got a pretty complete power-tool woodworking shop.

But power tools don’t replace hand tools; they complement them. As an

added benefit, power tools provide more time to enjoy doing fine,

detailed handwork, such as carving a shell or cutting a dovetail joint. So,

read on to find out what power tools are available, and how you can put

them to work in your own shop.

Power Tools

PART FOUR

Page 190: Using Woodworking Tools

stock across the grain, a miter gauge is used.The miter gauge is guided in a straight pathby a steel bar that slides in a parallel groovemilled in the tabletop. The miter gaugeworks well for most cuts, but it is limited byits small size when you’re crosscutting widepanels, such as the sides of casework. A greatway to solve the problem is to construct acrosscut sled.

Although some small benchtop table sawsare direct drive, most use pulleys and belts totransfer power from the motor to the blade.Contractor-type table saws use a single pul-ley system, while the more powerful cabinet

The table saw is a universal toolthat forms the cornerstone of mostwoodworking shops. It efficiently

rips and crosscuts stock to dimension, cutsjoints, such as dovetails and tenons, and caneven be used for shaping coves and raisedpanels.

Table saws cut with a circular blademounted on a shaft or arbor, mounted underthe table. With the handwheels on the sidesof the cabinet, the blade can be raised orlowered to adjust for stock thickness andeven tilted up to 45 degrees for angled cuts.

To guide the stock in a straight path pastthe blade, table saws use a fence. The fencerides a pair of rails and locks into positionparallel to the blade for ripping. For cutting

TTaabbllee--SSaaww SShhaappiinngg

SSEECCTTIIOONN 1100 OOVVEERRVVIIEEWW

180

The Table Saw

➤ Checking BladeAlignment (p. 190)

➤ Aligning the Fence(p. 190)

➤ Changing Blades(p. 191)

➤ Ripping to Width (p. 192)

➤ Ripping NarrowStock (p. 192)

➤ Crosscutting on the Table Saw (p. 193)

➤ Crosscutting ShortStock (p. 194)

➤ Stop Cuts (p. 195)

➤ Cutting Tenons onthe Table Saw (p. 196)

➤ Dovetails on theTable Saw (p. 197)

➤Tapering with theTable Saw (p. 198)

➤ Cutting a Cove onthe Table Saw (p. 199)

TTuunnee--UUpp PPrroocceedduurreess BBaassiicc OOppeerraattiioonnss TTaabbllee--SSaaww JJooiinneerryy

See “Building a Crosscut Sled” on p. 184.➤

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saws feature larger motors equipped with atriple V-belt and pulley set-up.

TTaabbllee SSaaww GGuuaarrdd aanndd SSpplliitttteerr

The most important safety features of anytable saw are the guard and splitter. Usingany woodworking machine is inherentlydangerous, but unlike other woodworkingmachines, such as the bandsaw, the table sawis prone to kickbacks. This phenomenon canoccur whenever the stock contacts the backof the blade. The result is that the workpieceis thrown back violently toward the user.Obviously, if a hand is near the blade duringa kickback, a serious injury can occur.

The Table Saw 181

Miter gauge slot

Blade guard and splitter

Rip fence

Fence locking lever

Blade tilt handwheel

Blade height handwheel

Magnetic on/off switch

TTHHEE TTAABBLLEE SSAAWW

A splitter reducesthe risk of kickback.

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Fortunately, a guard and splitter will sub-stantially reduce the risk of injury fromusing a table saw. The guard provides a bar-rier to shield your hands from the blade,while the splitter makes it virtually impossi-ble for the workpiece to come into contactwith the back of the blade.

Most new saws come equipped with aone-piece guard and splitter. This design issomewhat limiting, because the guard andsplitter cannot be used separately. For exam-ple, when you’re cutting a groove, the cutdoesn’t extend through the workpiece, so thesplitter can’t be used. However, with a sepa-rate guard and splitter, the guard can be usedindependently of the splitter and vice versa.This type of guard provides greater flexibilityand an extra margin of safety. Although atwo-piece guard and splitter is somewhatexpensive, it’s worth the extra cost for theadditional safety it offers.

The Table Saw182

Wood is cut in this area.

Feed

Kickback can occur whenever stock contacts the “back” of the blade.

TTHHEE KKIICCKKBBAACCKK ZZOONNEEA guard is animportant safetyfeature for any tablesaw.

This splitter conve-niently snaps intoposition.

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the stress is released and the workpiece maypinch and bind against the blade. A splitterwill help with this problem, but the bestsolution is to avoid ripping stock that maybe stressed. Areas around knots cause theblade to pinch and bind. Instead, use abandsaw to rip problem lumber. The force ofa bandsaw blade, in contrast, pushes theworkpiece down against the table, and so it

Within easy reach of your table sawshould be a push stick. This simple devicepositions your hand a safe distance from theblade when you’re ripping. You can purchasea push stick or make one of your own. Pushblocks are also useful for cutting coves andother unusual setups at the table saw.

Ripping stock that has internal stress canalso cause a kickback; as the stock is ripped,

The Table Saw 183

Short stock can rotate into kickback zone if not held tightly against fence.

Stock with internal stress can pinch back of blade.

Misaligned fence forces stock against back of blade. Small offcuts vibrate into back of blade.

AAVVOOIIDDIINNGG KKIICCKKBBAACCKK

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The Table Saw184

UUssiinngg tthhee mmiitteerr ggaauuggee to crosscut wide panels is

difficult at best. The head of the miter gauge is too

small to support the panel, and the bar that fits into

the groove is too short. An easy, inexpensive solution

is to construct a crosscut sled. The sled has two run-

ners and a broad surface to support the panel.

Begin by cutting a sheet of 3⁄4-in.-thick plywood to

the size of your saw’s table to serve as the base.

Next, mill a pair of guide strips that fit snugly within

the miter-gauge slots of your saw. To attach the guide

strips, first lay them in the miter slots, position the

plywood base on top, and drive a couple of small

nails through the plywood into the guide strips. To

ensure that the sled will cut square, align the edge of

the plywood with the table edge. Now invert the sled,

and permanently fasten the strips with countersunk

screws.

Next, attach heavy strips at the front and back

edges of the base. The back strip will serve to support

the work during crosscutting, and both strips will

serve to stiffen and strengthen the sled. Mill the

strips large enough so that the sawblade doesn’t cut

through them when crosscutting 1-in.-thick panels.

For safety, attach a plastic guard to the top of the

sled and a thick block where the blade penetrates the

back. Finally, test the sled to ensure that it is cutting

90 degrees, and, if necessary, loosen the screws that

secure the back strip and make an adjustment.

BBUUIILLDDIINNGG AA CCRROOSSSSCCUUTT SSLLEEDD➤

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can’t kick back, even if the blade binds in the stock.

A misaligned fence on the table saw canalso be a cause of kickback. When properlyaligned, the fence should be parallel to theblade. The problem occurs if the trailing endof the fence is closer to the blade than theleading end.

When crosscutting, don’t allow small off-cuts to accumulate near the back of theblade. And don’t give in to the temptation topush them away from the blade with a pen-cil or stick. Instead, turn off the saw once afew cuts have been made, and clear the tablebefore continuing.

Also, avoid ripping short stock. Anypiece less than 12 in. in length can easilybind and kick back. And never rip stockthat is wider than its length. There is sim-ply not enough bearing surface against thefence to guide the stock past the blade.Instead, make it a habit to rip long stockand crosscut it to length afterwards. Finally,always wear eye and ear protection whenusing any power tools.

The Table Saw 185

Always use personalsafety equipmentwhen working withany power tool.

• Always read and follow

manufacturer’s instructions.

• Never saw freehand. Always use

the fence, miter gauge, or a jig that

rides the fence or miter-gauge slot.

• Use a splitter whenever possible.

• Always use a blade guard.

• Use push sticks for ripping

narrow stock.

TTAABBLLEE--SSAAWW SSAAFFEETTYYGGUUIIDDEELLIINNEESS

Push sticks andpush blocks helpposition your handsa safe distance fromthe cutter.

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SSaawwbbllaaddeess

The heart of any saw is the blade. A greatblade can coax more precision and perform-ance from an average saw, but a great saw willdisappoint you when equipped with a low-quality blade. These days, there are a vastnumber of blade types, tooth grinds, and hook angles, but remember, too, that there are trade-offs with any blade. For example,a greater number of teeth will produce asmoother cut, but the teeth will also requiremore horsepower and have a tendency toburn. Besides, accuracy is generally moreimportant than smoothness; regardless of howsmoothly a machine cuts, it’s important toremove machine marks by handplaning, scrap-ing, or sanding, or a combination of all three.Let’s examine the designs and wade throughthe terminology so that you can make the bestdecision when purchasing sawblades.

These days, carbide has largely replacedsteel as the material for sawteeth. The reasonis clear—carbide is much harder and retainsits edge up to 20 times longer. During manu-facturing, carbide tips are brazed onto a steelbody and then ground for both performance

The Table Saw186

Side reliefMinimum clearance produces ultrasmooth side cuts but allows fewer sharpenings.

Tooth heightLonger teeth are more brittle; risk breakage but allow more sharpenings.

Top bevel on alternate top bevel (ATB) bladesSteep angle provides sharp, fragile tooth, minimizes tearout.

Top reliefHigh angle produces sharp tooth for minimum chipping and tearout but dulls more quickly.

Clearance here determines number of sharpenings.

Shoulder

Braze Gullet

Arbor hole

Plate expansion slot

Tooth hook angle (rake)

Higher angles (15° to 20°) cut faster, rougher.

Lower angles (0° to 10 °) cut more slowly, smoothly.

Low or negative angles prevent climbing—good for radial arm saws.

SSAAWWBBLLAADDEESS

For the best performance, equip yourmachines with a quality sawblade.

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turers use an aggressive hook angle, usually20 degrees, a flat-top grind, and few teeth,often around 24, on a 10-in. diameter blade.Ripping consumes horsepower, and so ablade with fewer teeth will require lesshorsepower than one with more teeth. Inbetween the teeth are large spaces, calledgullets, which efficiently transport the saw-dust from the kerf created by the teeth.

Clean crosscutting requires a dramaticallydifferent design. The more teeth that are incontact with the wood, the smoother thecut. So crosscut blades will have as many as80 teeth. To shear the tough end-grainfibers, the tops of the teeth are ground witha bevel to create knifelike edges that scorethe wood. Alternate teeth are ground in theopposite direction and the face is typicallyground at a smooth-cutting 5 degrees.

and sharpness. The number of teeth and theangle of grind on the face and top of eachtooth have a profound affect on how the bladeperforms. As you might expect, sawblademanufacturers continually experiment withdifferent grinds and combinations of grinds.The most common are flat-top bevel (FTB),alternate-top bevel (ATB), and alternate-topbevel with raker (ATB&R). These terms allrefer to the grind, or bevel angle, at the top ofeach tooth. The angle that is formed by theintersection of the face of each tooth and animaginary line from the blade’s center isreferred to as the hook angle. Hook anglesrange from an aggressive 20-degree anglefound on many rip blades to an angle ofminus 5 degrees, which limits climbing associ-ated with miter saws and radial-arm saws.

A flat-top grind is essentially a squaretooth. For fast, efficient ripping, manufac-

The Table Saw 187

Top view

Front view of tooth

FFLLAATT--TTOOPP BBEEVVEELL

Top view

Front view of tooth

AALLTTEERRNNAATTEE TTOOPP BBEEVVEELL

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to overheat. Switching to a rip blade willsolve the problem. Some manufacturers toutthe smoothness of their sawblades, and theprice tag reflects that. However, when you’rebuilding furniture and other fine woodwork,it’s important to remove all traces of sawmarks by handplaning, scraping, or sanding,or a combination of the three. So for mostwoodworkers, the extreme smoothness of themost expensive blades is simply not worththe extra cost. However, I also avoid thelow-end, do-it-yourself blades found inmany home centers. The lower price is aresult of inferior carbide and stamped bodiesthat are often warped. These blades are nobargain.

TThhiinn--KKeerrff BBllaaddeess

Thin-kerf blades create a kerf that is mar-ginally less than that of a standard blade, notreally a significant amount of lumber saved.However, thin-kerf blades require less horse-power than standard-thickness blades. Sowhen ripping a large stack of hard maple,you’re sure to notice the seeming increase inyour saw’s power. Be aware, however, thatthe narrow kerf may bind on your table saw’ssplitter.

For accurate crosscuts, I stick to a standard-thickness blade. The body of athin-kerf blade tends to deflect in the cutand spoil the accuracy.

DDaaddoo HHeeaaddss

Another type of sawblade is the dado head.This saw cuts a wide kerf for making joints,such as grooves, dadoes, and tenons. Thereare two types of dado heads, wobble andstacking. A wobble head adjusts for the width

Combination blades are a compromisebetween the fast-cutting rip blades andsmooth crosscutting blades. Like crosscut-ting blades, combo blades employ an ATBgrind to shear the stock cleanly during cross-cutting, along with an occasional flat-toppedraker tooth to help clear the way during rip-ping. Most combination blades are 50-tooth,again a compromise, and the teeth arearranged in 10 groups of 5—4 ATB teethand 1 raker. In between the groups are largegullets that aid in clearing the sawdust dur-ing ripping.

Combination blades are my favorites forthe table saw; remember, the table saw is auniversal machine. Combo blades performboth ripping and crosscutting quite well andwill allow you to use the saw without con-suming time with frequent blade changes.You may find that when ripping large quan-tities of dense hardwoods, oak or maple, forexample, the table saw may have a tendency

The Table Saw188

A stacking dadohead is invaluablefor making a num-ber of joints onyour table saw.

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of the groove by rotating a wedge-shapedwasher on the side of the head. Because ofthis unusual design, this inexpensive toolcuts a groove with a rounded bottom, so it’sdefinitely not the choice for fine work.

The best dado design is a stacking set.The tool comes as a set of two outer bladesand chippers, a stack of cutters that mounton the arbor between the outer blades. Thewidth of the groove can be adjusted from1⁄4 in. up to 13⁄16 in. by adding more chippers.

As you mount the head to the saw’s arbor,it’s crucial to stagger the chippers so that thecarbide tips don’t touch. Also, whenever thedado head requires sharpening, take thecomplete set to the sharpening shop. Thisway, as the carbide is ground, all the chip-pers and the two outer saws will remain thesame diameter.

To use a dado head, you’ll need to pur-chase a special throat plate from the manu-facturer of your table saw. It will have a wideopening to accommodate the head. Also, thewide basket found on most aftermarkettable-saw guards can be used to provide anadded measure of safety. Unfortunately, the

guards that come equipped as part of manynew table saws are not wide enough to fitover a dado head.

TTaabbllee SSaaww TTuunnee--UUpp

You’ll get smoother, safer cuts from yourtable saw if you take a few minutes to tune itup. For the best performance, the blade andthe fence should be parallel to the miter-gauge slot. Check the blade first; afterwards,check the fence alignment.

It’s also a good idea to check belt tensionperiodically; as belts wear, they have a ten-dency to stretch, and you’ll notice a loss ofpower. Finally, check the 90-degree and 45-degree blade stops. They each comprise a bolt with a jam nut to lock it in place.Although the stop may have vibrated out ofadjustment, it may just need cleaning; it’susually only compacted sawdust that is cre-ating the problem.

The Table Saw 189

You’ll need a spe-cial throat platewith a wider open-ing to use a dadohead on your tablesaw.

Page 200: Using Woodworking Tools

TTUUNNEE--UUPP PPRR OOCCEEDDUURREESS

CChheecckkiinngg BBllaaddee AAlliiggnnmmeenntt

For smooth, safe ripping, the blade and fence onyour table saw must be parallel. Start with theblade. To check alignment, first clamp a freshlycrosscut stick to the miter gauge. Before tight-ening the clamp, carefully position the end ofthe stick against a sawtooth ((AA)). For greatestaccuracy, select a tooth that is pointing towardthe stick ((BB)). Next, slide the miter gauge andstick toward the back of the blade and check asecond tooth pointed the same way, toward thestick ((CC)). The difference in measurement, if any,can be corrected by loosening the bolts thatsecure the top to the saw’s base and reposition-ing the top. Also, for this alignment technique towork effectively, the miter gauge must fit firmlyin its slot, and the blade must be flat.

AAlliiggnniinngg tthhee FFeennccee

After ensuring that the blade is parallel to themiter-gauge slots (see photo-essay above), lockthe fence into position a short distance from oneof the slots. Measure the distance with an accu-rate, engraved rule ((AA)). A stick rule or tape meas-ure, both of which have painted lines, lack thenecessary accuracy for this measurement. Checkthe distance at the front end ((BB)) and the back endof the fence ((CC)). If necessary, make an adjust-ment to the fence locking mechanism to correctany difference in the two measurements ((DD)).

The Table Saw190

AA

CC

AA

CC DD

BB

BB

Page 201: Using Woodworking Tools

TTUUNNEE--UUPP PPRR OOCCEEDDUURREESS

CChhaannggiinngg BBllaaddeess

To change the blade on your table saw, first dis-connect the machine from its power source.Because table saws typically don’t have a spindlelock, you’ll need to brace the blade when remov-ing the spindle nut. A block of wood works welland doesn’t risk damaging the brittle carbideteeth ((AA)). Grasp the stick with one hand whilepulling the spindle wrench toward you ((BB)).

Install the blade with the teeth facing toward you,and slide the washer into place ((CC)). Finger-tightenthe spindle nut first; then position the spindlewrench against the table, carefully grasp theblade, and pull it toward you firmly to snug itdown ((DD)).

The Table Saw 191

AA

CC

DD

BB

Page 202: Using Woodworking Tools

BBAASSIICC OOPPEERRAATTIIOONNSS

RRiippppiinngg ttoo WWiiddtthh

Ripping is the process of cutting a board alongthe grain to reduce its width. It’s a common tech-nique that’s used for sizing stock prior to cuttingjoints and shaping.

Before beginning, joint the edge of the stock witha jointer or bench plane. After setting the fencefor the desired width, position the jointed edge ofthe stock against the fence. Push the stock withone hand while using your other hand to maintainpressure against the fence ((AA)). As you push thestock forward, pause for a brief moment tochange hand position ((BB)). As you approach theend of the cut, make certain to keep both handsout of the path of the blade ((CC)). For cuts of lessthan 6 in., use a push stick to finish pushing thestock through and past the blade. (See nextphoto-essay.)

RRiippppiinngg NNaarrrrooww SSttoocckk

Ripping narrow stock on the table saw presentstwo challenges—maintaining accurate and con-sistent stock width, and avoiding kickback.Remember, narrow stock is kicked back withmuch greater velocity than large panels. To ripnarrow stock safely, always remember to use asplitter ((AA)) and a push stick. As you feed thestock, maintain pressure against the fence infront of the blade ((BB)), not adjacent to the blade,where pressure will cause the wood to bind.Also, apply feed pressure with the push stickagainst the portion of the workpiece that is ridingthe fence ((CC)). As the end of the stock approach-es the blade, continue pushing only with theright hand ((DD)). Continue pushing the workpiecewell beyond the blade and splitter.

The Table Saw192

AA BB

DDCC

AA

CC

BB

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BBAASSIICC OOPPEERRAATTIIOONNSS

CCrroossssccuuttttiinngg oonn tthhee TTaabbllee SSaaww

Crosscutting on the table saw is usually per-formed with a miter gauge. Before cutting theworkpiece, it’s a good idea to cut a test pieceand check the miter gauge for squareness.

For greater support of the workpiece, I attach astrip of wood to the face of the miter gauge ((AA)).Next, saw a kerf into the backing board ((BB)). Alignthe layout mark with the kerf ((CC)). Now grasp theworkpiece with one hand and the gauge with theother and make the cut ((DD)). When cutting multi-ple pieces to the same length, clamp a stop tothe opposite end of the backing board to insureaccuracy ((EE)).

The Table Saw 193

AA

CC

EE

DD

BBWWAARRNNIINNGG DDoonn’’tt lleett ssmmaallll ooffff--

ccuuttss ggaatthheerr aatt tthhee bbaacckk ooff tthhee bbllaaddee..

TTuurrnn tthhee ssaaww ooffff ppeerriiooddiiccaallllyy aanndd

rreemmoovvee tthhee ooffff--ccuuttss..

▲!

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BBAASSIICC OOPPEERRAATTIIOONNSS

CCrroossssccuuttttiinngg SShhoorrtt SSttoocckk

For obvious safety reasons, always cut shortstock from a longer workpiece to distance yourhands from the sawblade. And never use thefence as a stop; the work will bind between theblade and the fence and kick back. Instead,clamp a thick block to the fence a few inchesbehind the front of the blade to serve as a stop((AA)). To make the cut, first position the workpieceagainst the stop block ((BB)), then make the cut ((CC)).As the pieces are cut, stop the saw occasionallyand remove them from the table ((DD)).

The Table Saw194

AA

CC

DD

BB

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BBAASSIICC OOPPEERRAATTIIOONNSS

SSttoopp CCuuttss

A stop cut is a ripping operation that terminatesbefore reaching the ends of the stock. A com-mon use is for making the cutout in a cabinetbase ((AA)). First, lay out the cut lines on the work-piece. Now position the stock adjacent to theblade and raise the blade so that the teeth justclear the stock ((BB)). Next, position the fence nextto the blade, mark the points where the bladeenters and exits the table ((CC)), and lock the fenceinto position for the width of the stop cut ((DD)).Before making the cut, you’ll need to lower theblade completely. Align the layout mark on theworkpiece with the point on the trailing end ofthe fence ((EE)), and clamp a stop block to thefence ((FF)).

Now you’re ready to make the cut. Position theworkpiece against the stop block, hold the work-piece firmly to the table, and raise the spinningblade until it clears the stock ((GG)). Now feed thestock until the layout line on the stock corre-sponds with the second line on the fence ((HH)).Keep in mind that the blade cuts further on thebottom face of the stock than on the top, whereyour layout lines are. Finally, make the crosscutsat each end to complete the process ((II)).

The Table Saw 195

WWAARRNNIINNGG NNeevveerr aatttteemmpptt aa

ssttoopp ccuutt bbyy lloowweerriinngg tthhee wwoorrkkppiieeccee

oonnttoo tthhee bbllaaddee.. AAllwwaayyss rraaiissee tthhee bbllaaddee

uupp tthhrroouugghh tthhee wwoorrkkppiieeccee,, aanndd uussee

aa ssttoopp bblloocckk ttoo pprreevveenntt kkiicckkbbaacckk..

▲!

AA

CC

EE

GG

II

HH

FF

DD

BB

Page 206: Using Woodworking Tools

TTAABBLLEE--SSAAWW JJOOIINNEERRYY

CCuuttttiinngg TTeennoonnss oonn tthhee TTaabbllee SSaaww

Mortise-and-tenon joinery is the strongestmethod for making door frames, casework, andeven chairs. The faces of the tenons provideplenty of glue surface area, and the tenon shoul-ders resist racking ((AA)).

Begin by disconnecting the table saw from itspower source and mounting a dado head ((BB)).Next, set the height of the dado head to removethe stock on one face of the tenon ((CC)). For thegreatest accuracy, position the fence for use as astop. Simply align the layout mark for the tenonshoulder with the outermost portion of the dadohead and lock the fence into place ((DD)).

Starting at the end of the stock ((EE)), make a seriesof overlapping crosscuts ((FF)), using the mitergauge to guide the stock. Position the end of thestock against the fence to accurately locate theshoulder cut ((GG)). Now repeat the process on theopposite face ((HH)). Finally, fit the tenon into themortise ((II)). If necessary, trim the tenon with ashoulder plane.

The Table Saw196

AA

CC

EE

GG

II

FF

HH

DD

BB

See “Mortise-and-Tenon Joint” on p. 115for information.

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TTAABBLLEE--SSAAWW JJOOIINNEERRYY

DDoovveettaaiillss oonn tthheeTTaabbllee SSaaww

Like the mortise-and-tenon, the dovetail is astrong joint that has broad applications. You cancut this joint entirely by hand, or you can cut thetail on the table saw and cut the socket withhand tools. This method speeds up the processyet still yields a “hand-cut” look.

Begin by laying out the tail and shoulder. Next, tiltthe blade on your table saw to the required angle;in this example, it is 14 degrees. To guide thestock, attach a backup board to the miter gauge; asecond, taller board clamped to the backupboard registers each cut and supports the work-piece at 90 degrees ((AA)). Flip the piece over forthe second cut ((BB)).

The next step is to cut the shoulders. Return theblade to 90 degrees, and reduce the heightalmost to the base of the shoulder. Because ofthe angle and the thickness of the blade, youcan’t cut all the way into the corner of the shoul-der. Clamp a stop to the miter gauge to registerthe cut ((CC)). Each subsequent cut will align withthe initial cut. Trim the inside corner of the shoul-der with a sharp chisel.

The Table Saw 197

AA

CC

BB

See “Leg-to-Rail Dovetail” on p.113.➤

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TTAABBLLEE--SSAAWW SSHHAAPPIINNGG

TTaappeerriinngg wwiitthh tthhee TTaabbllee SSaaww

The simple tapered leg is found on a number offurniture styles, from Shaker to Federal. Aftertapering, you can quickly smooth the tapers witha bench plane.

Begin by laying out the taper. On the foot, drawthe portion of the leg that will be sawn away ((AA)).On the face of the leg, mark the start of the taper((BB)). Now use the layout lines to mark a jig. The jigis simply a piece of 3⁄4-in. plywood that is longenough to encompass the leg and wide enoughto position your hands a safe distance from thesawblade (at least 6 in.).

Position the leg over the plywood so that the lay-out overhangs at the foot ((CC)) and the start of thetaper ((DD)). Now trace the leg and cut along thelayout lines with a bandsaw to create a notch thatthe leg will fit within ((EE)).

Now you’re ready to saw the taper. Set the ripfence to the full width of the jig ((FF)). Fit the leginto the notch and rip the taper on the first face((GG)); rotate the leg 90 degrees and rip the secondtaper on the adjacent face ((HH)).

The Table Saw198

AA

DD

EE FF

GG HH

BB

CC

See “Smoothing a Tapered Leg” on p. 152.➤

Page 209: Using Woodworking Tools

TTAABBLLEE--SSAAWW SSHHAAPPIINNGG

CCuuttttiinngg aa CCoovveeoonn tthhee TTaabbllee SSaaww

One of the most useful table-saw techniques iscove cutting. The concept is simple; by making aseries of cuts at an angled approach, you cancreate an elliptical cove. This is an efficient yetinexpensive method for shaping almost any sizeof cove for moldings and furniture parts. Thedepth of the cove is determined by the bladeheight on the final pass, and the angle of thefence determines the width of the cove.

Begin by marking the width and depth of thecove on each end of the workpiece ((AA)). You canuse a sawblade for cutting coves (a rip or combi-nation blade works best), but this speciallydesigned cove cutterhead from CMT leaves amuch smoother surface that requires very littlesanding ((BB)). Next, adjust the height of the cutteror blade to equal the depth of the cove ((CC)).

The next step is to position a fence at the correctangle ((DD)). Although finding the angle can seemdifficult, it’s really not. Using the layout on thestock as a guide, position the fence so that thecutter enters one edge of the cove ((EE)) and exitsat the opposite edge of the cove ((FF)).

((TTeexxtt ccoonnttiinnuueess oonn pp.. 220000..))

The Table Saw 199

AA

CC

EE

Slight angle to blade; nearly circular cove.

Moderate angle to blade; cove is narrower, slightly elliptical.

Steep angle to blade; cove is very narrow and elliptical.

DD

BB

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TTAABBLLEE--SSAAWW SSHHAAPPIINNGG

Woodworkers disagree about whether the fenceshould be positioned on the front or back of theblade. I prefer the back side because as I feedthe workpiece, I’m pushing against the fence.With the fence in front of the blade, you’ll inad-vertently push the stock away from the fence andspoil the cut. However, to end the debate, youcan use two fences; just position a second fenceparallel to the first one ((GG)). Use sturdy stock forthe fences and clamp them firmly to the top ofthe table saw.

With the fences clamped into place, you’re readyto cut the cove. Lower the cutter and take aseries of light passes ((HH)); use push blocks andraise the cutterhead approximately 1⁄16 in. eachtime ((II)). On the final pass, feed the stock veryslowly to minimize sanding ((JJ)).

The Table Saw200

GG

JJ

HH II

FF

WWAARRNNIINNGG WWhheenn ccuuttttiinngg ccoovveess

oonn tthhee ttaabbllee ssaaww,, ttaakkee vveerryy lliigghhtt ccuuttss,,

eessppeecciiaallllyy oonn tthhee ffiinnaall ffeeww ppaasssseess..

▲!

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SSEECCTTIIOONN 1111 OOVVEERRVVIIEEWW

The Jointer and Planer

➤ Face-Jointing (p. 209)

➤Tapering with aJointer (p. 210)

➤ Milling Square Stock(p. 211)

➤ Milling Flat Stock(p. 213)

UUssiinngg tthhee JJooiinntteerr JJooiinnttiinngg aanndd PPllaanniinngg

201

lowering the infeed table with a handwheelor lever increases the cutting depth. Afteryou joint one face and an edge, plane theworkpiece to final thickness and rip towidth using the jointed surfaces as referencesurfaces.

Although many old jointers have powerfulmotors mounted directly to the shaft of thecutterhead, most jointers today are drivenwith a belt-and-pulley system. All jointershave a fence that supports the stock duringedge jointing. As the knives become dull, thefence can be repositioned along the cutter-head to expose a less worn area. Althoughthe fence tilts for beveling edges, using thejointer this way is awkward at best; the workhas a tendency to slide down the fence and

The jointer and planer work as ateam to mill stock to final dimen-sions. The jointer is used to flatten

the face of a board and straighten the edge.The planer mills boards to the finishedthickness. Remember that a planer can’tremove twist or warp from a board unlessone face is flattened first.

TThhee JJooiinntteerr

The jointer is essentially an inverted planethat is used for truing faces and squaringedges when you’re milling stock to size. Thestock is first positioned on the infeed tableand pushed across the cutterhead, where itis supported by the outfeed table. The twotables are parallel but not in the same plane;

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Jointing and Planing202

Cutterhead with three knives

Fence- locking lever

Lock for fence tilt

Outfeed table

Rabbeting notch

Outfeed table adjustment wheel

Chip chute

Base

Motor, 3/4 hp to 2 hp, 3450 rpm

On/off switch

Depth of cut gauge

Infeed table adjustment wheel

Infeed table

Rabbeting arm

Fence

Cutterhead guard

Handle for adjusting fence

TTHHEE JJOOIINNTTEERR

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spoil the cutting angle. You’ll find that it ismuch easier to rip the bevel on your tablesaw and smooth the sawn surface with abench plane.

JJooiinntteerr SSiizzee

Six-in. jointers are common, but if you planto use wide lumber, you’ll want a jointerthat is closer to the size of your planer.Remember, it’s important to flatten stockon the jointer before planing it to thick-ness. If your budget allows, shop around foran 8-in. or even a 12-in. machine. If not,then you can always flatten wide boardswith a bench plane.

JJooiinntteerr TTuunnee--UUpp

Unlike a planer, a jointer does not needmany adjustments. For smooth, accuratecuts, it’s important to keep the knivessharp. When installed, either new or aftersharpening, the knives must be set at thesame height in the cutterhead. A magnetic

Jointing and Planing 203

This extra-large 16-in. jointer has adirect-drive motor.Newer jointers havea belt-and-pulleydrive system.

AAllll nneeww jjooiinntteerrss come equipped

from the factory with a guard; unless

you are changing the knives, there is

absolutely no reason to remove it.

The guard pivots out of the way to

expose the cutterhead as the stock is

pushed through. Afterwards, a spring

swings it back into position to cover

the spinning knives.

Here are additional safety guidelines:

• Always read and follow

manufacturer’s instructions.

• Use push sticks and push blocks

to distance your hands from the

cutterhead.

• Never joint stock less than

12 in. long.

JJOOIINNTTEERR SSAAFFEETTYY ➤

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knife-setting device will make this jobmuch easier. The other important adjust-ment is the outfeed table height: It shouldbe set even with (or tangent to) the cuttingarc of the knives.

After setting new knives in the cutter-head, you may need to make a slight adjust-ment to the outfeed table. If too low, theknives will snipe the trailing end of theboard as the cut is completed. If the table istoo high, it will cut a progressively convexface or edge. Once the outfeed table is set atthe correct height, lock it tightly. You shouldnever have to adjust it until you sharpen orchange the knives. Finally, check the fencefor squareness to the table.

Jointing and Planing204

Infeed and outfeed tables must be parallel with each other and with the cutterhead.

Feed direction

Outfeed table Infeed table

Height of infeed table adjusts depth of cut.

Surface of outfeed table is tangent to cutting circle of knives.

JJOOIINNTTEERR TTAABBLLEE AALLIIGGNNMMEENNTT

Use a good combination square or machin-ist’s square to set the jointer fence squareto the table.

Setting all the jointer knives at the same height is cru-cial to the machine’s operation. A magnetic jig makesthe task easier.

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TThhee PPllaanneerr

The planer smoothes and sizes stock to finalthickness. Although you can do this choreby hand with a bench plane, it makes senseto reduce this labor-intensive task to a fewminutes with a power planer. However,it’s important to remember that a planerdoes not remove warp in a board, so youmust first flatten the stock with a jointer orbench plane.

Not too many years ago, planers werebulky, heavy, and expensive, which positionedthem out of reach for many woodworkers.Fortunately, today there are a number of12-in.-to-15-in. planers that are rugged,compact, and affordable. Also, don’t overlookthe popular benchtop models; they are verylightweight and truly portable machines butstill do an effective planing job.

Jointing and Planing 205

A planer is a work-horse that efficientlysmoothes roughstock.

Benchtop planersare lightweight,compact, andaffordable.

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Jointing and Planing206

Serrated infeed roller is spring-loaded; holds workpiece firmly against planer bed.

Chipbreaker

Infeed planer bed

Feed direction

Bed rollers adjust up and down to regulate friction between board and planer bed.

Cutterhead

Pressure bar

Outfeed planer bed

Spring pressure screws

Outfeed roller is smooth steel or rubber.

Chips deflected by chip breaker are thrown out of machine by cutterhead, but a dust collector is recommended.

TTHHEE PPLLAANNEERR

To effectively tuneup your plane,you’ll need a dialindicator.

HHooww aa PPllaanneerr WWoorrkkss

With their system of feed rollers, bedrollers, pressure bar, chipbreaker, and cut-terhead, planers are among the most com-plex of woodworking machines. Each partplays an important role in the difficult taskof smoothing a board to a uniform andprecise thickness. Tuning is important, too.During tune-up, each part of a planer isprecisely adjusted in relationship to the bedor cutterhead. Fortunately, tuning a planerisn’t difficult once you take a few minutesto familiarize yourself with the variousparts and their functions.

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pulley system. The rpm are reduced to thefeed rollers through gear reduction.

The best benchtop planers feature a cutterhead lock to prevent sniping the endof the stock. And don’t forget the dust-collection hood. If it’s not standard equip-ment with your machine, it is an accessoryworth purchasing or making yourself.

Jointing and Planing 207

Most benchtopplaners feature acutterhead lock tominimize sniping.

Planer knives mustbe replaced oncethey start tobecome worn and dull.

The cutterhead typically holds three knives,but large industrial planers may have four,while benchtop models usually have two. For asmooth surface you’ll need to change theknives occasionally, depending on how oftenyou use the machine. A cast-iron table sup-ports the work as feed rollers move it throughthe machine. The infeed roller is serrated toprovide a firm grip on rough stock. To avoidmarring the freshly planed surface, the outfeedroller is smoothly machined steel or coatedwith rubber. Bed rollers, located below thefeed rollers, help reduce friction as a boardmakes its short trip through the machine.

As each knife lifts a shaving, the spring-loaded chipbreaker applies pressure to theboard to “break” the chip, which helps limittearout. The curved contour of the chip-breaker also serves to deflect the chipstoward the dust collector. The pressure bar isalso spring-loaded and helps prevent “chat-ter,” or vibration of the board, as each knifecontacts the stock.

Power is supplied from the motor to thecutterhead and feed rollers with a belt-and-

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Despite appearances, a freshly planedboard isn’t truly flat but is a series of ridgesthat are cut as each knife takes a “bite”from the board. The spacing of the ridgesvaries with cutterhead speed and feed rate.Slower feed rates and/or higher cutterheadspeeds will reduce the space between eachridge. Some planers have two speeds for thefeed rate—a faster feed rate for efficientplaning, and a slower rate for a smoothersurface. I opt for the faster rate. Because Ialways “finish” each board by smoothing thesurface with a bench plane, ridge spacing isnot critical.

Jointing and Planing208

TTRROOUUBBLLEESSHHOOOOTTIINNGG PPLLAANNEERR PPRROOBBLLEEMMSS

Although there is a lot that can go wrong with a planer, most problems are easy to analyze and repair. Here’s a list of common problems and solutions.

PPRROOBBLLEEMM CCAAUUSSEE SSOOLLUUTTIIOONN

Ridges in stock Chip in knives 1. Shift one knife to left or right.2. Sharpen knives.

Stock hangs up 1. Pressure bar too low 1. Adjust height of inside planer pressure bar.

2. Bed rollers too low 2. Adjust height ofbed rollers.

3. Insufficient pressure 3. Increase spring tensionfrom feed rollers in feed rollers. Lower

feed rollers.

Surface of stock Knives are very dull Sharpen knives.burned or glazed

Ridges in stock are Pressure bar isn’t holding Increase spring tensionrough and irregular stock to table or lower the pressure bar.

Board turns diagonally Uneven feed roll pressure Adjust feed roll.in planer

Dust collection is a must with anyplaner.

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UUSSIINNGG TTHHEE JJOOIINNTTEERR

FFaaccee--JJooiinnttiinngg

Rough lumber should be flattened before it’splaned to thickness to remove the warp.Remember, a thickness planer doesn’t removewarp; it just smoothes the surface and reducesthe thickness. The jointer is like a large motorizedbench plane. Because the planer and jointer workas a team, it’s best to have a jointer that matchesthe size of your planer.

Begin by setting the cutting depth of the jointerto 1⁄32 in. Check along the edge and end of theboard to determine whether it’s bowed, which istypical. Always joint the face of a board that isconcave along its length; if you try to joint theconvex face, the board will follow the arc as it’sfed across the tables and will never become flat.Also, check the grain direction of the board todetermine the best way to feed it past the cutter((AA)). Position the board on the infeed table anduse push blocks to hold it down against the table((BB)). Use a push block to feed and guide the workacross the cutterhead ((CC)). As the stock passesthe cutterhead, transfer all the downward pres-sure to the outfeed table as you push ((DD)). If youallow the stock to rise from the outfeed table,even slightly, it will be convex rather thanstraight. After the first pass, you’ll notice thatwood has been cut away at each end of the stockas the jointer cuts a straight path ((EE)). One or twomore additional passes across the jointer willcomplete the job ((FF)).

Jointing and Planing 209

Feed directionGrain direction

Jointer cutterhead

RotationAA

BB CC

EE

FF

DD

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UUSSIINNGG TTHHEE JJOOIINNTTEERR

TTaappeerriinngg wwiitthh aa JJooiinntteerr

You can cut a taper on your jointer by taking sev-eral passes from the start of the taper. Begin bymarking a line at the start of the taper ((AA)). Next,set the cutting depth to 1⁄16 in. and position thestart of the taper just slightly beyond the arc ofthe cutterhead ((BB)). Now clamp a stop block tothe infeed table; position the stop block againstthe end of the stock.

With the setup complete, you’re ready to cut thetaper. Position the stock against the stop blockand carefully lower it into the spinning cutter-head. Once the stock contacts the table, feed it forward with push blocks ((CC)). Take several pass-es at 1⁄16-in. deep until the full depth of the taper isreached ((DD)). Repeat the process for each taperedface ((EE)).

Jointing and Planing210

AA

CC

EE

DD

BB

WWAARRNNIINNGG NNeevveerr lleett yyoouurr hhaanndd

ttrraaiill tthhee bbaacckk ooff tthhee wwoorrkkppiieeccee oonn tthhee

jjooiinntteerr.. AAllwwaayyss uussee aa ppuusshh bblloocckk,, eessppee--

cciiaallllyy ttoo gguuiiddee tthhee bbaacckk eenndd ooff tthhee

wwoorrkkppiieeccee..

▲!

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JJOOIINNTTIINNGG AANNDD PPLLAANNIINNGG

MMiilllliinngg SSqquuaarree SSttoocckk

Square stock is used often in furniture making forsuch items as table legs and bedposts. If you’restarting with a wide plank, rip it down first on thebandsaw.

The first step in jointing is to flatten a face.Afterwards, an adjacent face is jointed straightand 90 degrees to the first face. It’s easier to flat-ten a concave face; it has two surfaces resting onthe jointer table ((AA)) instead of just one ((BB)).Position a push block at each end and take a lightcut ((CC)). You’ll notice that the jointer will cut stockfrom each end of the workpiece ((DD)). Now takeone or two more passes until the workpiece issmooth and flat along the entire length ((EE)).

Now you’re ready to square an adjacent face.First, check the jointer fence for squareness tothe table and adjust it if necessary ((FF)). Next,position the workpiece on the jointer with the

((TTeexxtt ccoonnttiinnuueess oonn pp.. 221122..))

Jointing and Planing 211

AA

CC

EE FF

DD

BB

See “Ripping with a Fence” on p. 232.➤

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JJOOIINNTTIINNGG AANNDD PPLLAANNIINNGG

smooth, true face against the fence ((GG)). It’simportant to view the workpiece from the end;although it may appear to be against the fencewhen viewed from the top, it may not be makingfull contact ((HH)). Now joint the second face ((II)) andcheck the two surfaces for square. ((JJ))

Now you’re ready to plane the stock to final thick-ness ((KK)). Always position the jointed face downand remember to plane both the remaining twosurfaces ((LL)). Finally, square the end ((MM)) and usea stop to cut the piece to final length ((NN)).

Jointing and Planing212

GG

II

KK

MM NN

LL

JJ

HH

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JJOOIINNTTIINNGG AANNDD PPLLAANNIINNGG

MMiilllliinngg FFllaatt SSttoocckk

This process is used for sizing flat panels such asdrawer fronts, door panels, and tabletops. Beginby cutting the stock to a width and length that isapproximately 1⁄2 in. greater than the final widthand length. Reducing the stock size makes it eas-ier and more efficient to work. However, don’tcut the stock shorter than 12 in. because it’sunsafe to joint or plane at that length.

Next, position the concave face of the stock onthe jointer ((AA)). The convex face (opposite face)will have a tendency to rock, which makes itmore difficult to flatten ((BB)). Set the jointer for alight cut and use push blocks to feed the stockacross the cutterhead ((CC)). As you push the stock,keep it firmly on the outfeed table ((DD)). For safety,continue pushing the stock past the guard until itcloses against the fence ((EE)). The first pass willreveal the low spots on the board ((FF)). Now posi-tion the smooth, flat face down on the bed of the

((TTeexxtt ccoonnttiinnuueess oonn pp.. 221144..))

Jointing and Planing 213

AA

CC

EE FF

DD

BB

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JJOOIINNTTIINNGG AANNDD PPLLAANNIINNGG

planer and plane the stock to thickness ((GG)).Always check the grain direction of the board andfeed the stock accordingly ((HH)).

Next, joint one edge of the stock. As you jointthe edge, keep the face firmly against the jointerfence ((II)). Now rip the board to final width usingthe jointed edge as a guide against the fence((JJ)). Cut the first end 90 degrees to the edge((KK)), then use a stop to cut the board to finallength ((LL)).

Jointing and Planing214

GG

II

KK LL

JJ

Feed direction

Rotation

Grain direction

Planer cutterhead

HH

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BBaannddssaaww RRiippppiinngg

The Bandsaw

➤ Changing andTensioning Blades(pg. 223)

➤ Bandsawing TightCurves (p. 225)

➤ Bandsawing BroadCurves (p. 227)

➤ Cabriole Leg (p. 228)

➤ Ogee Foot (p. 230)

➤Tenons on theBandsaw (p. 235)

➤ Ripping Freehand(p. 231)

➤ Ripping on theBandsaw with aFence (p. 232)

➤ Resawing (p. 233)

TTuunnee--UUpp TTeecchhnniiqquueessCCuuttttiinngg

SSiimmppllee CCuurrvveessCCoommppoouunndd CCuurrvveess BBaannddssaaww JJooiinneerryy

215

from a prized plank, you’ll appreciate theunique features of a bandsaw.

The bandsaw’s versatility stems from itsthin, flexible blade, which is stretchedaround two or three wheels. Blade sizesrange from 1⁄16 in. for cutting intricate scroll-work to wide blades, to 3⁄4 in. or more, usedfor resawing and cutting broad, sweepingcurves. More on blades in a minute. Let’sfirst look at the other components of thisversatile tool.

BBaannddssaaww AAnnaattoommyy

The wheels of a bandsaw support the bladeand transmit power from the motor. Tocushion the blade, provide traction, and pro-tect the sharp teeth, wheels are fitted with

Like the table saw, the bandsaw is auniversal machine capable of per-forming many woodworking tasks.

But unlike a table saw, the bandsaw can’tcause a kickback—when the workpiece isthrown back at the operator by the blade.Also, the kerf of a bandsaw blade is only halfas wide as a kerf from a table saw. Thismakes the bandsaw ideal for ripping heavywarped stock that would bind and bog downa table saw. Of course, the bandsaw excels atsawing curves of almost any form—broad,tight, or compound. And the bandsaw is theonly machine that can resaw, which is theprocess of ripping a thick board into thinnerones. If you’ve ever wanted to create book-matched door panels or saw your own veneer

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tires. Tires are usually crowned in profile onsmaller bandsaws, which makes it easier totrack the blade. Large bandsaws typicallyhave flat tires that give better support toblades over 1 in. wide.

The diameter of the wheels determinesthe throat size, or the distance from the bladeto the column. Three-wheel bandsaws have alarger throat capacity because the wheelsform a triangle. But the small-diameterwheels on three-wheel saws tend to breakblades frequently as they flex the bladesharply through each revolution of the saw.Also, because of the inherent flex of theframe, three-wheel saws cannot adequatelytension most types of blades.

The Bandsaw216

Hinged cover

Column

On/off switch

Table

Enclosed stand

Table tilt lock knob

Dust collection port

Miter slot

Throat insert

Blade

Upper blade guides

Guidepost lock knob

Guidepost

TTHHEE PPAARRTTSS OOFF AA BBAANNDDSSAAWW

Tension adjustment knob

Tracking adjustment knob

BBAANNDDSSAAWW BBAACCKK VVIIEEWW

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The distance between the wheels deter-mines a bandsaw’s resaw capacity. For wood-workers who plan to do a lot of resawing,this is one of the most important features.And not all brands of bandsaws with thesame wheel diameter have equivalent resaw-ing capacities. So it’s smart to check thisimportant dimension when you’re shoppingfor a saw. Most 14-in. bandsaws accept anaccessory riser block that bolts into theframe to double the resaw capacity. This fea-ture, along with the compact size and attrac-tive price, makes 14-in. bandsaws a favoritein many home and professional shops.

To support the blade through the twistsand turns of cutting curves, bandsaws comeequipped with a pair of guides. The guidesuse either blocks or rollers to support theblade on each side. Thrust wheels supportthe blade from behind to keep it from beingpushed off the wheels. Having the guidestuned and adjusted is key to the top per-formance of your bandsaw.

The Bandsaw 217

Wheel diameter

Throat width (slightly less than wheel diameter)

Throat height (limits width of board that can be resawn)

Table width and length are approximately same as wheel diameter.

BBAANNDDSSAAWW SSIIZZEE FFAACCTTOORRSS

Bandsaw guides provide essential supportto the blade throughout the cut. These arethe upper guides; an identical pair ismounted below the table.

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The Bandsaw218

OOppeenn mmoosstt aannyy woodworking catalog,

and you’re sure to see pricey aftermar-

ket guides for your bandsaw. The idea

is often touted that the steel guide

blocks that are standard on most 14-in.

bandsaws are inferior. With plastic

blocks or ball-bearing guides, you’re

promised less heat, longer blade life,

and better blade support. But the fact

is that the steel block guides on your

saw can work as well or better than

aftermarket guides. First of all, block

guides have a broader surface area

than bearings and do a better job at

limiting blade flex through the twists

and turns of curve cutting.

Also, despite what you’ve heard,

block guides don’t overheat the blade

and shorten its life. The heat is caused

by the friction of cutting, just as your

thumbs get hot when pushing a

scraper. Instead of expensive guides,

purchase a bi-metal (high-speed steel)

or carbide-tipped blade, either of

which is designed to handle the heat

and rigors of resawing.

BBAANNDDSSAAWW GGUUIIDDEESS➤

Blade

Thrust bearing

Guide block

Guide holder

Thrust bearing

Guide block

Guide holder

Lower guide assembly

Table

Workpiece

Upper guide assembly

Guidepost

TTYYPPIICCAALL BBAANNDDSSAAWW GGUUIIDDEESS

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The table supports the stock during cut-ting. Also, most tables tilt for angled cuts.Most bandsaw tables are milled with amiter-gauge slot, which allows you to makesurprisingly accurate crosscuts. Many band-saws also come equipped with a fence, whichmakes ripping accurate and effective.

The upper guide of a bandsaw is attachedto a post that adjusts vertically for variousthicknesses of stock. Attached to the post isa guard that serves as a barrier to shield yourhands from the moving blade. For your per-sonal safety, it’s important to lower theguidepost before turning on the saw.Position the stock next to the blade andadjust the guide so it is approximately 1⁄4 in.above the stock.

The wheel covers are another importantsafety feature. Always keep the covers inplace unless you are changing blades. Tomake changing blades more efficient, I pre-fer hinged covers and a quick-release catch.A large tension handwheel also makes it eas-ier to change blades.

The Bandsaw 219

The bandsaw is thebest choice for rip-ping thick stock.

This tension wheelis large and posi-tioned below thebandsaw wheel,making it easy toreach.

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formance from your saw, it’s best to changeblades. If you peruse the pages of a bandsawblade catalog, you’ll see a dizzying assort-ment of blade types. But understanding thebasics will help you sort through the choices.

Blade PitchPitch is the number of teeth per inch (ortpi). As on any saw, a greater number ofteeth will give a smoother, slower cut whilefewer teeth will give a faster, rougher cut. Agood rule of thumb is to select a blade thatwill place no fewer than 6 and no greaterthan 12 teeth in the stock at one time. Forexample, either a 6- or 10-tpi blade wouldbe a good choice for cutting 1-in. stock.

Tooth FormMost blade retailers offer three types of toothforms to choose from—regular, skip, andhook. Regular-tooth blades have a 0-degreerake angle, which yields a smooth cut. (Rakeis the angle of the tooth relative to the bladebody.) This blade is a good choice for smoothsawing of curves in stock 1-in. thick or less.

BBaannddssaaww BBllaaddeess

The blade is the heart of any bandsaw. Eventhe finest bandsaw will perform poorly withthe wrong blade or a dull blade. Unlike thaton a table saw, there is really no “combina-tion” bandsaw blade that will work for awide variety of cuts. To get the best per-

The Bandsaw220

Fewer than 6 teeth in the stock can cause vibration and rough cut.

You’ll get the best cuts when there are between 6 and 12 teeth in the stock.

With more than 12 teeth in the stock, the small gullets fill with sawdust and the blade overheats.

SSEELLEECCTTIINNGG TTHHEE BBEESSTT PPIITTCCHH

Pitch (number of teeth per inch, or tpi)

Rake angle (0° on this blade)

1 in. Gullet

Tooth tip

Tooth

Set

Width

Thickness

Weld

Back

PPAARRTTSS OOFF AA BBAANNDDSSAAWW BBLLAADDEE

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Like the regular-tooth form, the skiptooth has a smooth-cutting 0-degree rakeangle. As the name implies, every othertooth is omitted, so there are half the teethper in. of a regular-tooth blade. This config-uration creates a large gullet and placesfewer teeth in contact with the stock—idealfor sawing thick planks.

However, a better choice for resawing andsawing thick stock is the hook tooth. Similarto the skip-tooth design, this one also fea-tures large teeth and gullets, but its bladesalso have a positive rake angle that cuts moreaggressively than a skip-tooth blade, andwith less feed resistance. Hook-tooth bladesare a great choice for resawing and rippingthick stock.

Still another option is the variable-pitchblade. With this unique design, the teethvary in size but not in shape. Each tooth is ahook style, but the variable pitch minimizesharmonic vibrations, which helps improvethe smoothness of the cut. Variable-pitch

The Bandsaw 221

Regular0° rake angle

Skip0° rake angle

HookPositive rake angle

VariableTeeth vary in size (tpi) but not in shape.

TTOOOOTTHH FFOORRMMSS

• Always follow the manufacturer’s safety guidelines for your saw.

• Keep your fingers out of the path of the blade.

• Decrease feed pressure as you approach the end of the cut.

• Use push sticks when ripping or resawing.

• Keep the wheel covers shut when the saw is running.

• Adjust the upper guide approximately 1⁄4 in. above the workpiece

before starting the saw.

• Keep the blade guard in place.

• Disconnect saw from power source before changing blades.

• Always wear eye protection when working with the bandsaw.

BBAANNDDSSAAWW SSAAFFEETTYY➤

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a wide blade, the frames of many consumerbandsaws lack sufficient stiffness to ade-quately tension a wide blade, despite thetension-scale reading on the saw. Whenyou’re resawing, your bandsaw will cut astraighter path through that prized plankusing a narrow blade under sufficient tensionthan with a wide blade insufficiently ten-sioned. So although most 14-in. bandsawscan accept a 3⁄4-in.-wide blade, you’ll getbetter results resawing with a 3⁄8-in. or 1⁄2-in.blade. A great choice for resawing is a 3⁄8-in.or 1⁄2-in. variable-pitch hook-tooth blade.

When sawing curves, choose the widestblade that will fit the curve. Obviously a1⁄4-in. blade will follow curves of most anysize, but it will have a tendency to wanderif used for sawing broad curves. You’ll get amore accurate outline and spend less timefairing broad curves if you switch to awider blade.

blades are ideal for resawing, especiallyveneer. They cut quickly and aggressively yetleave a fine surface that requires little addi-tional smoothing and cleanup.

Blade WidthBlade width ranges from 1⁄16-in. blades forscrolling to large 2-in. blades that cut astraight path for ripping or resawing.Selecting the best blade width isn’t difficult,but there are a few things to keep in mind.

First, as blades increase in width, theyalso increase in thickness. A thick, wideblade requires more beam strength to ten-sion than a narrow, thin one. Also, thickblades need large-diameter wheels to preventexcessive bending stress and prematurebreakage. So check the manual with yourbandsaw, and don’t exceed the maximumblade width. In fact, although conventionalwisdom states that you’ll get a truer cut from

The Bandsaw222

Blade width

Minimum Cutting Radius

1 in.

7/8 in.

5/8 in.1/2 in.

3/8 in.

1/4 in.

3/16 in.

1/8 in.

1/16 in.

3/8 in.

33/4 in.57/16 in.

71/2 in.

5/16 in.

1/8 in.

17/16 in.21/2 in.

HHOOWW BBLLAADDEE WWIIDDTTHH AAFFFFEECCTTSS CCUUTTTTIINNGG RRAADDIIUUSS

Page 233: Using Woodworking Tools

TTUUNNEE--UUPP TTEECCHHNNIIQQUUEESS

CChhaannggiinngg aanndd

TTeennssiioonniinngg BBllaaddeess

You’ll get much greater versatility from yourbandsaw if you take a few minutes to change theblade as the need arises. For example, using awide blade to make tight curves will just bendthe blade, put stress on the guides, and burn thewood. And attempting to resaw with a dull bladewill bring nothing but disappointment.

To change the blade on your bandsaw, begin bydisconnecting the saw from its power source.Next, loosen the tension, remove the old blade,and open the blade guides ((AA)). Now begininstalling the new blade by hanging it over theupper wheel, then fit it around the lower wheel.Apply just enough tension to remove the slackfrom the blade.

The next step is to track the blade. While spinningthe upper wheel with your left hand, slowlyrotate the tracking knob with your right hand.Watch the blade as it rides the upper wheel andturn the tracking knob slowly to keep it centeredon the tire ((BB)). Once the blade is tracking well,increase the tension. Realize that you may haveto make slight adjustments to the tracking as thetension is increased.

For sawing curves in relatively thin stock, it isusually enough just to remove the slack from theblade until it is taut. However, when you’re ten-sioning a blade for resawing, it’s best to use atension meter ((CC)). If you don’t own a tensionmeter, try raising the upper guide all the way and

((TTeexxtt ccoonnttiinnuueess oonn pp.. 222244..))

The Bandsaw 223

AA

CC

BB

For information on blade selection, seep. 220.

Page 234: Using Woodworking Tools

TTUUNNEE--UUPP TTEECCHHNNIIQQUUEESS

deflecting the blade sideways with your index finger—obviously with the saw turned off and dis-connected from the power source ((DD))! With amoderate amount of finger pressure, the bladeshould deflect no more than 1⁄4 in. Obviously, thismethod isn’t nearly as precise as using a gauge,but with a little experience it works well.

The next step is to adjust the guides ((EE)). A scrapof paper or even a dollar bill works nicely as afeeler gauge ((FF)). Adjust each side guide evenly toavoid sideways blade deflection. Also, rememberto adjust the thrust wheels behind the bladeusing the paper feeler gauge. The thrust wheelsplay the important role of preventing the bladefrom being pushed off the wheels during sawing.

The last step is to check the squareness of thetable to the blade ((GG)). This step is critical if youare planning on resawing wide boards. If neces-sary, adjust the trunnions under the table to bringit into square.

The Bandsaw224

The thrust bearings and guides surround the blade and keep it from bowing, twisting, or wandering in a cut. Adjust them so they are not quite touching the blade when idle.

Side view

Blade

Thrust bearing

Set the guide blocks slightly behind the blade gullet.

Set the thrust bearing 0.003 in. behind the blade.

Front view

Guide block

0.003 in.0.003 in.

Blade

Set the guide blocks 0.003 in. from the blade.EE

FF GG

DD

Page 235: Using Woodworking Tools

CCUUTTTTIINNGG SSIIMMPPLLEE CCUURRVVEESS

BBaannddssaawwiinngg TTiigghhtt CCuurrvveess

Bandsawing tight, decorative contours is one ofthe most common uses for the bandsaw. First,select a narrow blade that will fit through the con-tours of the pattern. Next, trace the pattern onthe stock ((AA)) and adjust the upper blade guideapproximately 1⁄4 in. above the workpiece ((BB)).

Before cutting curves, it’s important to plan thesequence of cuts. You’ll want to avoid backing upthrough a curve; the kerf will bind on the bladeand pull it off the wheels. Instead, try to avoidtrapping the blade in a corner, and if you mustback up, plan to back out of straight cuts ratherthan curves.

Begin by cutting inside corners of the profile ((CC)).This will create relief cuts. Also, look at the pat-tern for curves that don’t end at an inside cornerand saw these first ((DD)). As you approach a tightcurve, slow down and carefully follow the outline((EE)) to avoid miscuts and excess handwork later on.

((TTeexxtt ccoonnttiinnuueess oonn pp.. 222266..))

The Bandsaw 225

AA

CC

DD

BB

EE

Page 236: Using Woodworking Tools

CCUUTTTTIINNGG SSIIMMPPLLEE CCUURRVVEESS

Continue sawing the outer portions of the patternto gain access to the inner areas of the design((FF)). A short, straight relief cut ((GG)), followed byshort convex ((HH)) and concave curves ((II)), com-pletes the outline ((JJ)).

The Bandsaw226

FF

GG

JJ

HH

II

Page 237: Using Woodworking Tools

CCUUTTTTIINNGG SSIIMMPPLLEE CCUURRVVEESS

BBaannddssaawwiinngg BBrrooaadd CCuurrvveess

Broad, sweeping curves can be sawn with a nar-row blade, but you’ll find that you’ll saw moreaccurately and efficiently if you switch to thewidest blade possible for the curves—a 1⁄2-in.-wideblade, in this case ((AA)). As you saw the contours,position your hands on each side of the work-piece for the greatest control ((BB)). The end resultwill be a fair curve ((CC)) that needs only minorsmoothing with a spokeshave.

[[TTIIPP ]]WWhheenn ssaawwiinngg ccuurrvveess,, llaayy oouutt aa

ccrriisspp lliinnee.. SSaaww oonn tthhee wwaassttee ssiiddee ooff

tthhee lliinnee,, tthheenn ssmmooootthh tthhee wwoooodd rriigghhtt

ttoo tthhee llaayyoouutt lliinnee..

The Bandsaw 227

AA

BB

CC

Page 238: Using Woodworking Tools

CCOOMMPPOOUUNNDD CCUURRVVEESS

CCaabbrriioollee LLeegg

Compound curves are those that curve in twodirections simultaneously. Probably the mostfamiliar example is the cabriole leg. But manyexamples of contemporary furniture use com-pound curves as well. The technique for creatingcompound curves isn’t difficult. In fact, it takesonly a few minutes to saw most compoundcurves, and the results are exciting.

Start with a pattern of the curves. Trace the pat-tern onto two adjacent surfaces of the stock ((AA)).Realize, too, that some compound curves areasymmetrical, so they will use two different pat-terns, one for each adjacent face.

Now you’re ready to begin sawing. Because of thelong length of the leg in this example, I begin bysawing a “bridge” ((BB)), just an area of support thatremains until the end of the second sequence ofcuts ((CC)). Two short parallel cuts create the bridge((DD)). Next, start sawing the curve at the foot ((EE)),and follow the outline until it reaches the bridge ((FF)).Now turn the leg stock end-to-end and start a cut at

The Bandsaw228

AA

DD EE

FF

Cut this line first.

Bridge

Bridge

Rotate stock 90° to make the second cut.

When you saw a cabriole leg, bridges support the leg during the second cut. After completing the second cut, saw off the bridges.

CC

BB

Page 239: Using Woodworking Tools

CCOOMMPPOOUUNNDD CCUURRVVEESS

The Bandsaw 229

the knee ((GG)). Saw slowly and carefully to minimizehandwork when smoothing the curve ((HH)).

Once the front curves are complete, turn yourattention to the curved cut at the back of the leg((II)). Save this offcut and tape it back into position((JJ)); it has the layout for the adjacent curves.

Next, turn the leg 90 degrees and complete thesecond sequence of cuts ((KK)). Finally, cut off thebridge ((LL)).

GG HH

II JJ

KK LL

Page 240: Using Woodworking Tools

CCOOMMPPOOUUNNDD CCUURRVVEESS

The Bandsaw230

OOggeeee FFoooott

The ogee foot is a somewhat different exampleof a compound curve; instead of sawing two sur-faces on one piece of stock, first bandsaw twopieces of stock individually, join them with amiter, and then bandsaw them as an assembly.

Begin with patterns for the bracket outline as wellas the ogee contour. After cutting the miter andbandsawing the bracket outline, glue the twohalves together to create a foot.

Position the foot on a support stand, and clamp itinto place ((AA)). Now you’re ready to bandsaw theogee contour, but first check the table and bladefor square ((BB)). Slowly and carefully bandsaw thefirst face ((CC)). The outline for sawing the secondface will be revealed in the miter ((DD)). Saw alongthe outside of the miter line, then sand the sur-faces smooth.

AA

DD

BB CC

Page 241: Using Woodworking Tools

BBAANNDDSSAAWW RRIIPPPPIINNGG

The Bandsaw 231

RRiippppiinngg FFrreeeehhaanndd

oonn tthhee BBaannddssaaww

Ripping thick, rough stock is much safer andmore efficient on the bandsaw than on the tablesaw. Unlike a table saw, the bandsaw can’t kickback. And the thin blade of the bandsaw won’tbog down in thick stock.

Begin by marking a layout line ((AA)). Select a 1⁄2-in.or wider blade and adjust the upper guide to thethickness of the stock ((BB)). As you rip the stock,you may have to adjust the angle of the workslightly to compensate for blade drift ((CC)). Positionyour hands on each edge of the stock for greatestcontrol ((DD)). As you exit the stock, reduce the feedpressure, and keep your thumbs out of theblade’s path ((EE)).

AA

CC

EE

DD

BB

Page 242: Using Woodworking Tools

BBAANNDDSSAAWW RRIIPPPPIINNGG

RRiippppiinngg oonn tthhee BBaannddssaaww wwiitthh aa FFeenncceeThe bandsaw can make surprisingly accurate rip-cuts. The key is to use a fence. However, somebandsaws don’t rip in a path that is square to thetable, a phenomenon called drift. The solution isto angle a wood fence to compensate for thedrift ((AA)).

Start by marking a line parallel to the edge of theboard ((BB)). Next, use a 1⁄2-in.-wide blade and cutfreehand along the line; as you carefully followthe line, you will naturally feed the stock at anangle to compensate for the drift ((CC)). About mid-way down the board, stop the saw and clamp aboard along the edge of the stock to serve as afence ((DD)). As you continue to rip the stock, dis-tance your fingers from the blade by using a pushstick ((EE)).

The Bandsaw232

BB CC

EEDD

Set-up board

Lay out line Bandsaw

Fence

Drift AA

Page 243: Using Woodworking Tools

BBAANNDDSSAAWW RRIIPPPPIINNGG

RReessaawwiinngg

Resawing is the process of ripping a thick boardinto thinner ones. You can use this technique forcreating book-matched panels ((AA)), matchingsheets of veneer, or just saving lumber whenbuilding small projects. It’s a great technique thatcan only be done on the bandsaw. But first you’llneed to select a blade for resawing. For thisdemonstration I’m using a 3⁄8-in., 3-tpi hook-toothblade ((BB)).

[[TTIIPP ]] IIff yyoouu oowwnn oonnee ooff tthhee mmaannyy 1144--iinn..

bbaannddssaawwss oonn tthhee mmaarrkkeett,, yyoouu ccaann ddoouubbllee

tthhee rreessaaww ccaappaacciittyy,, ffrroomm 66 iinn.. ttoo 1122 iinn..,,

wwiitthh aa rriisseerr bblloocckk..

To resaw accurately, it’s best to use a tall fence toprovide support to the entire width of the work-piece. You can attach a wide board to the ripfence on your bandsaw, or you can make a fencefrom plywood ((CC)). Begin the process by settingthe fence at the drift angle. Mark a stick to thewidth that you want to resaw ((DD)) and cut free-hand along the line ((EE)). When you reach thehalfway point along the length of the stick, stop

((TTeexxtt ccoonnttiinnuueess oonn pp.. 223344..))

The Bandsaw 233

AA

BB

DD

EE

Base

Brace

All parts are high-quality plywood or MDF.

The fence face is high enough to support wide boards.

Attach the point fence to resaw curves; remove it for straight resawing.

CC

Page 244: Using Woodworking Tools

BBAANNDDSSAAWW RRIIPPPPIINNGG

The Bandsaw234

the saw. You will have naturally compensated forthe drift angle, if any, as you follow the line. Nowsimply position the rip fence next to the stick andsecure it to the table with clamps ((FF)). Now you’reready to begin resawing.

As you start the cut, keep the stock positionedfirmly against the fence ((GG)). Feed the workpieceslowly, be aware of the sounds and vibrations ofthe bandsaw, and adjust your feed rate if neces-sary ((HH)). As you approach the end of the stockreduce the feed pressure and use a block ofwood to complete the cut ((II)).

HH

II

FF

GG

Page 245: Using Woodworking Tools

BBAANNDDSSAAWW JJOOIINNEERRYY

The Bandsaw 235

TTeennoonnss oonn tthhee BBaannddssaaww

You can cut accurate tenons on the bandsaw ifyou use a wide blade (1⁄2 in. works well) and afence to guide the cut. As always, cut the mor-tise first, and then cut the tenon to fit. If youneed to adjust the fit, it is always easier andmore accurate to adjust the tenon.

Begin by laying out the face and shoulder of thetenon ((AA)). Then set the fence in position to cutalong the layout line of the tenon face ((BB)). Nowturn on the saw and make the cut ((CC)). A stickclamped to the fence works as a stop and makescutting multiple tenons fast and accurate ((DD)).

The next step is to cut the shoulder. Remove thefence and use a miter gauge to accurately guidethe cut ((EE)). Then rotate the workpiece and cut thesecond shoulder ((FF)) to complete the tenon ((GG)).

AA

CC

EE

GG

FF

DD

BB

Page 246: Using Woodworking Tools

center. Below the table is a powerful induc-tion motor that, unlike the universal motorin a router, is capable of delivering its ratedhorsepower all day long. The motor pro-duces horsepower through a belt-and-pulleysetup. Most shapers have a double pulleyarrangement that provides two speeds, typi-cally 7,000 and 10,000 rpm. Multiple speedsare important because larger-diameter cut-ters should be run at a slower speed thansmaller-diameter cutters.

The spindle is the heart of the shaper.While router collets are either 1⁄4 in. or 1⁄2 in., shaper spindles range in size from 1⁄2 in. in diameter to 11⁄4 in. The large sizeof shaper spindles, coupled with the rawhorsepower of an induction motor, is the

If you’ve ever used a table-mountedrouter to shape a simple molding orbevel the edges of a door panel, then, in

effect, you’ve used a shaper. Many of the fea-tures, cutter profiles, and even the tech-niques are the same. Still, the largest routeris no match for the size and horsepower of ashaper. Heavy cuts, such as in shaping raisedpanels, usually require several passes with therouter, but the shaper easily breezes throughheavy cuts in a single pass.

SShhaappeerr AAnnaattoommyy

Compared to most other woodworkingmachines, the shaper is quite simple indesign—a heavy cast-iron top with a verticalspindle protruding through a hole in the

SSEECCTTIIOONN 1133 OOVVEERRVVIIEEWW

236

The Shaper

➤ Shaping Part of anEdge (p. 242)

➤ Shaping the EntireEdge (p. 243)

➤ Raised-PanelShaping (p. 244)

➤ Shaping a CurvedCasing (p. 246)

SShhaappiinngg EEddggeess SShhaappiinngg aa FFaaccee

Page 247: Using Woodworking Tools

SSEECCTTIIOONN 1133 OOVVEERRVVIIEEWW

The Shaper 237

Dust shroud

SpindleInsert ringOutfeed

fence

Spindle lock

Power switch

Handwheel adjusts spindle height.

Access door to motor

Miter-gauge slot

Cast-iron table

Infeed fence

TTHHEE SSHHAAPPEERR

Page 248: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

meat and potatoes of the shaper, enabling itto drive large cutters through dense stock.

Typically, shapers and table-mountedrouters spin counterclockwise, and the stockis fed from right to left. Yet by reversing theshaper spindle direction and inverting thecutter, you can feed the stock from left toright. This unique feature gives the shapertremendous versatility and can make certainoperations safer.

Like a table-mounted router, a shaper hasa fence that guides the stock in a straightpath past the cutter. The fence has inde-pendently adjustable halves and locks to thetable to support the stock. For the best stocksupport and greatest margin of safety, thefence opening should be adjusted to be assmall as possible. In fact, sometimes the bestfence is one you make yourself.

The Shaper238

Most shapers areequipped with areversing switchthat adds greatly totheir flexibility.

This customizedfence provides thegreatest support to the workpiecewhen you’re cuttingrabbets.

Page 249: Using Woodworking Tools

SSEECCTTIIOONN 1133 OOVVEERRVVIIEEWW

Fortunately, you can do a lot of shaping witha few basic profiles, a square-edged cutter,and perhaps a panel-raising cutter.

There are basically two types of shapercutter: carbide-tipped wing cutters, and inter-changeable high-speed-steel (HSS) cutters,or knives that get inserted into a cutterhead.

Wing CuttersLike a carbide-tipped sawblade, wing cuttersincorporate a steel body with separate car-bide tips that are brazed permanently inplace. There may be anywhere from two to

A miter-gauge slot is milled into the top,parallel to the fence. A miter gauge providessupport for shaping the ends of stock and isusually used in conjunction with the fence.

SShhaappeerr CCuutttteerrss

Much of the expense in operating a shaper isin the cost of the cutters. Although a combi-nation and rip blade are usually all that isneeded for a table saw, each shaping opera-tion requires a cutter with a unique profile.Also, a single cutter profile often costs muchmore than a blade for your table saw.

The Shaper 239

All woodworking machines are inherently dangerous,

but the shaper has a reputation for being especially

dangerous. Much of this stems from the complexity

of the setups involved with the shaper, although the

shaper is a simple machine. Woodworkers who are

new to the shaper should first gain plenty of experi-

ence using a table-mounted router. Although the two

machines share many of the same techniques, the

table-mounted router is much smaller, less powerful,

and a good machine to begin on. Also, keep in mind

that shaping curves requires much more knowledge

and skill than shaping straight stock. So limit yourself

to shaping straight stock until you’ve gained plenty of

experience. As one who has used a shaper for over

25 years, I can speak to the fact that this machine can

be both productive and safe. Here are some addition-

al safety guidelines I follow when I step up to the

shaper:

• Read and follow the manufacturer’s guidelines that

come with your shaper.

• Always feed the stock against the cutter rotation.

For example, when the cutter is rotating counter-

clockwise, feed the stock from right to left.

• Always use a guard. If the supplied guard will not

work, purchase an aftermarket guard or make one

of your own.

• Use safety devices, such as featherboards, push

sticks, and push blocks, to help hold the work and

distance your hands from the cutter.

• Take light cuts—heavy cuts create tremendous feed

resistance and will often cause a kickback.

• Avoid shaping small stock. Instead, shape large

stock, then cut it down to a smaller size.

• Keep the fence opening as small as possible for the

greatest support of the stock.

• Disconnect the shaper from its power source when

making setups.

SSHHAAPPEERR SSAAFFEETTYY➤

Page 250: Using Woodworking Tools

SSEECCTTIIOONN 11 OOVVEERRVVIIEEWW

five wings, but three-wing cutters are typical.Good-quality wing cutters are sharp, bal-anced, and extremely smooth-cutting.They’re convenient, too. Just slip them overthe spindle and lock them into place. Wingcutters also have the versatility for shapingstraight or curved stock. Straight stock isguided by the shaper fence; for shapingcurved stock, a bearing is mounted on thespindle above or below the cutter. The bearing guides the workpiece and limits the cutting depth.

Insert CutterheadAs the name implies, an insert cutterheaduses individual knives that are inserted intothe cutterhead and locked into place. Thehead is machined from a solid block ofsteel or aluminum, and the knives aresecured with a mechanical interlock andmachine screws. The mechanical interlockmay be a pair of holes in the knives thatengage with steel pins in the head, or cor-rugations in the knives that mate withmatching corrugations in the head. Oncethe knives are inserted, they are locked into

The Shaper240

Carbide-tipped wingcutters are sharp,balanced, andsmooth-running.

High-speed steel (HSS) insert knives

Solid aluminum or steel cutterhead

Locking wedge secures each knife.

Grooved face of knives interlocks with grooved surface in cutterhead.

SSHHAAPPEERR CCUUTTTTEERRHHEEAADD

Page 251: Using Woodworking Tools

SSEECCTTIIOONN 1133 OOVVEERRVVIIEEWW

One potential drawback: Unlike carbide-tipped cutters, HSS knives can’t be used onman-made materials like MDF or plywood.

place with dovetailed wedges. Althoughmore time-consuming to set up, insert cutterheads are an economical alternativeto carbide-tipped wing cutters. While thecutterhead requires an initial investment,the profile knives are generally less expen-sive than a similar carbide wing cutter.And when set up correctly, insert cutter-heads are safe. In fact, your jointer andplaner both use a form of insert cutterheads.

The Shaper 241

PPoowweerr ffeeeeddeerrss mmoouunntt to the tops of

stationary equipment to feed stock at a

uniform rate. They’re most useful on

shapers for profiling miles of moldings

but also work effectively on table saws

during ripping.

Power feeders have several advan-

tages over hand feeding. They make

large-scale jobs less tiring and much

more efficient; they eliminate burning

and irregular mill marks associated with

the inconsistencies of hand feeding; and

they increase safety by keeping the oper-

ator’s hands well clear of the blade or

cutterhead.

Power feeders are available in a range

of sizes for different applications. An

induction motor drives several rubber-

coated wheels through a system of

gears. The gears reduce the rpm to the

wheels, allow for speed changes by

switching gear sizes, and provide plenty

of torque without loss of power. The

rubber-coated feed rollers are spring-

loaded and apply pressure to the stock.

The entire unit is supported by a pair of

steel columns that, along with couplings

that swivel and pivot, allow for universal

adjustment.

The vertical column is mounted to

a cast-iron base that is bolted to the

machine top. Location of the base is

important. You’ll want to avoid obscuring

the fence on the machine yet make

certain that the base is close enough to

the action that the feed unit will reach

the stock.

Once the base is mounted, the feeder

unit can be adjusted to feed either hori-

zontally or vertically (edge or face of the

stock). In fact, it can even be adjusted for

feeding curved stock.

PPOOWWEERR FFEEEEDDEERRSS➤

Page 252: Using Woodworking Tools

SSHHAAPPIINNGG EEDDGGEESS

SShhaappiinngg PPaarrtt ooff aann EEddggee

The most common shaper technique is edgeshaping. It’s used to embellish the edges oftabletops and also for making molding strips.Narrow molding strips should be shaped onwider stock, then ripped to final size. If you’renew to the shaper, edge shaping is a good placeto begin ((AA)).

The first step is to mount the cutter. Wheneverpossible, position the cutter to cut the lower edgeof the workpiece ((BB)). This is generally safer thancutting from the top because the cutter is buriedunder the workpiece. But also make note of thespindle direction—usually it’s counterclockwisewith the stock moving from the right side to theleft ((CC)). Fill the unused portion of the spindle withcollars ((DD)) and secure the cutter with the spindlenut ((EE)). Next, adjust the height of the cutter byraising or lowering the spindle; a square posi-tioned next to the cutter makes it easy to make aprecise adjustment ((FF)). Now adjust and lock thefence into place ((GG)) and position a guard over thefence opening. If your shaper lacks a guard, athick plank clamped to the fence works well ((HH)).Before turning on the power, always spin the cut-ter by hand to make sure it clears the fence andguard. Finally, feed the stock against the rotationof the cutter ((II)).

The Shaper242

AA

Cutter rotationCutting circle

Infeed fence

StockFeed stock against cutter rotation.

Depth of cut

Outfeed fence

CC

BB

DD EE

GG

II

FF

HH

Page 253: Using Woodworking Tools

SSHHAAPPIINNGG EEDDGGEESS

SShhaappiinngg tthhee EEnnttiirree EEddggee

When shaping a molding profile that cuts theentire edge ((AA)), you’ll need to adjust the outfeedfence forward to compensate for the loss ofstock. This is the same principle that a jointerworks on: The outfeed table is set higher thanthe infeed table. After setting up the cutter andfence, begin by shaping 2 or 3 in. of the work-piece ((BB)), then turn the motor off. Note the gapbetween the molded profile and the outfeedfence ((CC)). With the power still off, use the adjust-ment knob on the back of the fence to moveeither fence so that the workpiece makes con-tact with the outfeed half of the fence ((DD)). Nowcomplete the shaping process.

[[TTIIPP ]] WWhheenneevveerr pprreeppaarriinngg ssttoocckk ffoorr tthhee

sshhaappeerr,, aallwwaayyss mmaakkee aann eexxttrraa ppiieeccee ttoo bbee

uusseedd ffoorr sseettuupp..

The Shaper 243

AA

CC

DD

BB

Page 254: Using Woodworking Tools

SSHHAAPPIINNGG EEDDGGEESS

RRaaiisseedd--PPaanneell SShhaappiinngg

Frame-and-panel construction is used for doorsand casework. Raised-panel cutters are large indiameter and require a large fence opening. Tominimize the risks associated with a large cutter,I use a box fence that surrounds the cutter andeliminates the fence opening ((AA)).

Begin setup with a ball-bearing rub collar ((BB)). Thisaccessory limits the depth of cut, so choose adiameter that’s right for the depth of cut you want.For example, if the cutter is 3 in. in diameter andyou want a 1-in. depth of cut, the rub collar shouldbe 1 in. in diameter. Next, slip the cutter into place((CC)) and secure the spindle nut ((DD)).

Slide the box fence into position around the cut-ter and use a straightedge to align the fenceedge with the rub collar ((EE)). When properlyaligned, the edge of the fence is tangent with

The Shaper244

Dust-collection hose

Fence holds work down and protects hands.

Clamp fence to shaper table.

Box fence is made from 1-in. thick stock.

Loosen wing nuts to adjust fence height.

1/4-in. plywood base

3/8-in Plexiglas allows you to see cutterhead.

End viewWorkpiece Fence

Workpiece rides against 1/4-inch plywood base.

AA

BB

DD EE

CC

Page 255: Using Woodworking Tools

SSHHAAPPIINNGG EEDDGGEESS

The Shaper 245

the rub collar ((FF)). This, in effect, creates a zero-clearance opening that dramatically increases themargin of safety because the workpiece can’t betipped or pulled into the cutter. Secure the fenceto the table with a pair of clamps ((GG)). To com-plete the setup, attach the front of the box fence,using the workpiece to set the height ((HH)).

When you’re shaping the end of a board, such asa panel, the trailing end has a tendency to splin-ter. The remedy is to shape the ends first ((II)), thenthe edges ((JJ)). The finished panel is ready forsanding and assembly within its frame ((KK)).

FF

HH

JJ KK

II

GG

Page 256: Using Woodworking Tools

SSHHAAPPIINNGG AA FFAACCEE

The Shaper246

SShhaappiinngg aa CCuurrvveedd CCaassiinngg

A power feeder is a great accessory for yourshaper; it feeds the stock at a uniform rate, holdsit firmly to the fence and table to minimize chat-ter, and virtually eliminates the possibility of kick-back. The universal joints on the support columnof a power feeder provide a wide variety of usesfor this powerful tool. As you can see in thisphoto-essay, the power feeder can even be usedfor shaping curved stock, such as window casing.

Begin by setting up the shaper cutter first, thenthe fence. Notice that I’m using a curved “cradle”that is attached to a tall fence. Together the fenceand cradle support the stock on edge as the faceis shaped ((AA)).

Also, I’ve bandsawn the outer curve of the work-piece only; I’ll saw the inside radius after shaping.This method provides increased mass and sur-face area, which helps reduce vibration and cre-ates a broader surface for the feed rollers.

Next, adjust the angle of the feeder to push theworkpiece downward through the arc. Also,adjust the feeder so that the spring-loaded rollerscompress slightly to hold the workpiece firmly tothe fence ((BB)).

Before shaping, test the setup, using the powerfeeder but without the shaper running, to be cer-tain that the workpiece flows smoothly throughthe cradle ((CC)). Rotate the cutter so none of thewings are in the path of the workpiece. Nowshape the profile. Large profiles, like this windowcasing, are best shaped in several passes ((DD)).

AA

CC DD

BB

Page 257: Using Woodworking Tools

SSEECCTTIIOONN 1144 OOVVEERRVVIIEEWW

The Router Table

➤ Routing an Edge (p. 253)

➤ Routing End Grain(p. 254)

➤ Raising Panels (p. 255)

➤ Jointing Small Stock (p. 256)

➤ Shaping NarrowPieces (p. 257)

➤Template Routing (p. 258)

BBaassiicc RRoouuttiinngg AAddvvaanncceedd RRoouuttiinngg

247

A lthough, the router is aportable power tool, when a largerouter is mounted in a table, it

becomes a mini-shaper capable of shapingboth straight and curved moldings, raisingpanels, and even cutting joinery. While arouter table lacks the size and power of ashaper, it has other important advantages.For example, the small diameter of routerbits and guide bearings enables you to shapetight curves that a shaper can’t. Also, manyrouter bits—straight bits and dovetail bits,for example—cut on their ends, whichenables you to cut grooves, dovetails, andother simple joints that shapers can’t.Finally, don’t overlook cost. You can pur-chase several router bits for the cost of justone shaper cutter. Clearly, the router table is

a versatile tool, and an array of tables, fences,and accessories are available to add evengreater versatility. Let’s look at your optionsfor getting set up with this indispensable tool.

RRoouutteerrss

Routers range in size from diminutive 3/4-hplaminate trimmers to heavy-duty giants withmore than 3 hp and weighing around 20 lbs.Often woodworkers will begin with an aver-age router and quickly realize its limitations.You’re better off equipping your table with alarge router and reserving the smallermachines for handheld use. Also, don’t over-look the models with electronic variablespeed, a handy feature when you’re usinglarge-diameter bits.

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FFiixxeedd--BBaassee VVeerrssuuss PPlluunnggee--BBaassee

The debate over fixed-base or plunge-baserouters for table use has raged on for severalyears. I prefer the fixed-base for rigidity;there is typically less movement between therouter motor and the base. However, clearlythe best choice is a router lift. A router liftclamps to the motor and fits within thetable, so the router base isn’t needed. Thereare several advantages to a lift—it adds extraweight, reduces vibration, and makes heightadjustments easy. Best of all, bit changes andprecise height adjustments can be madefrom the tabletop without having to removethe router.

BBuuyy tthhee TToopp,, MMaakkee tthhee TTaabbllee

Router tabletops are relatively inexpensive,accurately made with CNC (ComputerNumerical Control) equipment, and comeequipped with a miter-gauge slot. However,the best table is one you make yourself. Thisway, you can customize the space under thetop for storage of router bits, wrenches, andother accessories.

The Router Table248

This router lift is heavy and rugged.

With a router lift, anut recessed in therouter tabletopallows you to makeall height adjust-ments from above.

A router lift willallow you to makebit changes withoutremoving therouter.

This customizedrouter table pro-vides plenty of stor-age for bits,wrenches, andaccessories.

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Carbide Versus High-Speed SteelCarbide has taken over in the woodworking-tool industry. Sure, carbide is more expensivethan HSS, usually around 5 to 10 timesmore, but it lasts 20 to 25 times longer. Soit’s definitely more economical in the long

Although you can make a fence for yourrouter table, the factory-made extruded alu-minum fences have several advantages. Theyfeature an adjustable opening, a T-slot forguards and featherboards, and dust-collectionhookup.

Finally, don’t overlook the power switch.Mount it where you’ll have quick access.

RRoouutteerr BBiittss

Today there are more router-bit profilesavailable than ever before. Lots of choicesmean greater flexibility and creativity, butthey can also be somewhat confusing. Let’sbreak it down.

The Router Table 249

You can easily access this power switchwithout having to reach under the table.

AAlltthhoouugghh mmoosstt rroouutteerr bits are small, routers and bits

deserve your respect. As with all power tools, you can enjoy

them safely by following a few safety guidelines.

• Large-diameter bits are for use in a router table only. Using

bits over 1 in. in diameter in a handheld router can easily

cause you to lose control.

• Take light cuts. Heavy cuts invite kickback. Move the fence

closer to the bit to reduce the cut, or switch to a larger pilot.

• Never climb-cut—always feed the stock from right to left.

• Distance your hands—use push sticks and push blocks to

keep your hands a safe distance from the bit.

• Avoid shaping small stock—shape a larger piece and reduce

it in size afterwards. If you must shape a small piece, build

an appropriate jig or secure the work within the jaws of a

wooden handscrew clamp.

• Always use a guard—if the fence didn’t come with a guard,

purchase an aftermarket guard or devise one of your own.

• Never start the router with the bit in contact with the stock.

• Don’t force the bit or overload the router.

• Secure the motor in its base before starting the router.

• Don’t bottom out the bit in the collet or partially insert the

bit. Instead, completely insert the bit, and then back it off

approximately 1⁄16 in.

RROOUUTTEERR TTAABBLLEE SSAAFFEETTYY➤

See “Shaper Safety” on p. 239.➤

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The Router Table250

TThhee mmoosstt iimmppoorrttaanntt maintenance associated

with your router is keeping the bits and collet

clean. The collet may lose its grip on a dirty or

rusty bit and spoil the cut or damage the shank

of the bit. You can remove surface rust and pol-

ish the bit shanks with an abrasive pad. Dirt

and pitch can build up on the collet, too, which

may limit its grip. A liquid tool cleaner will dis-

solve the buildup on bits, collets, and other cut-

ting tools. Finally, when inserting a router bit,

don’t allow the shank to bottom out against the

collet. As a collet is tightened, it pulls the bit

slightly downward; if the collet grips the slight

radius at the base of the shank, the bit will not

be held firmly.

CCOOLLLLEETT AANNDD BBIITT TTUUNNEE--UUPP➤

Abrasive pads are perfect for removing gunkbuildup from router-bit shanks.

Use a liquid cleaner to break down stubbornbuildup on bits and collets.

Don’t allow bits to bottom out in the collet.

Be sure to keep the router collet clean.

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run. But you can still walk into most anyhardware store and find inexpensive HSSrouter bits. And I still occasionally use one;they’re just the thing when I need a customprofile. I can easily modify HSS bits withmy bench grinder and hone the edge withslipstones. Don’t try that with a carbide bit.However, for most work, carbide is the wayto go. And when the bits do become dull, Idrop them off at the local sharpening shop.They have the equipment and skills to han-dle the job.

Quarter-Inch Versus Half-Inch Shank Hold a 1⁄4-in. and 1⁄2-in. shank bit side byside and compare; the decision on which isbetter is an easy one. Half-in.-shank bits arestronger and less prone to vibration. And thegreater circumference means they’re lesslikely to slip in the collet. However, I stillbuy a few 1⁄4-in. bits, mainly 1⁄4-in. straightbits. They fit my laminate trimmer (a small,one-handed router) and make quick work ofshallow mortises for hinges, locks, and otherhardware.

Router-Bit ShapesRouter-bit shapes can be divided into twobroad categories: joinery bits and profilingbits. Joinery bits are used to route simplejoints, such as grooves and rabbets, and morecomplex ones, such as interlocking dovetails.

Profile bits, in contrast, cut a decorativeshape, such as an ogee. Most profile bits cutbasic shapes, such as beads, chamfers, andcoves. Others, such as raised-panel bits, cut aprofile that no other bit can duplicate.

The Router Table 251

These bits are designed for cutting joints such asgrooves, rabbets, and dovetails.

Profile bits cut moldings, table edges, and other deco-rative shapes.

Large-diameter bits should always be run in a table-mounted router.

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Piloted Versus Non-PilotedThe pilot is a tiny ball bearing that ridesagainst the workpiece and guides the bit. Oninexpensive HSS router bits, the pilot is justan extension of the bit. As the bit spins, sodoes the pilot. I remember the first time Iused a router. It was junior high shop class,and I was using a table-mounted routerequipped with an HSS cove bit to profilethe edge of a small project. The pilot wasnaturally hot from the friction, and as itencountered a soft area of grain, it keptgoing. Needless to say, the scorched, irregu-lar profile wasn’t what I had in mind.

On today’s carbide-tipped bits, the pilot isa tiny ball bearing that slowly rolls along theedge of the stock as the bit does its thing. Itdoesn’t heat up, it doesn’t burn, and you caneven change bearing diameter to adjust thecutting depth. A pilot-guided bit is one ofthe best ways to shape curved work. But it’suseful when shaping straight stock, too. Itmakes fence alignment faster and easier, andthe pilot effectively reduces the size of thefence opening.

The Router Table252

You can change the cutting depth of many router bitsby switching to a different bearing diameter.

This unique bit is inverted on the shank and can shapeprofiles ordinary bits can’t.

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RRoouuttiinngg aann EEddggee

One of the most useful router techniques is toshape the edge of a tabletop or drawer front. Thesimple profile adds a bit of embellishment andsoftens the otherwise hard, square edge. Youcan also use this technique to create a strip ofmolding; first shape the edge of wider stock,then rip the molding free.

After selecting a profile and mounting the routerbit, use a square to accurately adjust the height((AA)). To set the fence, position it tangent to theguide bearing ((BB)). Before shaping, add a guard tothe setup ((CC)). If shaping the entire perimeter of aboard, shape the ends first, then the edges ((DD)).This technique will shape away any splintering onthe corners when you’re shaping the ends.

The Router Table 253

AA

CC

DD

BB

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The Router Table254

RRoouuttiinngg EEnndd GGrraaiinn

Shaping the ends of narrow stock can be a chal-lenge; the narrow surface doesn’t provideenough support along the fence. One solution isto use a miter gauge along with the fence andguide bearing on the bit.

First, set the fence tangent to the guide bearing((AA)). Next, measure the distance from the fenceto the table edge ((BB)). The distance must be equalat each end. Otherwise, the workpiece will eitherbind against or move away from the fence as it isfed with the miter gauge. Either way, the cut willbe uneven. A backup board attached to the mitergauge will provide extra support and help avoidtearout on the trailing end of the workpiece ((CC)).To complete the setup, use a small clamp tosecure the workpiece to the backup board ((DD)).Grip the clamp and the miter gauge and makethe cut ((EE)).

AA

CC

EE

DD

BB

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RRaaiissiinngg PPaanneellss

You can smoothly bevel the edges of door panelson your router table. This technique requires alarge bit, so as always, make certain that the bitshank is firmly gripped by the collet. Insert theshank fully and then back it out approximately1⁄8 in. ((AA)). Adjust the bit height for a light cut ((BB));you’ll want to take this cut in several passes toavoid kickback and overheating the router. Thenset the fence into position tangent to the guidebearing on the router bit ((CC)). The final step of thesetup is to use a guard; large bits like these areespecially dangerous if left exposed ((DD)).BenchDog, Inc., makes a barrier guard especiallyfor panel shaping ((EE)).

When shaping the panel, shape the ends first ((FF)),then the edges ((GG)). Raise the bit after eachseries of cuts until the full profile depth isreached.

The Router Table 255

AA

CC

GG

FF

DD

BB

EE

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JJooiinnttiinngg SSmmaallll SSttoocckk

You can use your table-mounted router, alongwith an offset fence and a straight bit, to joint theedges of stock that is too small for your jointer.The fence is just a plank of hardwood with a tinyopening for a 1⁄4-in. straight bit. After cutting theopening, use the jointer to cut 1⁄32 in. from theinfeed side of the fence. This will create a 1⁄32-in.cutting depth.

Next, clamp the fence into position ((AA)) so theoutfeed side is tangent with the cutting edge ofthe bit ((BB)). As you joint the edges of the stock,keep it in contact with the outfeed side of thefence to ensure a straight edge ((CC)).

The Router Table256

AA

CC

BB

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The Router Table 257

SShhaappiinngg NNaarrrrooww PPiieecceess

When you need a narrow strip of molding, it’sbest to shape a wider board and rip the moldingfree. This positions your hands a safe distancefrom the router bit and eliminates the vibrationassociated with shaping narrow stock. But if both

edges of a narrow strip must be shaped, thismethod won’t work. Instead, build an L-shaped jig ((AA)) to hold the work, add mass, and distance your hands from the bit ((BB)).

Begin by adjusting the router-bit height ((CC))

and setting the fence into position ((DD)). Then placethe work in the jig and use the fence to guide thecut ((EE)). Then rotate the stock to cut the second edge ((FF)).

1/4-in. plywood cap

Notched base

Thickness of base slightly less than thickness of workpiece.

Workpiece slips into notch in jig.

AA

BB

DD

FF

EE

CC

See “Shaping Part of an Edge” on p. 242.➤

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The Router Table258

TTeemmppllaattee RRoouuttiinngg

The most efficient method of shaping curves iswith a template. And template shaping is theonly way to shape an entire curved edge with arouter. The concept is simple: A template is fas-tened to the workpiece to guide the bit along thecontour.

Start by tracing the curves of the template ontothe workpiece ((AA)) and sawing the contour toremove the excess stock ((BB)). Leave between1⁄32 in. and 1⁄16 in. of stock outside your layout linesfor the router to trim. Next, attach the template tothe work ((CC)). Brads work well for small profilesand light cuts; just position them in an area thatwon’t be seen. For heavier cuts, you’ll want touse screws or toggle clamps. When using screwsto secure work within a template, be sure thatthe screws are out of the path of the router bit.Next, adjust the height of the bit to the work-piece and make certain that the bearing contactsthe template ((DD)).

Now you’re ready to begin shaping. Notice thatthe template extends beyond the workpiece ((EE)).This way, the bearing will contact the templatebefore the bit contacts the workpiece, ensuring asafe and smooth entry into the work. As youshape, follow the contours of the template andslow the feed rate when shaping “uphill” againstthe grain ((FF)). Curves that meet at an inside pointmay need a little handwork with a chisel or sand-paper to blend the profile ((GG)).

AA

CC

EE

GG

DD

FF

BB

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Drilling andMortising Tools

➤ Plugging ScrewHoles (p. 272)

➤ Drilling a Mortise(p. 273)

UUssiinngg tthhee DDrriillll PPrreessss UUssiinngg tthhee MMoorrttiisseerr

259

If you browse through the pages of a toolcatalog, you’ll see a vast number of bit stylesfor boring holes, as well as tools to drive thebits. The style of bit you choose depends onseveral factors: the hole diameter, the depthof the hole, and the importance of how cleanthe entry and exit of the hole needs to be. Ifyou’re going to stop the hole at a specificdepth, the shape of the bottom of the holemay also be important.

After boring a hole, it may be necessary tochamfer the edges for the head of a screw, orto plug the hole to hide the screw. There aretools for these tasks as well. The followingpages are an overview of what’s available

A lmost every woodworkingproject requires boring holes ofone kind or another, and many

require a number of precise holes bored to aspecific diameter and depth. For example,when fitting a door with hardware, you’llneed to bore small holes for tiny brassscrews. Bed bolts that secure the rails to thebedposts require large-diameter, deep holes.Many styles of chairs, such as Windsors,have holes in the seat for attaching the legs,arms, and back. And if you lack a mortisemachine, you can drill a series of holes toremove the excess stock and square themortise by hand with a chisel.

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and of information on how to choose thebest tool next time you need to bore a hole.

TTwwiisstt DDrriillllss

Undoubtedly, the twist drill is the most com-monly available tool for boring holes. Andtwist drills are easy to get your hands on, too.In fact, you can find them in almost anywoodworking catalog, home center, or localhardware store. They’re readily available insizes from 1⁄16 in. to 1⁄2 in. Best of all, twistdrills easily cut both wood and metal. Sobesides using them to bore holes in wood,you can use them around the shop to modifybrass hardware or attach an accessory powerfeed to the cast-iron top of a machine. Twistdrills cut cleanly and quickly, too. Althoughthey don’t cut the cleanest entry and exithole, they will do an acceptable job, especiallywhen freshly sharpened. However, as twistdrills become dull, the quality of the edges ofthe hole drops significantly. Also, twist drillshave an annoying tendency to wander whenyou’re starting a hole, so it’s a good idea tomark the location of the hole with an awl or

Drilling and Mortising Tools260

Motor

On/off switch

Handle

Hollow chisel and bit

Access door to chuck Hydraulic

spring

Support column

Fence

Hold down

Table

Base

Depth stop

BBEENNCCHHTTOOPP MMOORRTTIISSEERR

Sometimes the shape of the hole bottom isimportant.

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clean. Both twist-drill bits and brad-pointbits will stop cutting when the flutes becomeclogged, and small-diameter bits clog moreeasily than large ones. When boring a deephole, withdraw the bit occasionally to allowthe chips to escape. It’s also helpful to coatthe surface of the bit with a woodworkingtool lubricant before you begin drilling.Brad-point bits are commonly available insizes from 1⁄4 in. to 1⁄2 in.

punch before drilling. For drilling deep holes,twist drills are available in long lengths; youcan usually find these tools at hardwarestores or wherever electricians’ tools are sold.

BBrraadd--PPooiinntt BBiittss

Brad-point bits are designed exclusively forboring holes in wood. At first glance, a brad-point bit looks like an ordinary twist drill.The difference is in the point and spurs,which serve to accurately locate the hole andcleanly shear the wood that forms the hole’sedges. Good-quality brad-point bits tend tobe somewhat expensive, so I reserve their use for when the edges of the hole must be

Drilling and Mortising Tools 261

A punch dimples the surface, which helpsto prevent twist-drill bits from wandering.

The extra length ofelectricians’ bits willenable you to boredeep holes—forexample, whendrilling for bed bolts.

Brad-point bits aredesigned specificallyfor woodworking.

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perfectly concentric with the shank, so it’sgood practice to mark the center of the holewith an awl before beginning. Also, thepoint of a spade bit is long, so this tool maynot be the best choice for stopped holes.Even so, spade bits cut cleanly and quickly,and the price is within easy reach. As anadded advantage, spade bits are easy to mod-ify. For example, if you need a tapered orslightly undersized hole, you can carefullygrind the edges of the bit. Spade bits rangein size from 1⁄4 in. to 11⁄2 in.

FFoorrssttnneerr BBiittss

Forstner bits are unique among wood-boringbits. While most bits are guided by theircenters, a Forstner bit is guided by its rim.Because of its unusual design, the Forstnerbit can bore overlapping holes. If you try thiswith other styles of bits, they’ll wander intothe adjacent hole. The sharp rim also cleanly

SSppaaddee BBiittss

As the name implies, spade bits resemblespades. These simple tools are widely avail-able, inexpensive, and bore a remarkablyclean hole. An improved spade bit that hasrecently hit the market features spurs tocleanly shear the fibers for even betterresults. Spade bits are also available in extra-long lengths for boring deep holes. Thepoint of a spade bit isn’t always ground to be

Drilling and Mortising Tools262

Spade bits are inexpensive andwill bore a fairlyclean hole.

The improved ver-sion of the spadebit has a scoringspur so it will cut a cleaner entry than ordinary spadebits do.

Forstner bits cut amazingly sharp holes andcreate a flat bottom.

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shears the wood fibers to create a very pre-cise entry. It’s also the only bit that bores anabsolutely flat-bottomed hole. BecauseForstner bits tend to be expensive and diffi-cult to sharpen, I reserve their use for timeswhen the work requires a clean, precise hole.Let’s take a look at some other useful bits.

AAuuggeerrss

You may have a collection of augers left toyou by your grandfather; these old tools havebeen around a while. Despite their dateddesign, they’re still serviceable at times. I useaugers for boring large holes (those above1⁄2 in. in diameter), especially holes bored atangles other than 90 degrees. Augers arehand driven with a brace so you can bore thehole slowly and carefully. The point of anauger has a lead screw that bites into thewood and actually pulls the auger into the

Drilling and Mortising Tools 263

Forstner bits are guided by their edge andcan cut clean, overlapping holes.

Augers have asquare taper on theshank to fit into abit brace.

Augers are usefulfor boring largeholes or angledholes.

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tools, they don’t work quite as well as ordi-nary augers. With only one spur the expan-sion bit cuts slowly, and boring angled holesis difficult at best. And although it will cutholes of various sizes, it’s tedious to set upfor a precise diameter. Even so, an expan-sion bit can be useful for an occasional odd-sized hole.

SSppoooonn BBiittss

Spade bits resemble spades; spoon bits looklike—you guessed it—spoons. This isanother old-style bit that is still quite usefultoday. The unique shape of the spoon bitleaves a round bottom hole that is ideal forchairmaking. When you bore holes in achair leg to receive a tenon from thestretcher, the hole can weaken the leg. Thisis especially true if the bottom of the holehas sharp, square edges, like those from aForstner bit. Stresses on the completedchair can focus on the acute, inside cornerof the hole. The spoon bit alleviates theproblem by creating a round-bottomed

stock as you bore the hole. The rim of anauger has two spurs that cleanly sever thewood at the rim of the hole.

Expansion bits are probably best describedas adjustable augers. They feature one spurrather than two, and it slides into the headof the bit and locks into place with a singlescrew. Like most 19th-century multipurpose

Drilling and Mortising Tools264

The lead screw ofan auger pulls thebit through thewood.

The spur of an auger slices thewood with a wedging action.

An expansion bitcan be useful fordrilling odd-sizedholes.

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CCoouunntteerrssiinnkkss

The word “countersink” is both a noun and a verb. It refers to a shallow chamferedopening around a hole in which to fit thehead of a screw; it also refers to the toolused to create it. Countersinks are availablewith a single flute or multiple flutes.Surprisingly, a single-flute countersink cutsmore smoothly than the multi-flute style,which has a tendency to chatter. A unique

hole. Like augers, spoon bits have tapered,square tangs that are designed to fit withinthe jaws of a brace.

RReeaammeerrss

To shape a long taper into an existing hole,the reamer is the tool of choice. This bitactually shaves the side of a hole to a taper.The taper can accommodate a round,tapered tenon on a chair leg. This techniqueis used to construct a Windsor-style chair, inan ingenious method of construction thatcauses the leg of the chair to be driventighter into the seat each time someone sitsdown. Tapers have long been known to pro-vide incredibly secure joints. For example, adrive center in a lathe fits to the headstockwith a taper; it requires a knockout rod toremove it. Reamers are available for both thehand brace as well as an electric drill.

Drilling and Mortising Tools 265

A reamer is used to taper a hole to fit atapered leg.

The countersinkbevels the edge of ahole to fit the headof a screw.

Single-flute counter-sinks cut moresmoothly thanmulti-flute types.

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and very handy style of countersink bothdrills a hole and countersinks it with one bit.

Another specialty drilling tool is the self-centering bit. This neat device makes drillingfor hardware a snap. Simply position thetool in the mounting holes of a hinge anddrill. The hole will be perfectly centered—every time.

To accurately position large holes on center, I use a center punch. The hardened,conical tip produces a dimple in wood ormetal to keep bits from wandering as thehole is started.

DDrriillll SSttooppss aanndd GGuuiiddeess

Often it’s necessary to stop drilling at a spe-cific depth. Whether you’re boring largeholes for a bed bolt or small holes for tinybrass screws, it’s usually not necessary oreven desirable to bore completely through.Although you can purchase stop collars thatslip over the bit and clamp into place, I findthat a small wood block works as well. Ifthe exact depth of the hole is not critical, I

Drilling and Mortising Tools266

This bit drills andcountersinks in one step.

This bit centers itself when you’re drilling for hardware.

The tip of the toolaligns the bit withthe existing hole ina hinge or otherhardware.

A center punchmakes drilling holesmore accurate.

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just stick a piece of tape to the bit to showwhere to stop.

For drilling tiny holes for escutcheonpins or small nails, a brad works well as adrill. Just snip off the head and use it asyou would a twist drill. Technically speak-ing, the brad isn’t removing wood as it cre-ates a hole; it is only compressing thefibers. But this simple method works sur-prisingly well for small-diameter holes, andthe nail is less likely to break than a smallbit is.

If you would like to drill a perfectly per-pendicular hole by hand, then consider adrill guide. Some have a framework thatsupports a power drill, while others usehardened steel bushings to support the bit.

PPlluugg CCuutttteerrss

Using a screw to join wood certainly isn’tsophisticated joinery, but it works well insome situations and may even be the bestoption. To hide the head of the screw you

Drilling and Mortising Tools 267

A block of wood works well for a depthstop.

Another simpledepth stop is apiece of maskingtape.

For a tiny drill bit,just snip the headoff a brad.

A drill guide willenable you to boreaccurate holes with-out a drill press.

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DDrriivviinngg tthhee BBiittss

Although drilling a hole is certainly not ademanding task, it’s still helpful to have theright tool for the job. Power drills havebecome sophisticated with features such askeyless chucks, variable speed, reverse, andeven adjustable clutches for controlled powerdriving of screws. Best of all, they’re cord-less. The cordless drill is my favorite tool for boring a hole. It’s fast, powerful, andconvenient.

For speed and accuracy, it’s tough to beata drill press. With a drill press, you’ll getexact, perpendicular holes. The drill pressalso has a built-in depth stop. Although theshank of some bits is turned down to fit a3⁄8-in. chuck, it’s safer to bore large holes in adrill press. Bits with tapered, square tangsare designed specifically for a bit brace.

can cover it with a wooden plug. The bestplug cutters create a small taper on the wallsof the plug so that it fits snugly within thehole. A plug cutter works best in a drillpress; I use the stop on the drill press so the plugs are equal in length.

Drilling and Mortising Tools268

For power and convenience, it’stough to beat acordless drill.

A tapered plug cut-ter produces face-grain plugs that arenearly invisible afterfinishing.

Although large bits may have a smallshank, it’s best to use them in a drill press.

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Drilling and Mortising Tools 269

AA ddrriillll pprreessss has several advantages over a

portable drill for boring holes. The induction

motor has much greater torque so you can bore

larger holes; the holes will be perpendicular to

the face of the stock; and the built-in stop of a

drill press insures that the depth of each hole is

accurate and consistent.

The drill press is stone simple, a motor driv-

ing a drill chuck via a belt and pulleys. All drill

presses have multiple-speed step pulleys. A

table supports the stock; as the lever is pulled,

the chuck advances the spinning bit.

There are three types of drill presses from

which to choose—floor models, radial models,

and benchtop models. Of the three, I prefer a

benchtop drill press. I built a storage cabinet

for mine; the rows of drawers utilize space

wasted by a floor-model press. The radial-

model drill press allows you to drill angled

holes, but the setup is usually impractical; I find

it much easier to drill an angled hole with a

portable drill.

DDRRIILLLL PPRREESSSS OOPPTTIIOONNSS➤

A drill press is the most accurate tool for boring holes.

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SSEECCTTIIOONN 1155 OOVVEERRVVIIEEWW

TThhee MMoorrttiisseerr

The mortiser is a beefy little drill press thatbores square holes. Boring a row of overlap-ping holes creates a mortise. Years ago, if youwanted a mortise machine, you could choosebetween an expensive industrial model,which consumed more than its fair share offloor space, or an attachment for your drillpress. The drill-press attachment was time-consuming to install, and, of course, youcouldn’t bore round holes without removingit. Hardly an efficient method. I continued tocut mortises by hand until the benchtopmortisers were introduced. Although manybenchtop machines lack the size and muscleof their stationary cousins, this isn’t true with

Although the bit brace has been around forcenturies, the much-improved modern bracehas a ratcheting chuck and can be reversed ifnecessary.

Eggbeater drills can still be useful fordrilling small-diameter holes, and kids enjoyusing this simple, mechanical tool. Justmake sure to give them a scrap block forexperimenting.

Drilling and Mortising Tools270

Bits with a square,tapered shank aredesigned for use ina bit brace.

The old eggbeater-type hand drill canstill be useful for anoccasional small-diameter hole.

This is a compact version of the freestand-ing mortiser. Benchtop models are a goodchoice for most shops.

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SSEECCTTIIOONN 1155 OOVVEERRVVIIEEWW

A table supports the workpiece duringmortising. Some tables have an integralfence. To set up the location of the cut, thetable and fence move front to back. Onmany benchtop mortisers, the table andfence are separate units, and setups are madeby moving the fence fore and aft. A mostimportant feature is the depth stop, whichlimits the travel of the head so that all cutsare of the same depth.

benchtop mortisers. The better examples arerugged and powerful and have plenty ofcapacity for most mortises in furniture. Infact, some manufacturers have even devel-oped compact floor models with even greaterpower and capacity.

MMoorrttiisseerr AAnnaattoommyy

Mortise machines bore holes with a roundbit that fits within a square, hollow chisel.As this assembly is forced into the work-piece, the bit bores a round hole as the chiselsquares the corners. One side of the chisel isopen to allow the chips to escape.

The chisel fits firmly in a machined chuckand is held secure with a setscrew. The bit fits within the jaws of a drill chuck that ismounted directly to the shaft of the motor. Asthe feed lever is pulled, the entire assembly—bits, motor, and chucks—is lowered along avertical rack, or gear. A cast-iron column sup-ports the rack, motor, and boring assembly.

Drilling and Mortising Tools 271

A mortise is created by boring a row ofoverlapping holes.

Twist drill bits cut metal as well as wood; are relatively inexpensive.

Brad-point bits are precise, leave clean entry holes.

Spade bits are inexpensive, cut cleanly, come in large sizes, and can be sharpened easily with a file.

Forstner bits leave a flat-bottom hole and can drill over-lapping holes.

FFOOUURR TTYYPPEESS OOFF WWOOOODD BBIITTSS

Page 282: Using Woodworking Tools

UUSSIINNGG TTHHEE DDRRIILLLL PPRREESSSS

PPlluuggggiinngg SSccrreeww HHoolleess

To cut matching plugs for screw holes, chuck aplug cutter into the drill press, set the drill-pressstop, and drill a series of plugs. Make sure thatthe plugs are longer than the holes are deep ((AA)).Snap the plugs free with a screwdriver. Afterselecting a plug with grain similar to that of thewood surrounding the hole, dab a light coat ofglue on the plug ((BB)) and tap it into place ((CC)) witha hammer. Remember to align the grain for agood match. After trimming the excess with aflush-trimming saw ((DD)), smooth the surface witha block plane ((EE)).

Drilling and Mortising Tools272

AA

CC

EE

DD

BB

Page 283: Using Woodworking Tools

UUSSIINNGG TTHHEE MMOORRTTIISSEERR

DDrriilllliinngg aa MMoorrttiissee

You can cut a mortise by hand with a chisel andmallet. But a mortise machine speeds theprocess along. Begin by marking the mortiselocation ((AA)), then use a marking gauge to scribethe mortise walls ((BB)).

After setting the mortise location and depth onthe machine, begin by cutting the mortise at eachend ((CC)). This method ensures that the ends ofthe mortise are square. The mortise chisel willbore true when cutting on two sides or four. Butif the chisel cuts on three sides, as it does withoverlapping holes, it will have a tendency to slipinto the adjacent hole. Next, starting at one end,stagger the cuts ((DD)). Finally, make a second seriesof cuts to mortise out the remaining material ((EE)).

Drilling and Mortising Tools 273

See “Mortise-and-Tenon Joint” on p. 115.➤ AA

CC

EE

DD

BB

Page 284: Using Woodworking Tools

AAPPPPEENNDDIIXX

TTHHRREEAADD CCHHAASSIINNGG

Darlow, Mike. Woodturning Techniques.Melaleuca Press.

Jacob, John. Hand or Simple Turning.Holtzapffel, Dover Publications.

FFIINNIISSHHEESS

Finishes and Finishing Techniques. Taunton Press.Dresdner, Michael. The New Wood Finishing Book.

Taunton Press.

SSEETTTTIINNGG UUPP

Bird, Lonnie. The Bandsaw Book. Taunton Press.

Sandor, Nagyszalanczy. Woodshop Dust Control.Taunton Press.

SSHHAARRPPEENNIINNGG

Darlow, Mike. Woodturning Chucks and Jigs.Melaleuca Press.

Lee, Leonard. The Complete Guide to Sharpening.Taunton Press.

WWOOOODD

Alexander, John. Making a Chair from a Tree. Taunton Press.

Hoadley, Bruce. Understanding Wood. Taunton Press.

Malloff, Will. Chainsaw Lumbermaking.Taunton Press.

O’Donnell, Michael. Turning Green Wood.

WWOOOODDTTUURRNNIINNGG TTEECCHHNNIIQQUUEE

Mortimer, Stuart. Techniques of Spiral Work. Lyons and Burford.

Raffan, Richard. Turning Wood with Richard Raffan.Taunton Press.

Raffan, Richard. Turning Bowls with Richard Raffan.Taunton Press.

Raffan, Richard. Turning Boxes with Richard Raffan.Taunton Press.

FFUURRTTHHEERR RREEAADDIINNGG

Further Reading

274

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AAir cleaners, ambient, 43Air drying lumber, 16, 20–21Alternate-top bevel, 187–88Aluminum-oxide wheels, 169Arcs, 88–89, 138

Arkansas stones, 171Arms, clamping, 54–55

Assembly, 63–77Assembly workbench, 48–49, 68Augers, 263–64Awls, 89

BBacksaws, 26, 98Bailey planes, 127–28, 129Band clamps, 61Bandsaw guides, 217, 218Bandsaws, 38, 42, 215–35

anatomy of, 215–19changing blades on, 223–24for curves, 14, 215, 222, 225–29fence on, 232for joints, 38for resawing, 38, 215, 221, 222,

233–34for ripping lumber, 183, 221, 231–32safety for, 219, 231sawblades for, 42, 215, 220–24for tenons, 235for veneer, 222

Bar clamps, 57–59Bedposts, clamping, 50Bedrock planes, 127–29, 162–63Bench See WorkbenchBench chisels, 24, 97, 100Bench dogs, 48, 49Bench grinders, 32–33, 169Bench hook, 26, 51, 53, 54Bench planesanatomy of, 124–25Bailey, 127–28, 129buying, 142Lie-Nielson, 129–30restoring, 162–63sharpening, 170

Indextuning, 158–59types of, 126–30

uses for, 24, 34, 39, 53Benchstones, 33Bending curves, 14

Bevelalternate-top vs. flat-top, 187–88countersinks for, 265for edge tools, 25, 170Bevel gauge, 28, 31, 85Biscuit joiners, 34Bit brace, 263, 268, 270Bits, 42, 259, 260–66, 271Blades, saw See SawbladesBlock planes, 24, 25, 130–32, 142Boards See LumberBoxes, mitered, 75Brad-point bits, 261, 271

Brads, 267Burnishers, 174Butt hinges, 120–21

CCabinet edges, planing, 154Cabinet scrapers, 27, 34, 133–34, 174,

177Cabriole legs, 139, 228–29Calipers, 31, 81–82Carbiderouter bits, 249, 251, 252sawblades, 186–87sharpening, 32, 42Carbon steel, 42Carving chisels, 24C-clamps, 59, 61Center punch, 266Ceramic stones, 171–72Chamfer, 156, 259Chisels, 11, 24, 96, 97, 99–105

bench, 24, 97, 100carving, 24framing, 102gripping, 102–105Japanese, 101–102mortise, 101paring, 11, 100sharpening, 171, 175–76skew, 102storing, 48

Index 275

tuning, 122–23types of, 99–102Chopping, 11, 104Chopsaw, 35–37Circles, 88–89, 92–93, 138Clamping, 50–55bedposts, 50dovetail joints, 67, 69, 76drawers, 50–51edge joints, 51, 68, 71jigs for, 60laminations, 62legs, 50, 54–55, 72miter joints, 60, 74, 75mortise-and-tenon joints, 73for planing, 50–53pressure for, 67, 69rub joints, 70for sawing, 54shaped work, 54–55squeeze-out from, 68veneer, 62

Clamps, 23, 45, 53, 54–63bar, 57–59, 61C-, 59, 61deep-reach iron, 53handscrew, 23, 51K-body, 57pipe, 23, 54, 55, 56–57ratchet, 59spring, 62T-handle, 58toggle, 61

Collets, 250Combination planes, 144Combination power tools, 41Combination sawblades, 188Combination square, 28, 82–84Compass, 28, 88Compass planes, 138Compound curves, 91, 228–29, 230Compound miter saw, 37Concave profile, 138, 140Convex profile, 138, 140Coping saws, 26, 99Cordless drills, 33, 268Countersinks, 265–66Cove cutting, 199–200Cracks, filling, 77Creep resistance (Glues), 65

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white, 64–65yellow, 64–65

Gluing, 63–77dovetail joints, 67, 76edge joints, 71grain and, 8–10leg-and-rail assembly, 72miter joints, 74, 75mortise-and-tenon joints, 67, 73rub joints, 70strategies for, 67–68surface prepartion for, 64

Gougescarving, 102turning, 24, 42

Grain, 8–11crotch, 13end, 8–11, 52, 132, 150, 254gluing and, 8–10long, 8–11, 68planing and, 10–11, 126short, 14

Green lumber sealer, 21Grinders, 32–33, 169Growth rings, 12, 13Guitar soundboards, 13

HHalf-blind dovetail joints, 109–12Hammers, 30Handsaws, 26–27, 96–99

backsaws, 26, 98coping, 26, 99dovetail, 26, 98flush-cutting, 99Japanese, 26–27, 98–99panel, 98

Handscrew clamps, 23, 51Hand tools, 22–33, 39, 79–167

buying, 31, 41–42sharpening, 32–33, 168–77

Hardwood lumber, 19Heartwood, 9Hide glues, 65High-speed steel, 42, 249, 251Hinge mortise, 120–21Hinges, 120–21, 266Holdfasts, 53Hollow bevel, 170Hollow-chisel mortiser, 40Honing, 33, 171–73Hook angles, 187Hook tooth sawblades, 221

EEdge joints, 51, 68, 71, 149Edge shaping, 242–43, 253–54Edge tools, 24–27, 32–33, 170–71Edge-trim block plane, 132Eggbeater drills, 270Electrician’s bits, 261Ellipse, 29End grain, 8–11

planing, 52, 132, 150routing, 254

Epoxy glues, 65, 77Escutcheons, 50European Workbench, 48

FFace vise, 49Feetmitered, 74ogee, 230Figure, 8File brush, 166File handles, 166Files, 164–67Finials, 55Flatsawn lumber, 12Flattening lumber

jointers for, 39, 209, 213–14planes for, 51–52, 94, 146

Flat-top bevel, 187Flush-cutting saws, 99Flux brush, 66Folding-wood rule, 27, 80Forstner bits, 262–63, 271Frame-and-panel construction, 244–45Framing chisels, 102Framing square, 84French curve, 91

GGeometric constructions, 92–93Glued-up panels, 148Glues, 63–67

applicators for, 66–67epoxy, 65, 77hide, 65polyvinyl acetate (PVA), 65resorcinol, 65reversible, 65selecting, 45, 63–66urea resin, 65

IINNDDEEXX

Crosscut sled, 184Crosscutting lumber, 184, 185, 187–88,

193–94Crosscut tooth saws, 26, 97Crotch grain, 13Curves

bandsaw for, 14, 215, 222, 225–29bending, 14broad, 227clamping, 54–55compound, 91, 228–29, 230laminating, 14layout for, 80, 88–89, 92–93planing, 138, 157router tables for, 252shapers for, 246tight, 225–26

DDado heads, 188–89Dead-blow mallets, 30Deep-reach iron clamps, 53Diagonals, 95Dial calipers, 81–82Diamond plates, 172Dividers, 28, 29, 31, 80Dogs, bench, 48, 49Door panels, 244–45, 255Doors, planing, 53, 153Dovetail gauge, 86Dovetail joints, 105–14

bandsaw for, 38flush-planing, 154gluing and clamping, 67, 69, 76grain and, 9, 10half-blind, 105, 109–12layout for, 85–86leg-to-rail, 113–14table saw for, 197through, 106–108

Dovetail saws, 26, 98Drafting tools, 91–95Drawers, planing, 50–51Drill bits, 42, 259, 260–68, 270Drill guides, 266–67Drill press, 40, 268–69, 270, 272Drills

hand, 263, 268, 270power/cordless, 33, 268

Drill stops, 266–67, 268Drop-down stops, 47–48Dust collection systems, 42–43, 208

Index276

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AAPPPPEENNDDIIXXIINNDDEEXX

Index 277

Humidity, relative, 15, 18, 20Hydrometers, 18

II-beam bar clamps, 57Insert cutterheads, 240–41

JJack-rabbet plane, 136, 137Japanese chisels, 101–102Japanese dozuki saws, 98–99Japanese saws, 26–27, 98–99Jigs, clamping, 60Jigsaws, 34Jointers, 38, 201–04

for flattening lumber, 39, 209,213–14

for square stock, 211–12for tapers, 210

Jointsbandsaw for, 38edge, 51, 68, 71gluing and clamping, 10, 67–68, 69grain and, 8–10miter, 36, 52, 60, 74, 75planes for fitting, 135router tables for, 256rub, 70wood movement and, 15See also Dovetail joints; Mortise-and-

tenon joints

KK-body clamps, 57Kerf, 96–97, 98–99, 215Kickbacks, 181–85, 215Kiln-dried lumber, 15, 16Knives, 87, 90, 104

LLaminate trimmers, 251Laminations, 14, 62Lathes, 40–41Layout knife, 29Layout procedures and tools, 27–29, 90Leather strops, 173Legs

cabriole, 139, 228–29clamping, 50, 54–55, 72smoothing, 167

tapered, 152, 198Leg-to-rail assembly, 69, 72, 113–14Lie-Nielson Planes, 126, 129–30Lighting, 22, 49Lock mortise, 118–19Long grain, 8–11, 68Lumber

air drying, 16, 20–21buying, 19crosscutting, 184, 185, 187–88,

193–94flatsawn, 12flattening, 39, 51–52, 94, 146, 209hardwood, 19kiln-dried, 15, 16moisture content of, 15, 16–19, 20narrow, 257quartersawn (radially sawn), 12–13ripping, 183, 185, 187, 192, 221,

231–32sawing, 11–14sealing ends of, 21short pieces, 194stacking, 17, 20, 21storing, 15, 16–17thicknessing, 147through-and-through sawn, 13–14,

20

MMachinist’s calipers, 81–82Machinist’s square, 85Mallets, 30Maple, tiger, 9Marking gauge, 29, 31, 87–88Marking tools, 27–29, 86–95Measuring tapes, 27Measuring tools, 27–29, 80–86Mill file, 165Mini-bar clamps, 58–59Miter gauge, 180, 184Miter joints

cutting, 36gluing and clamping, 60, 74, 75trimming, 52

Miter saws, 35–37Modeling knives, 87Moisture content, 15, 16–19, 20Moisture meters, 16, 17–18Molding planes, 25, 138–41, 143, 160Molding profiles, 36, 242–43Mortise-and-tenon joints

cutting, 115–17, 196, 235, 273

gluing and clamping, 67, 73grain and, 9–10

planing, 135Mortise chisels, 101Mortiser, 40, 260, 270–73Mortises

drilling, 273hinge, 120–21lock, 118–19

NNarrow lumber, 192, 257No. 1 Common Grade, 19

OOak, quartersawn, 12Octagonal stock, 50Ogee feet, 230Ogee profile, 139, 140Ovolo profile, 140

PPacking tape, 75Paint rollers, 66Panels, glued-up, 148Panel saws, 98Parallel bar clamps, 57–58Paring chisels, 11, 100Patterns, 93–94Pencils, 86–87Pilot bits, 252Pin-type moisture meters, 17–18Pipe clamps, 23, 54, 55, 56–57Pith, 14Planers, 38, 201, 205–09, 212Planes, 24–25, 124–67

anatomy of, 124–25Bailey, 127–28, 129bedrock, 127–29, 162–63buying, 31, 125–26, 142combination, 144compass, 138for fitting joints, 135Lie-Nielson, 126, 129–30molding, 25, 138–41, 143, 160rabbet, 132, 135, 136–37scraping, 133, 174scrub, 170sharpening, 170shoulder, 24–25, 135, 142

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smooth, 126–27, 142swing-fence match, 137tongue-and-groove, 137tuning, 158–61types of, 126–33, 135–37, 138–43York-pitch, 130See also Bench planes

Planing, 124–67cabinet edges, 154chamfer, 156clamping for, 50–53curves, 138, 157doors, 53, 153dovetail joints, 154drawers, 50–51edge joints, 149end grain, 52, 132, 150flattening lumber, 51–52, 94, 146glued-up panels, 148grain and, 10–11, 126quirk bead profile, 157rabbets, 155vs. sanding, 128small stock, 151tapered legs, 152techniques, 124–25, 145–57veneer, 50

Plug cutters, 267–68, 272Plunge routers, 35, 248Polyvinyl acetate glues (PVA), 65Poplar, 106Portable power tools, 33–35Power feeders, 241Power tools

best use of, 39buying, 42combination, 39portable, 33–35stationary, 37–41, 178–273

Push sticks, 185PVA (Polyvinyl acetate) glue, 65

QQuartersawn lumber, 12–13Quirk bead profile, 140, 157

RRabbet planes, 132, 135, 136–37Rabbets, planing, 155Radially sawn lumber, 12–13Raised-panels, 244–45, 255

Rake angle, 220–21Rasps, 164–67Ratchet clamps, 59Reamers, 265Rectangles, 92–93Relative humidity, 15, 18, 20Resawing, 38, 215, 221, 222, 233–34Resorcinol glues, 65Reversible glues, 65Rifflers, 166Ripping lumber

bandsaw for, 183, 221, 231–32table saw for, 185, 187, 192

Rip tooth saws, 26, 97Router bits, 249–52Routers, 35, 247–49Router tables, 35, 247–58

building, 248–49for curves, 252for edge shaping, 253–54for end grain shaping, 254for jointing small stock, 256narrow lumber on, 257for raised panels, 255safety for, 249templates for, 258

Rub joints, 70

SSafety

for bandsaws, 219, 231general guidelines for, 43for jointers, 203for router tables, 249for shapers, 238, 239for table saws, 181–85

Sanders, 34Sanding vs. planing, 128Sandpaper, 172–73Sapwood, 9, 19Sawblades

bandsaw, 42, 215, 220–24table saw, 186–89, 190, 191

Sawingclamping for, 54logs to lumber, 11–14tips for, 39

Sawscrosscut vs. rip tooth, 26, 97miter, 35–37See also Bandsaws; Handsaws; Table

saws

Scraperssharpening, 174, 177types of, 133–34uses for, 27, 34, 133–34

Scraping planes, 133, 174Scratch stock, 27, 139, 143Screw holes, plugging, 272Scrub planes, 170Sealing wood ends, 21Self-centering bits, 266Shapers, 40, 236–45

anatomy of, 236–39for curves, 246cutters for, 239–41for door panels, 244–45for edge profiles, 242–43power feeders for, 241safety for, 238, 239

Sharpeningchisels, 171, 175–76hand tools, 32–33, 168–77planes, 170scrapers, 174, 177

Shooting board, 52–53, 54Short grain, 14Short lumber, 194Shoulder planes, 24–25, 135, 142Skew chisels, 102Sliding miter saw, 37Slipstones, 173Small stock, 151, 256Smooth planes, 126–27, 142Soundboards, 13Spade bits, 262, 271Splitter, table saw, 181–85Spokeshaves, 26, 137–38, 139, 161Spoon bits, 264–65Spring calipers, 81Spring clamps, 62Square (Shape), 92–93, 270Square stock, milling, 211–12Square (Tool), 28, 31, 82–85

combination, 28, 82–84framing, 84machinist’s, 85

Stacking lumber, 17, 20, 21Stanley tools, 31, 126, 128, 144, 162–63Stationary power tools, 37–41, 178–273Steel

carbon, 42high-speed, 42, 249, 251

Stickers, 17, 20, 21Stock See LumberStones, 33, 171–73

IINNDDEEXX

Index278

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Stop cuts, 195Stops, drop-down, 47–48Story stick, 93, 94Straightedges, 94, 95Striking tools, 30Strops, 173Stud finders, 82Sub-assemblies, 67–68Swing-fence match planes, 137Syringes, 66–67

TTable saws, 37, 180–200

vs. bandsaws, 215for cove cutting, 199–200for crosscutting, 184, 185, 187–88,

193–94for dovetail joints, 197fence for, 180, 185, 189, 190guards for, 181–85miter gauge, 180, 184power feeders for, 241for ripping lumber o, 183, 185, 187,

192safety for, 181–85sawblades, 186–89, 190, 191splitter for, 181–85stop cuts on, 195for tapered legs, 198for tenons, 196tips for, 39tuning up, 189–90

Tail vise, 49Tape, packing, 75Tapered cuts

jointers for, 210planing, 152reamers for, 265table saw for, 198

Tearout, 11, 124–25, 126Templates

drafting, 91router, 258

Tenons, 38, 196, 235T-handle clamps, 58Thicknessing lumber, 147Thin-kerf sawblades, 188Through-and-through sawn lumber,

13–14, 20Through dovetail joints, 106–108Tiger maple, 9Toggle clamps, 61Tongue-and-groove planes, 137

Tracing tools, 91–92Trammel points, 28–29, 89Triangles, drafting, 91Trim, mitering, 36Turning gouges, 24, 42Twist drill bits, 260–61, 271

UUrea resin glues, 65Used tools, 31, 125–26

VVacuum presses, 62Variable-pitch sawblades, 221–22V-block, 50, 51, 55, 60Veneer, 13, 38, 50, 62, 222Vise, 22, 23, 45, 46, 47, 49

WWarp, 13, 17, 21Water resistance (Glues), 65Waterstones, 172Wedge, 51Wet grinders, 169White glues, 64–65White oak, 12Winding sticks, 94, 95Wing cutters, 239–40Wood, 7, 8–21

sawing to lumber, 11–14structure of, 8–11See also Lumber

Workbench, 22, 23, 45, 46–47accessories for, 47–49assembly, 48–49, 68building, 46, 47European, 48

XX-acto knife, 29

YYellow glues, 64–65York-pitch planes, 130

Index 279

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ABOUT THE AUTHOR

Lonnie Bird was a long-time contributing editor to

American Woodworker and frequently con-

tributes to Fine Woodworking. He is the author

of The Shaper Book, The Bandsaw Book,Taunton’s Complete Illustrated Guide to Shaping Wood and Taunton’s Complete Illustrated Guide to Period FurnitureDetails. For many years, Bird ran a university woodworking

program. He lives in Dandridge, Tennessee, where he makes

18th-century furniture and operates a woodworking school.

The Taunton Press also publishesFine Woodworking magazine, thesingle best source of woodworkingideas and information anywhere.

$39.95 U.S.$54.95 CANADA

Pp

THIS STEP-BY-STEP PICTORIAL REFERENCE

covers using all the tools found in a modernwoodworking shop. Organized for quickaccess, this book makes it easy to findexactly the technique you are looking for.Over 850 photos and drawings illustrateusing hand and power tools, includingchoosing the right tool for the job, settingit up, and basic and special operations.

Use anyWoodworkingTool with Confidence.

Taunton Product #077982

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