Unpacking the hand router is always a favourite of mine because the tool is one of the most essential tools in hand tool woodworking. Routing recesses and levelling the reception areas for inlays can be almost impossible without them and they far exceed recessing with power routers when it comes to personal and project safety. Let’s plummet the depths a little more at the attributes of the #71 (same as Record #071) hand router developed by Stanley Tool and Level in the last two decades of the 1800s.
Today I worked to give better examples of the tool in use, to show a little more of its substantial merit in the trade for nigh on 130 years. Running the two makers, Stanley and Record (of old), side by side you quickly see that these tools are essentially the same and even some of the parts are interchangeable between the makers. Not all the threads on the set and thumbscrews are the same so watch for that if you are buying to add to an opposite maker.
In this situation I use the router on the wooden base board to to delineate the depth for a hinge recess.
By using the flap of the hinge as the definitive depth directly to the router blade I can get pin point accuracy right from the start. I then mark the depth directly onto the wood in between the width lines that show the position of the hinge.
After that I chisel the knife wall at the hinge width to deepen the walls and then adjust the depth of cut in the router to remove the waste in incremental depths of about 1mm (almost but not quite 1/32”).
The recess is ultra smooth and within one thou of an exact overall depth. Translate this into inlay recesses and you start to understand the real value (and safety) in using the hand router and with the wooden sole attached it feels the same advantage all wooden planes have over all metal ones but with the added micro adjustment that makes the work dead-on accurate. Above you can see the steps in hinge recessing with the router.
I created a double-depth recess on this one within four knife walls and then a hardware recess of the type you might use for extra support for strength.
Chiseling the bulk of the waste saves too much setting and resetting and gets you to final depth very quickly.
The original Stanley Tool pamphlet that came in the box with the tool is given lastly below, but I added ital and colour for clarity between my work and Stanley. You can work out the parts by the visual look at the pictures. In the pamphlet Stanley have coded the text with Capped letters.
In my last blog on this I talked of the spanning of areas wider than half the plane worth to rout out wider indentations that would otherwise be more difficult. If the cutting iron is well prepped the surface recessed will be as smooth as a planed surface.
For tenons the hand router beats even the shoulder plane for accuracy and smoothness.
Here you can see the exactness of the surfaces and the alignment with the gauge lines. I have been making a table alongside the class today and all of my tenons look like the one shown and all are interchangeable with the same tightness of fit.
Here is a feature not to obvious at first. Using the back our outboard face of the blade mount gives more access into otherwise inaccessible areas bullnose fashion as in this recess were it up against another board.
Wording from the original Stanley pamphlet accompanying the #71 router plane:
Stanley Router Plane No 71
For surfacing the bottom of grooves or other depressions parallel to the surface of the work. There are many applications in pattern making, cabinet work and in fact almost all kinds if woodworking that call for these tools.They are particularly practical for routing dadoes for shelves, stair stringers or where pieces of hardware are to be recessed into the surface or edge of a board, such as large hinges or lock strikes, etc. It is not possible to show all these, but the user will discover places where the tools will prove their value.
CUTTERS-Cutters are made of high grade quality steel and are hardened and tempered. The shanks of the cutters are graduated in 1/16ths for 1″ which makes it possible to reverser for duplicate work and for approximate depth adjustments. Three cutters (N) are furnished, 1/4″ and 1/2″ router cutters and a (3 piece) “V” or smoothing cutter. Cutters are adjustable and depending on type of work can be held on front and back of cutter post (D) by means of clamp (H) and clamp thumbscrew (G).
VERTICAL ADJUSTMENT OF CUTTERS-To adjust cutter to desired depth, loosen thumbscrew (G), turn adjusting screw nut (B) up or down on adjusting screw (C), and tighten thumbscrew.
SHOE-A shoe (F) for closing the throat is provided for use on narrow work if a closed throat is practical and is fastened to depth gauge rod (A) by means of the shoe thumbscrew (E).
DEPTH GAUGE ROD-This rod (A), fastened by means of thumbscrew (O), may be used to control the depth of each cut, preventing the cutter from taking an excessive cut which would be inconvenient. For example, a cut 1/16″ deep can be cut repeatedly while still allowing the cutter to be set for the final depth of cut. One end of the rod is of small diameter for following in a small groove.
FENCE-An adjustable fence (L) is provided for use where the cutter is to run parallel to an edge. One side of the fence is designed for straight work while the other side is for curved work. Fence may be fastened to either left or right side of working face of plane bottom (K) by means of fence fastening screw and washer (M).
KNOB-The two hardwood knobs (J) are fastened to plane bottom by means of knob bolt and nut (I).
Drawing of schematic of plane here.
Drawing of plane on wide housing here.
The illustration shows how to rout openings wider than the plane bottom (should read wider than half the plane bottom). The attachment of a flat board to the plane bottom is the simplest way to span large openings. The plane bottom is provided with screw holes for attaching such boards as necessary.
Drawing of options for use, plane and plane parts and assembled plane here.
Here is shown a common job in home construction where this plane can be used – routing the stringer for the step and riser of a staircase. The other piece shows a stopped dado and a routed shape for an inset.
I am offering a pre-publication sale on the Spinning Wheel Repair Book which is going to the press soon. I will be delivering these by the first week of December 2014.
Here is a mock up of the cover, color being added as we speak, original artwork by Tim Burnham.
For the first 25 orders I will include an 8.5″ by 11″ hand impressed copy of the hand set title page by Lauri Taylor of Loose Cannon Press, along with your order.
The book is 8.5″ by 11″, 77 pages with 160 illustrations and 25 photographs.
The book can be ordered here at the Full Chisel Store, the price is $20.00 plus $6.00 domestic shipping. International shipping charges apply. The book will be shipped by early December, 2014.
Thanks to all of those who helped with this publication.
The following comes from William Noyes’s 1910 classic, Handwork in Wood. See our previous Handwork in Wood posts here. B. Tools for holding other tools: Wood Braces The brace or bit-stock, Fig. 185, holds all sorts of boring tools as well as screwdrivers, dowel-pointers, etc. The simple brace or bit-stock consists of a chuck, a handle, and a knob, and is sufficient for […]
The post “Handwork in Wood” – Wood Hand Tools, Part Ten: Wood Braces and Squares appeared first on Heritage School of Woodworking Blog.
After completing a Little John bench with a left handed set up I was struck by how odd it still appeared to me despite trying to get accustomed to it throughout the build. It made me realise that although we offer to customise our workbenches in this way, I’ve only ever built around four lefties, which is far less percentage wise than the population in general.
Those who do opt to go left handed with their bench tend to be new to woodworking, and I’ve found for the dozens of other left handed customers a standard set up was chosen because it’s what they had to become used to previously.
When I think about how easy or difficult it might be to use a ‘wrong handed’ bench, I look around and see that most of my tools are symmetrical. In fact glancing over the top of my bench right now, there’s nothing which is handed. I have to move over and check inside my tool box before I actually find a tool – my fillister plane – that would cause an issue. Of course, if need be this could be bought specifically with a left handed design.
I know left handed people struggle a lot with all manner of implements, everything from scissors and can openers, to musical instruments, riffles, computers … almost anything I can think of. So perhaps woodworking could traditionally have been one of the most well catered for activities for left handed folk? There are very few hand tools, bar joinery planes which have any bias at all.
This is likely something which developed incidentally because it’s the grain direction, rather than ourselves, which dictates so much of how we work. A woodworker who’s been at it a good while will be able to do most tasks with their ‘wrong’ hand for the odd occasion. I remember my Dad making me hammer for days with my left hand, as one day, he said, it will be needed. Confined spaces create such issues, and also when planing something very wide with stubborn grain, you can have little choice than to switch hand. It’s certainly a good problem solving skill to get used to putting a tool in the ‘wrong’ one.
After all this thinking it really begs the question, what is a left or right handed bench? And how much of it is simply down to what we are used to? As a right handed woodworker it’s easy for me to see past any difficulties a left hander might face, so if you’ve had any conundrums to negotiate I’d love to hear about it.
I’ve had a lot of thoughts after trying to use this little leftie about how opposite handed benches may even benefit us. I’ll follow up with this next week.
|Nakaya Dozuki pair: rip and cross-cut|
The best Japanese saws, I am told, are hand-made and cost the earth - upwards of `20,000! I can't even begin to think of going in that direction. But getting the relatively cheap machine made ones is definitely on the cards as I experiment and try to ramp up my woodworking skills.
Why my fascination for the Japanese saw? I love the clean, quick manner in which they cut and the fine kerf they leave.
Most of them seem wonderfully suited for fine joinery work, which is the way I wish to go. Making clean, well-fitting joints of various kinds is compelling.
I do not use my Japanese saws for ripping long pieces or cutting sheet goods even though I have one formidable 300mm Kataba capable of taking on fairly hard wood.
Japanese saws in general are more fine toothed than their Western counterparts and more fragile. Japanese woodworkers generally work on softwoods and most of their saws are designed for just that.
Using them to make long rip cuts on hardwoods like Teak and Sheesham (Sissoo) is not a good idea. Their tiny teeth are liable to snap or the blade to twist. But even the finest of them will easily and beautifully cut small joints like dovetails, small tenons and so on on extremely hard wood.
My latest acquisition is a pair of super fine dozukis (backed Nokogiri) made by Nakaya Saw Works, Japan. I bought them from the Japan based toolsfromjapan.com website, which is run by a very knowledgeable gentleman called Stuart Tierney.
I bought the following:
1 ea. Nakaya Eaks 210mm Dozuki, cross cut. ¥3,395 or `1960
1 ea. Nakaya 'Eaks' 210mm Dozuki, rip cut. ¥3,395 or `1960
I went for the saws because of Tirney's description of the saw: "This small, easy to use dozuki made by Nakaya Saw Works has an enviable reputation as one of the finest cutting saws available…this saw makes a cut so fine that many saw's plates cannot fit into the kerf, let alone cut so fine. Intended for the finest rip cuts in joinery and detail work, it is an excellent saw and despite it's delicate appearance, is very easy to use for the novice woodworker or seasoned expert. "
The cross cut saw has 32tpi cross cut teeth while the rip saw comes with 17tpi rip teeth. Both are made of Swedish steel and have a thin 0.2mm saw plate, 0.26mm kerf width and 210mm blade length. Both saws come with Rattan wrapped solid wood handle with fixed steel spine and a blade retaining bolt. The blades are replaceable.
|The Nakaya saw has finer teeth than my other dozukis|
These saws are considered to be on the low end but I am more than delighted with them. In fact these are easily the finest saws I have laid my hands on. Moreover, as a hobbyist I would not be able to do justice to hand-made high quality tools even if I could afford them.
These saws are made by the Nakaya company which has been in business since 1907 and currently runs a factory in Sanjo City, Japan, which was established in 1961.
For more details about the company check out their website:
Company Name Nakaya Company Ltd.
President Masato Namba
Address 3-6-23, Ishigami, Sanjo City, Niigata, 955-0084 Japan
I experimented with the saws and was highly pleased with the results obtained. See the magnified photographs of the cuts I made on a scarp piece of Sheesham below to get an idea of how fine these Nakaya saws can cut.
|Magnified Image: Nakaya Dozuki cuts on left compared to UK made Gent's Saw right|
|Magnified Image: Three cuts with normal dozuki on left and the rest by the Nakaya saws|
I intend to use my two Nakaya dozukis solely for small joinery, especially dovetails and small tenons. I hope they will serve me for a long time.
17 October 2014
Curtis Turner’s column features an “extremely easy project” on Creating a Stropping Wheel, which is helpful in touching up knives and turning tools. Curtis lets you know the materials you need and gives an overview of the creation process.
Rick Morris has a very helpful step-by-step guide in creating a turned snowman ornament, which then links to two different blog entries on creating a bell-shaped ornament as well as a Christmas tree light ornament.
As an additional feature, Rick has included a two-part video accompaniment to his written article on turning the snowman ornament. So whether you prefer a written step-by-step guide, or watching a video, we’ve got you covered on creating some easy and fun Christmas ornaments for this holiday season!
As a change-up to our normal Show Us Your Woodturning column, Ben Hall has created a video showing off the creation of his turned magic wands. Ben goes through the step-by-step process of this quick turning project and even has his adorable daughter demonstrating how to properly use the magic wand at the end of the video.
Phil Colson has a great time-saving tip on using the Oneway Wolverine Grinding System, which is also one of our featured woodturning products this month, along with the Delta 2MT Live Center.
All of this and more in our October issue of The Highland Woodturner. And don’t forget, we are always accepting reader submissions for both The Highland Woodturner and Wood News Online. CLICK HERE for more information on how to submit and how you can receive store credit at Highland Woodworking for your submission!
The post The October issue of The Highland Woodturner now available! appeared first on Woodworking Blog.
ARTICLES FOUND IN THIS ISSUE:
SOME LESSONS IN WINDOW MAKING
HOW TO MAKE A WEATHER GLASS
WIRE-WORK IN ALL ITS BRANCHES
PRACTICAL PAPERS FOR SMITHS
IMPROVEMENTS IN HARNESS
DESIGN FOR A VILLAGE SCHOOL TO ACCOMMODATE 180 CHILDREN
A CHEAP LATHE CHUCK
OUR GUIDE TO GOOD THINGS
Disclaimer: Articles in Work describe materials and methods that would not be considered safe or advisable today. We are not responsible for the content of these magazines, and cannot take any responsibility for anyone attempting projects or procedures described therein.
The first issue of Work was published on March 23rd, 1889. The goal of this project is to release digital copies of the individual issues starting on the same date in 2012, effectively republishing the materials 123 years to the day from their original release.
The original printing was on thin, inexpensive paper. There are many cases of uneven inking and bleed-through from the page behind. Our copies of Work come from bound library volumes of these issues and are subject to unfavorable trimming, missing covers, etc. To minimize harm to these fragile volumes, we've undertaken the task of scanning the books ourselves. We do considerable post processing of the scans to make them clear but please bear with us if a margin is clipped too close, or a few words are unreadable. We would like to thank James Vasile and Karl Fogel for their help in supplying us with a book scanner and generally enabling this project to get off the ground.
You are welcome to download, print, and pretty much do what you want with the scan for your own personal purposes. Feel free to post a link or a copy on your blog or website. All we ask is a link back to the original project and this blog. We are not answering requests for commercial downloads or reprinting at this time.
The now famous four-piece Aldi chisels are in stock and made to the usual standard with wooden handles. Usually they sell out in a few days but you won’t regret having a set or two of these chisels in your chisel collection of users. Still selling for just under £8 (per set not per chisel) you have a lifetime chisel set that will serve you for years to come. We have used over a hundred of the snow for five years and never broken one. They take and hold a keen edge which cannot be said for some of the high end makers these days. 8mm (5/16″), 12mm (1/2″), 18mm (11/16″) and 24mm (15/16″).
I finished this earlier this month. It was a quick build because the client was hot to trot to get their hands on it. Originally I conceived this box as one half of a pair. Both boxes born from the same board. But the client came to me desperate for something fast and I'd already started this one at a demo. So I finished it up in a couple days and it's gone now. All I have left are the photos.
The box is red oak with black walnut trim. About 20 x 12 in dimension. I'm beginning to feel really good about these when they're done, I've started to dial in the details to where I want them. There are still things I want to explore in this form so I'm not done with it by a long shot.
As originally envisioned, I was going to build two carved boxes from the same board. The carvings were to complement each other or whatever I was going to do with those. But the insides, at least the inside of the lid, were supposed to be my first foray into parquetry.
But one hot to trot person with money in their hands and I cave to my ideals. Oh well, I have some friends who are having a benefit for their son who has recently been diagnosed with Hodgekin's Lymphoma. I think I'll finish up that box and donate it to the benefit.
The number one question I get when people see my boxes in person is "Wow, how long did that take you." I've gotten wise enough so the first words out of my mouth are, "Well, it's not the first time I've done this." which softens the blow when I tell them the time.
Truth is I can knock out a box like this in a weekend. I cut parts and dovetails on a Friday night and spill some Danish Oil on it Sunday night. Carving and glue ups happen in between. The puzzling thing to me is the reaction I get when I admit something like this.
That I can be both efficient and proficient in getting something like this done seems to result in diminishing it's value. Non woodworkers want me to tell them I slaved over the carving for six months. Woodworkers want me to tell them it took me four hours to cut the dovetails by hand (an hour per corner without a router is the average guess)
It's a paradox I simply cannot wrap my head around sometimes.
But that rant is probably for another day.
Ratione et Passionis
It’s not that often I get a second chance at anything important, so when I received an email this evening asking if I’d be around Friday night to talk with Don Williams about the H.O. Studley Tool Chest and Workbench I made an audible gasp.
It took me longer to verify it wasn’t a fake email than to respond with a resounding “YES!”
So here’s where I need a little help. During this interview Don and the guys will have the cameras turned on the iconic tool chest and workbench and we have an opportunity to ask him all sorts of questions and get a closer look at it.
If you were in my seat, what questions would you have? Are there items or features you’d like to get a closer look at? Well here’s your opportunity.
I’m planning to not only record the audio of our conversation for the audio-only feed, but we’ll be recording our video chat, including closer looks at the tool chest.
Get those questions to me by 6pm Eastern Time. Submit them here, on any of my social media outlets or by emailing me by clicking here.
Several folks wrote and said that they were having some difficulty getting their heads around this method. Well don’t despair. When I first read about this method, it took me a couple of days for it to sink in. And, if you don’t have much experience with projective drawing, it’ll take a bit of cogitation. Of course, at my age, everything takes a long time to sink in. But it doesn’t necessarily stay “sunk in” for long.
But here’s a little more graphic information that might help. First off, I elongated the major axis to make the model a little more easily understood. So remember, A-B is the Minor axis, A-C is the Major axis. I’ve divided the A-B line into equal segments (with a couple of little “cheater” segments at the ends.
Again, I extend the segments at right angles to the diagonal line and transfer the line measurements from the semi-circle.
I join the dots to create the elliptical line. If I add this elliptical line to the diagonal line running from A to C, I’ve got a 1/2 plan. I could use a flexible drawing spline to “fair” the line. Or if I was working with a wooden plan, I’d simply fair the edge with a fine rasp.
If I want to see a full plan of the ellipsis, I simply extend the angled lines and transfer the measurement to the other side. Again I connect the dots and I see the ellipsis in full view. This is very helpful if I working in scale on a table, as I can quickly determine the appropriate rectangular measurements for the base.
Hope this helps.
My four-decade-long desire to identify, understand, replicate and develop new analogs to historic furniture-making materials has led me on some interesting quests and situations. Included in these would be learning a lot about tropical insects whose “sweat” is the foundation for the most amazing finish ever (shellac); studies of sausage casings, artificial skin and corneas as I tried to (successfully) create a convincing alternative to tortoiseshell for my own Boulle-work […]
Nothing special about this. It's a typical ca. 1900 "factory fiddle", probably from Germany. Labelled "Antonius Stradiuarius ... 1736".
I liked seeing the facets. Hastily carved, by someone who had carved a few, and was just trying to make a living. After that, the scroll itself has seen some use over the years.
Interesting character, I'd say.
First we have a very nice little box made for one of mini smoothers bought at the last Yandles show. Adam's wife and mother said it should be admired rather than used so this is a great compromise, returning it to it's little box after a work out!
The alignment board above was Lawrences first project with the guide. As I suggest in my video he left the legs over long in case things didn't go right at the first attempt, which they didn't. However his second attempt looks bang on, very impressive!
The 071 or 71 router plane has several uses but the primary use of this specialised plane is to guarantee the depth of different types of recesses. It’s the essential tool of hand tool users and surface trims just about everything from inlay recesses to housing dadoes and levelling depths of sliding dovetails and the cheeks of tenons.
The tool comes with additional accoutrements as you can see above, enabling different functions for the plane’s use. The fence fits to the underside of the plane and is two-ended. One end of the fence piece gives a parallel squarely rectangular edge to the fence and the opposite side end a two-point contact fence that facilities turns on the edge of curved work. The fence is adjustable and locks into two square grooves running each side of the blade along the sole. Loosening and tightening the setscrew into the sole secures the fence for use. It’s best to use the fence when running the blade along a narrower recesses to keep the plane square and parallel to the wall of the work if necessary.
Because of a horseshoe shape in the sole that splits most of the forepart of the sole into two halves the plane sole is effectively useless on narrow sections of wood. On such narrow work, with no fore part before the blade, running grooves trips the plane forward because there is nothing to stop the plane from tilting in the direction of the cut when the cutting edge of the blade grabs the wood. Stanley developed an additional unit that locks a post stem into the body of the plane which then holds a shoe to align an auxiliary section level with the sole to fill in the gap between two halves of the sole.
This piece then rides the edge of the board along with the flat of the rear of the plane. In addition, the depth rod that holds the shoe can be used alone inside a groove to align the blade and prevent the cutter from digging into the walls whilst at the same time restraining the plane from digging any deeper than fractional increments. This effectively works as an additional sole depth guide for grooved work and the rod itself has two diameters, one for wider grooves and one for narrow ones.
We often use both the fence and the depth rod and shoe in conduction with one another to ensure accuracy in the work. The depth rod used alone can follow the rim of inlay recesses to guide the narrow cutter or the smoothing cutter around shaped work too.
Adding a Wooden Sole
It’s quite common to add a wooden sole for general work because sometimes the metal sole on wood tends to mare the surface of the material being worked. Wood on wood works best and makes the sole smooth and free of fence grooves, screw holes and so on that tend to grab shavings that can further mar the surface of the work too. When working wide recess areas, wider than half the plane sole width, we use an auxiliary sole to extend the base so that the router plane can traverse the surface area and be used to trim the recess perfectly to depth. Making an additional sole piece also enables us to use the plane without the additional shoe on narrower work (Pic above). The plane operates more smoothly with the wooden sole.
To make the wooden sole choose section of wood 12mm (1/2”) thick and to a size that suits the task in hand. Bore two holes 1” in diameter 38mm (1 1/2”) on centre and remove the excess with a rasp or chisel.
Screw the base to the sole of the plane by passing screws through the sole into the base piece.
Sometimes, often, router planes bought secondhand have lost the parts you need to have the plane fully functioning. Adding the wooden sole means you can also screw fences or guides to the sole. This also works well.
During the last five years, I’ve had more than my share of intimate contact with the famous H.O. Studley tool cabinet. And so wherever I travel I get asked this question: “What’s it like?”
So I lie.
“I hate it,” I say. And then I talk about how stressful it is to unload and load all the 245 tools from such a precious artifact without dropping them or harming the chest.
The truth is, my encounters with the chest have changed both me and my woodworking. (And I’m sure that Don Williams, the book’s author and team leader, and Narayan Nayar, the photographer, would concur.)
The chest mocks us. It is a piece of craftsmanship and design that is virtually faultless, no matter how close you get to it. It’s an experience you don’t get from looking at the poster of the chest or a picture on a screen. It is something that is best experienced in person.
If you start with your eye about 2” from the chest you can see that the interior surfaces are exquisite. The inlay is seamless. The grain has no defects.
As you step back, you can see how each grouping of tools is organized. They are stepped and scaled in an orderly fashion, some of them looking a bit like a military formation.
You step back again. And again. Until it is at the back of the room. At no point does it become imperfect.
We are finishing up our shooting and filming of the chest (and Studley’s workbench) this week for the forthcoming book “Virtuoso.” I promise the book will be incredible on every level we can manage. But what I also recommend that you – as a craftsman – make a pilgrimage to see the chest in person in May 2015 in Cedar Rapids, Iowa. Details at www.studleytoolchestexhibit.com/.
It will humble you, as it has me. And it will inspire you to be a better woodworker or toolmaker. The only reason not to go is if you are already a better woodworker than H.O. Studley.
— Christopher Schwarz
Filed under: Uncategorized, Virtuoso: The Toolbox of Henry O. Studley