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A frequently heard argument about Japanese planes is that they are harder to setup than Western planes. Recently, we filmed “How to Use Japanese Woodworking Tools” with Wilbur Pan, in Frank Klausz’s shop. So naturally, we had many conversations during the shoot, and one that came up was on just this topic. One of Frank’s favorite planes is a wood-bodied plane with a similar setup to a Japanese plane (tapping the […]
The post How to Setup a Handplane: It’s Easier to Learn How to Use a Western Handplane appeared first on Popular Woodworking Magazine.
In the October 2017 issue of Wood News, Jack McKee shares a wonderful design he created for a set of ‘Builder Boards’, a great tool to inspire a kid’s imagination.
Years ago, when I was working at a Montessori school, I designed a set of notched boards that kids can use to build their own playhouse, or even better, as children taught me later, to build from their own imagination. There was quite a bit of interest so I wrote up a set of plans and called them Builder Boards.
Click to read how Jack developed the design for Builder Boards and how you can create a set too!
You can also purchase Jack’s book on how to make your own set of Builder Boards.
The post Woodworking Projects: Builder Boards made from Recycled Plywood appeared first on Woodworking Blog.
In this episode of 360 with 360WoodWorking we meet Greg Pilotti of GPFurnituremakers.com. He’s also a graduate of the woodworking program at Thaddeus Stevens College (from podcast #248 with Steve Latta). What better insight into the teachings (and benefits) of the program than to talk to one of its graduates who is running a successful and profitable woodworking business. He was voted one of the “40 Under 40” up-and-comers in woodworking for 2017.
Join 360 Woodworking every Thursday for a lively discussion on everything from tools to techniques to wood selection (and more).
I ordered some japanese tansu handles and had a question about mounting them. What is the traditional method of mounting these handles? It comes with this U-shaped piece of metal that's used to pin the handles against the "draw front". Do you just...
As far as I know, the traditional method of attaching handles and other hardware onto a tansu is using square shank nails. From their description, it sounds like they would be similar to traditional cut nails.
The U-shaped piece of metal seems like a more modern method. It’s hard for me to get an idea of what you mean by splaying out the ends without a picture, but it’s probably similar to the method of clenching a nail, and I wouldn’t hesitate to do that.
|let there be more light first|
|the before pic|
|the why (the pin went in from the front to the rear)|
|a bit of a knot|
|see the track above the hole in the front left hole at the back|
|dry fit of the first set of donkeys|
|used hide glue|
|new foot stock|
|rough cut to length|
How many women have been awarded the Congressional Medal of Honor?
answer - only one, Dr. Mary Edward Walker, for her service in the American Civil War
I want to apologise to all my readers of HANDWORK for not releasing the third issue in a timely fashion. It’s very hard to do so because of my current job. It’s a juggling act and the balls are falling all over the place.
Writing this magazine is probably the best thing I have ever ventured into. I know firsthand the benefits in terms of knowledge I have personally gained, and the many benefits others have gained according to the emails of support I have received since releasing the first issue.
It’s not easy by any stretch of the imagination. Dedicating the time needed to build then write about the build is most difficult.
As we near Christmas things get busy at work and I may have to work 7 days a week for the next couple of months. It’s crazy I know and the money isn’t so incredible either. It sure is no way to live.
I’ve started this magazine with good intentions and I had no idea that its popularity would rise so quickly. May be because it’s free or may be this is what people really want. But it isn’t possible for me on my own to continue the way I am without ending up in a hospital bed due to exhaustion and being financially strained as well, even though, I’m working inhumane hours to do both and be expected to not walk around looking like a zombie or end up being a corpse.
I have given this much thought and I think I ought to take a leap of faith, go out on a limb and turn it into a business and work it full time. Ha! easier said then done due to lack of finance. Giving up my job till I can earn enough from the magazine if any for that matter to sustain my household is a big risk I’m not willing to take. Instead, I would like to take baby steps. With that I mean setting a price on the fourth issue. With the income earned from that I can expand and pay contributing authors for the fifth issue. The money earned from subsequent issues I can begin with some prize giveaways and I’m not talking about some cheap shabby cruddy cheap tool either. I’m not going to be stingy about any of this.
If you’re all willing to give this a shot, we will have a good hand tool only woodworking magazine. I cannot do this without your support. The price I’m contemplating to be around US$5.00. Please don’t gruel me out for charging in US dollars as Veritas is a Canadian company and they only charge online in US dollars as their dollar isn’t worth much just like the Aussie dollar. I think this price is fair and much less than current woodworking magazines on the market.
Let me know your thoughts it would be interesting to hear them.
P.S. All the articles besides the moulding plane build is finished. I have just begun writing the article because I have finished the build only last week. Yes I know its been slow but blame it on my job and also blame it on the high cost of shipping O1 tool steel. The shipping costs are twice and in some cases three times the price of the steel. I’ve also devoured just about every engineering place in my locality hoping to lower the costs a bit and they too made a hefty profit from me. I wore the cost. So what I’m saying is that I had to stash a little aside every week just to pay the high costs of shipping and there’s the conversion rate and credit card fees on top. Geez have I missed any other fees?
I wanted rustic legs from small logs that would be attached with loose round tenons so I used a technique that I have used successfully with three-legged stools but never with four legs. I created a 45 degree sight line and used a bevel gauge to guide a brace and bit.
This doesn't seem like it could possibly work, but it does. The four legs were all within 1/4" first try.
Here is the final result:
I’m a huge fan of installing a grippy liner on your bench vise. Wood faces grip your work OK. Add the right liner and the grip will become fantastic. Here are some details on choosing and installing a liner. What’s a Good Liner? Most people prefer leather, cork, felt or a rubber such as Crubber. Each has advantages and disadvantages. Peel-and-stick cork is fast to install but isn’t very durable. […]
I positioned them and clamped a set of pliers on the sides to ensure that nothing moved during the drilling of the holes.
At first I drilled a new set of holes instead of those that I plugged the other day. After that all the existing holes were bored in the infills as well.
My original plan was to insert some small tubes to function as distance pieces. I had laid my eyes on a piece of stainless steel pipe, but I had to give up the plan because the hole was too large by 1 mm in diameter (3/64") compared to the rivets that I was going to use.
So a quick change of plans resulting in that I assembled the plane without any distance pieces.
The rivets are actually short lengths of round iron bar of 1/4" diameter (6 mm). Those were sanded first to remove the black crust, and one end sharpened just a bit, to make sure that it would engage the hole on the opposite side of the body.
The rivets were driven through and I started peening the metal.
After doing one rivet on one side, I flipped the plane over and completed the other side of that rivet.
The riveting disturbed the look of the sides a bit, I guess that the wood compacted a bit, and the sides naturally followed along. So the bottom of the planes doesn't look quite as nice as it did in the beginning. But the overall feeling is rock solid.
Smoothing the sides again to level out the rivets took some time. Again this is where a belt sander would come in handy, but a file can also do the job if you have a little bit of patience.
A nice trick when filing metal is to pack the file with chalk. This helps to prevent chips to get stuck in the file and make a major scratch in the surface on the next stroke.
You basically just take some writing chalk and rub it onto the file before using it.
It really helps a lot. Especially if you work in softer metals like brass, copper or aluminium but for steel or iron it also helps. These metals aren't as prone to clog the file, but any bit helps to make a nice surface.
Some of you will file this under “Bleeding Obvious,” but few people ever discuss their “junk drawers” in their shops. I call mine: The Hardware Drawer of Last Resort. It has saved my butt a thousand times. Actually, it’s not one drawer. It’s five. The one shown in the photo above is the “random fasteners” drawer. Every time I install some hinges and have extra screws left over that don’t […]
The November issue of Popular Woodworking Magazine entered the mail stream yesterday to both print and digital subscribers – and it’s now available for single-issue purchase in both print and digital formats. Though I urge you to subscribe – it saves you money…and a healthy subscription base means less anxiety for me (said in my best Sally Struthers voice). Or share the love – consider a gift subscription for that neighbor who keeps […]
The post Popular Woodworking Magazine Nov. 2017 – Now Available appeared first on Popular Woodworking Magazine.
As many of you know, Chris Williams is writing a book (Kieran Binnie is the co-author) about the 10 years he spent with Welsh chairmaker John Brown, who was Chris’s mentor and friend. The book, which is well underway, will detail Brown’s woodworking life using Chris’s personal story, interviews with woodworkers all over the world and 20 of Brown’s best columns for Good Woodworking magazine.
In addition to the narrative of this influential woodworker and writer, the book will detail how Brown built his chairs using the techniques and patterns handed down to Chris.
This is not the same chair shown in Brown’s book “Welsh Stick Chairs.” That chair was one of Brown’s early forms. After more than a decade of work, the design of Brown’s chairs evolved into something else entirely. Something spectacular, really. Readers of Good Woodworking got a glimpse of these chairs in the 1990s, and these later chairs are what made me take up the tools and make chairs myself.
To help re-introduce this style of chair to North America, we hope to bring Chris to our shop here in Covington, Ky., May 21-25, 2018, to lead a group of six woodworkers in building this chair. The class would be held in our storefront on Willard Street. Because of the intense nature of this class, we would encourage participants to have some chairmaking experience under their belts (or a lot of experience with handwork).
The Cost of the Class
The class would be $1,500 for the week plus a small fee for materials. This is a considerable expense for a week-long class, so an explanation is in order. For starters, this will be an intimate class – just six students, one instructor and an assistant (me). It will be a different experience than schools that have 12, 18 or even 30 students in a class. Second, we have to get Chris and his tools to Kentucky all the way from Wales. And, most importantly, we have to make it worth his while. This is not a Lost Art Press venture. Neither I nor Lost Art Press will make a dime off of this event. All the proceeds go to Chris to support his important work.
In addition to learning to make this gorgeous chair, participants also will learn a lot about Brown. Chris is filled with great stories about the man that could be pried loose with a pint or a glass of wine.
Covington is a nice little city in the shadow of downtown Cincinnati. And the shop is walking distance to lots of hotels, restaurants, breweries and two of the best bourbon bars in the United States. The storefront is a great place to work – lots of natural light and workbenches.
We’ll be able to provide participants a list of nearby hotels and AirBnBs that range from $65 a night and up. Our shop is a 10-minute drive the Cincinnati International Airport (CVG) and we’re just a few blocks from I-75.
But before we plow forward on bringing Chris here, we’d like to hear from you. If you are interested in participating in this event, please leave a comment below. This will help us judge the interest among woodworkers. Thanks in advance for your help.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Personal note: No, I’m not opening a school; nor am I returning to teaching. What do I get out of this? I get to watch Chris work and listen to his stories about Brown, which will make me a better editor for the book about John Brown. Plus, this class will help expose woodworkers to a fantastic chair design.
Filed under: John Brown Book, Uncategorized
I’ve lost track of how many times people have written “So great to see a woman in the magazine!” following the publication of a project feature. For years I’d roll my eyes and think Never mind my gender. WHAT ABOUT THE WORK?
It’s thorny, this issue of gender representation in woodworking. You can say pretty much the same about race. When you’re the odd one out, it’s easy for readers to see only what makes you different. Which is galling when, for you, what matters is the work.
While I was on hold during a recent phone call, I glanced at Instagram and found myself tagged by Sarah Marriage at A Workshop of Our Own. She was commenting on a post by Phoebe Kuo. “Have you heard about our woodshop drinking game?” asked Sarah. “You take a shot every time you see a woman depicted working in the field of woodworking (ie, not a customer service rep with a headset asking you to call today) in a woodworking periodical. It’s usually safe for the woodshop because you never take a shot!”
Of course she was exaggerating (a little), as she acknowledged by referring to a recent issue of Fine Woodworking. I replied with a comment listing a few other publications that have recently featured work by women: Woodcraft, Furniture & Cabinetmaking, and most recently a cover feature in Popular Woodworking. But as I continued working into the evening and ruminated on Sarah’s remark, her point sank in: It’s important to go beyond publishing work by women to publishing images of women working. While it was exceedingly rare to see a woman in a workshop or on a building site just three decades ago when I started in the field, it’s verging on common today. But outside of publications directed specifically at women, the percentage of females to males in woodworking publications is still low.
This dearth of representation is not due solely to sexism. There are also some distinctly prosaic explanations, among them:
- some women are so busy with commissioned work and other activities that they don’t want to take the time, which can be considerable, to propose, write, and do the hands-on work for an article, and
- while some of us are set up to photograph ourselves, others (guilty!) are not. As a result, in publications that use photographs provided by authors, work by women is published more often than images of women doing the work.
For years I felt like gagging at the mention of gender in relation to my profession. It wasn’t just the unintentionally demeaning remarks — “Did your husband teach you to do this?” It was the focus on the novelty of finding a woman in a field populated primarily by men. I just wanted to be Nancy Hiller, not a token female. Sarah and Megan Fitzpatrick have expressed the same frustration; no doubt many other women have, too. So why are we now paying so much attention to gender and calling for more images of women woodworkers?
Because we all need role models.
As a young woodworker, my models were men. Even without wanting to, I fell into the role of “cute tough-girl in the shop.” That was how others (though thankfully not all of them) made clear they saw me. I was “decorative,” to use a frequently cited word. This worked fine as long as I was thin. But when I gained 40 pounds in response to a devastating heartbreak, the reactions to the female in the shop turned to pity — and occasionally disdain, such as when the foreman at one of the shops where I worked greeted me with a hearty “MOO” when I arrived one Saturday morning to put in some extra hours on a deadline-sensitive job. (Note: Despite my appearance, I was still doing the work.)
What would a mature, confident woman in a workshop look like? I had no idea. To be honest, the question didn’t even occur to me. Instead, I had a vague sense that I should get out of the field before the age of 40, because a mature woman in jeans and work boots would be, well, kind of scary. Or maybe people would assume, based on her work clothes and dusty appearance, that she was not very smart. She would definitely not look “professional” or “desirable.” I’m embarrassed to admit that I ever felt this way, that I had so thoroughly internalized female norms presented by advertising and publishing that 40 represented the end of the road for me as a woodworker.
This is one of the reasons why it’s important to present images of real women working. Not just demure young women with wood chips gathering on their chests while they use power tools, not just intentionally sexy babes using table saws, and not just tattooed tough-girls. We need to include women in mom-jeans and make-up, women of color, big strong women…you get the picture. In other words, we would like to see images of real women woodworkers, ideally in numbers proportionate to the population of women woodworkers, whether woodworking is their hobby or their job — pretty much as we do with men. (After all, not every man looks like Tommy Mac.)
As Megan pointed out in a recent Popular Woodworking editor’s letter, it’s hard to aspire to something for which you have no example. –Nancy Hiller, author of Making Things Work
Filed under: Uncategorized
This afternoon I will broadcast “The Art of Spoon Carving” live on our Facebook page. I’ll start the show at noon EST. The show will play for one hour and I will offer a coupon code to purchase the video download or DVD at a reduced price in the comment section. If you haven’t seen the last two episodes of Live at Lunch on our Facebook page, this is a chance […]
Just in case you wondered about my last post, this is the reason I was getting ready to cut dovetails. The picture above shows just one of four corners on these drawers.
It's a petit chest of drawers standing 23" high made in chestnut, a wood I've never used before. It is similar to oak in it's feel and open grain and I was lucky enough to have a large board which was quarter sawn with some nice ripple as well. An detailed article on this piece will be appearing in Furniture and Cabinetmaking magazine in due course.
I decided to stop and get them after I noticed that the truck was sucking gasoline fumes. I also had to make a grocery store stop so I decided to add the lights to list of things to do. I'm glad I did because there were only 5 left when I got there. When I left there were only two and the manager said that these were the last of them. Traffic wasn't too bad and I survived but my shop time was almost nothing tonight.
|I guess nobody else knew abut these|
|not a lot of time tonight|
|making four more pins|
|3/8" hole is first|
|it does a great job|
|need a helper|
|final pass through the 5/16" hole|
|ready to draw bore the first one|
|did it over a hole in wagon vise|
|pulled it tight and squeezed out some glue|
|the foot is toast|
Who was Time's magazine second man of the year?
answer - Walter Chrysler in 1928