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This "aggregator" collects all of the woodworking blogs I read every day - or try to anyway! Enjoy!
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I’ve taught this workshop since I first developed it in the 1990’s. I cannot tell you how many lives it’s changed and continuous to change. When I began my work training others and passing on skills it was from the direct relationship to my craft, an extension of my life as a furniture maker and crafting artisan and never as a teacher. I’m still a maker and always have been even though our outreach as teachers and apprenticers is bigger and more wide reaching than ever before.
The first two classes of the year filled more quickly than ever before which shows the demand for real woodworking is continuing to grow. This is no surprise to me at all, people are looking deeper into their lives in search of meaning and fulfilment. Woodworking has a way of transforming people’s lives and that’s my main goal. Aldo, unfortunately we’ve cut back a little on the number of courses we can offer this year too. Please book your bench-space early if you are planning on coming to North Wales.
Month-long Intensive this year
Many of you asked if we would be holding a month-long intensive again and we ware holding one this year in September. If you are interested in a more intense multi-project furniture making course concluding with the Craftsman-style Rocking Chair or an armed dining chair this course will prove of great value to you. In this course we will be building a large chest to my design. The chest is more cabinet making course for learning the art of raised panel door making by hand, drawer making and making large scaled dovetailed boxes as cabinets. This is a hybrid of my traditional joiner’s tool chest and the cabinet maker’s tool chest you may have seen around my shop or in some the other month-long workshops held here and in the USA. I have changed the design to become a rock solid foundation course in this type of construction. The drawer making has both through and half lap dovetails and sliding dovetailed dividers too. Quite an interesting project throughout.
The coffee table is a trestle-type table made from solid oak. It has a dovetailed apron, my design and very unusual, through tenons and a series of blind tenons to create the pedestal end frames. The techniques used to build this table are transferable to full sized dining tables of the same or similar design.
To ensure all students are similarly skilled and prepared, students must have attended our foundational course or a preparation five-day course planned a few days before the month-long.
Places for this class are limited to eight students only. Please contact the school as early as possible to avoid disappointment and also for additional details if this course is of interest to you. I will gladly answer any questions you might have.
Cooler heads prevailed and I went to work. Once there I doodled a bit with a couple of ideas. I couldn't quite put my thoughts onto a piece of paper in 2D because I suck at drawing. But it involved trunnions, pins, and all kinds of other neat stuff. It was a fun day at work trying to think of ways to do it with hand tools.
|didn't need the trunnions and such|
By lunchtime I had ruminated a couple of hundred different designs in the brain bucket. Everything from double trunnions to single ones to using wedges and a hinge. I had finally decided that I only needed the jig tilt down about 20-30 degrees. I didn't need trunnions. Then it dawned me that I could put it in the wagon vise like this. Voilá. I didn't need to change anything.
If I couldn't get this work in the wagon vise It would work in the leg vise. But I like working at the bench on the right side and that is where the wagon vise is. I was happy to get it to tilt without having to saw anything off.
|better of view of the iron|
|it's flatter this way|
|couple of strops coming|
|this wasn't easy|
|gappy at the top outside edges|
This is it for shop time today. My wife wants to go out to eat tonight and she said she told me she would be leaving work early. Translation - it's friday and I want to get out of here now. Tomorrow I will start on the table. Now I'm going out for fish and chips.
How many time zones are there in China?
answer - only one the government requires all clocks to set to the same time as the clocks in the capital of Beijing
Let the drawer making commence!
Last evening I started with the drawer construction. I would have liked to cut at least one practice joint in the walnut before diving into the real deal so that I could get a feel for the compression rate. But since I used absolutely all of my walnut, save a few small cutoffs, I had no choice but to just jump in. I knew that the walnut would have little compression and just guessed at how tight to shoot for erring on the tight side. This first round of dovetails fit pretty good. There are a couple of hairline gaps but I thinks those will closeup when the glue is added and swells the wood.
The joinery for these drawers is my standard fare. Lapped (half-blind) dovetails at the front, finger joint at the rear, the bottom installs in a groove and everything gets bamboo pegs. A little unconventional, but stout.
I’ll post more about the process in the following days. So be prepared to be bored beyond belief.
Sidan skottbenken ikkje er ein del av pensum i formalisert fagutdanning i snikkarfaget og ikkje med i faglitteraturen i faget er det ikkje så lett å finne felles, eller gode, nemningar på benken, delar av benken og arbeidsmåten. Vi har nokre spreidde kjelder som er med i oversikta over litteratur om skottbenk i menyen over. Vi har også presentert nokre bloggpostar om både nemningar og om ulike skriftlege kjelder. Med søkefunksjonen i bloggen kan ein enkelt spore opp alt som er skrive. Det er eit materiale som har vore nemnd ved nokre høve men som ikkje er skikkelig forklart; svara på spørjelista om snikkarhandverket i Ord og Sed i Norsk Folkeminnesamling. Spørjelista vart sendt ut til snikkarar i heile Noreg i 1934. Det kom inn 168 svar, nokre er særs omfattande og detaljerte og andre har lite informasjon som er nyttig for oss. Eg har skrive ein artikkel med utgangspunkt i noko av dette materialet, Kjellingfot og ronghake – nemningar i snikkarhandverket omsett til handverkspraksis. Artikelen har utgangspunkt i svara på spørsmålet om høvelbenken. Spørsmålet var formulert slik:
“Høvelbenken. Brukte dei andre måtar å festa arbeidsstykket enn i høvelbenk? Kann nokon hugsa ei tid dei ikkje nytta høvelbenk? Gjorde ein skilnad mellom hjulmakarbenk og snikkarbenk, og kva var skilnaden? Gjer greie for namni på dei ymse delane av høvelbenken. Var det t. d. tilsvarande eller andre nemningar på det som nemnest her: framtange, baktange, tangeskruve, platerom, benkehakar o. s. b. Uttrykk for å feste lange stykke som ikkje fekk rom på sjølve benken.”
Spørsmåla er godt formulert og grundig gjennomarbeidde. Det er tydeleg at dei som har laga spørsmåla har god kjennskap til snikkarhandverket. Likevel er nok spørjelista i stor grad basert på faglitteraturen i snikkarfaget. Denne er for det meste omsett frå tilsvarande utanlandske bøker og avspeglar i liten grad det tradisjonelle snikkarhandverket på bygdene i Noreg. Døme på dette er spørsmålet om skilnaden på hjulmakarbenk og snikkarbenk. Det baserer seg på ei feilaktig omsetjing frå terminologi på Dansk der ein snakkar om karetmagerbænk som ein høvelbenk som var populær blant vognmakarar og som hadde ein spesiell baktange. Det ser ut til at det berre var eitt av dei 168 svara som hadde forstått dette og svart på dette. Tilsvarande var det også med nemninga benkehakar som var misforstått av dei aller fleste som har svart.
I innleiinga til spørsmåla er det forklart at det er dei lokale nemningane ein er ute etter og at det er bra om dei kan skrive orda slik dei vert uttala. Soleis er det stor variasjon i skrivemåtar i svara. Når det gjeld skottbenken spesielt så gjer fråværet av han i litteraturen at snikkarane ikkje har noko referanse til korleis ein skal skrive namnet.
Eg tvilar på at dei som formulerte spørsmålet “Brukte dei andre måtar å festa arbeidsstykket enn i høvelbenk?” tenkte på skottbenken? Eg har likevel tatt meg tid til å gå gjennom alle dei 168 svara, nærare 2000 handskrivne sider, for å sjå etter om skottbenken er med. Eg går gjennom svara fylkesvis og startar lengst nord i landet. I Finnmark er ikkje skottbenken med i det eine svaret som kom inn frå fylket. Eg startar difor med Troms.Troms
Snikkaren Jens Solvang i Hillesøy kommune var erfaren snikkar og hadde fleire svar som var illustrerte. Om skottbenken skriv han: Den tid ein sjølv høvla og pløydde golv- og loftbord bruka dei “skottbenk” og “skotthøvel” til å høvle rett kant og pløye i. Han har og teikna ei skisse av ein skottbenk som har langbord på 8 alen. Han skil mellom golvbord og loftbord sjølv om desse kan sjå ganske like ut. Med loftbord meiner han nok bord som fungerer som golvbord på loftet men som også er synleg himling i etasjen under. Slike er det vanleg å høvle flate på margsida og pløye dei etter denne. Så legg ein borda med margsida ned. Baksida som vender opp kan vere meir eller mindre høvla.Skisse av skottbenk teikna av Jens Solvang, Hillesøy i 1934.
Henri Reiersen på Skjervøy skriv: Ja, jamnt brukte dei skottbenken, fem alner lang, tvo “bokker“, støttestativ i endene og eit “sagbord” 6 tummar breid, tvo tjukk, fast i bukkane på kant (upp ned) og eit av same slag attmed og det kunde stillast tett inntil det faste eller frå ved kiler som vart slegne millom ein vinkelkloss og denne lause bordfjøla. Når snikkaren skulde kanthøvle eller pløye var det godt å kunne ha denne innretning. Og når snikkaren skulle høvle lange bord so la han nokre bord ovanpå bokkane og desse to kantståande borda hvis øverste kant svarte til øverste ende av bokken.
I Troms var det til saman 8 svar som kom inn. Dei to som har med skottbenken i svaret har også svart utfyllande på dei andre spørsmåla. Sjølv om det verkar som om skottbenken var vanleg og utbreidd i Troms på denne tida så har både Jens og Henri ei inngåande forklaring av benken og bruken. Eg tolkar det som at dei rekna med at dei som skulle lese svara trong denne innføringa for å forstå? Sidan skottbenken ikkje er nemnt i spørsmåla så skulle det tyde på at han var ukjent for dei som har laga spørsmåla? Skottbenk er den gjennomgåande nemninga i Troms. Det er døme på både skruvar og kile til stramming. Jens nemner og skotthøvel som namnet på høvelen til skyting av bord.Nordland
Olav Engen i Sør – Rana skriv: Til å retta (“skjota“) lange emne, golvplankar t.d. hadde dei sokalla skotbenk – 2 lange plankar nøgje beinka i yvekanten, festa i kvar sine to føter i passeleg lengd frå båe endar, kvart fotpar standande på ein tung tverrklamp, den eine litt lauseleg – rørleg – so dei med ein skruv eller eit drev kunde persa plankane saman um emnet, eller losna på dei og ta det ut att – det settast fast millom plankane med passeleg kant uppum til å høvla av med ein mei-okse, ein oksehøvel med to listor – meiar – fest under som gjekk på benkjeplankane på kvar si sida av emneplanken og sa frå når det var høvla nokk: kanten på emnet vart då retta, beint, som benkjekanten var.
J. Fondal i Meløy nemner: Høvelbenkens høide er i skrittmålet på snikkarane. Skottbenken.
Fridtjov Wahl i Lurøy nemner: Høvelbenk var kjent, men dei nytta og skottbenk som dei nytta når dei pløgde bord.
Ragnvald Mo i Saltdal nemner: Til å retta opp lange trestykke hadde dei skåttbenken.
Også i Nordland er nemninga skottbenk gjennomgåande i dei 4 av totalt 14 svar som har nemnt skottbenken. Skrivemåten varierer mellom “skottbenk”, “skåttbenken” og “skotbenk”. Olav Engen nemner “mei-okse” som nemning på høvelen. Han nemner og “benkjeplankane” som nemning på langborda.Nord – Trøndelag
Hans Vold i Frosta skriv: (først om høvelbenken) Dessutan har vi endno : oksbenk – lang planke – som lange bord okshøvles paa. Ataat disse har vi ogsaa: skottbænk for samanskjoting og pløining av gulvbord.
Olav Urstad i Harran skriv: Naar dei pløgde saman golvbord brukte dei skottbenk d. v. s. to plankar sette på kant og imellom desse feste ein golvplanken ved å kile plankane saman med bløygar.
H. O. Naem i Kvam skriv: Ein annan slags benk som bruktes naar der skulde høvles lange bord og plankar t. d. til golv og loft, var “skotbenken“. Den måtte helst vere noko lengre enn det som skulde høvles. Den var laget av to 2″ x 6″ eller bredere planker som stod på kant i to stativer, den fremste festet til disse og den andre bevegelig. Millom desse plankar vart saa det som skulde pløiast sat fast med kilar, saamykje høgare enn skotbenken som “fjera” (plognaden).
Ingolv Svinset i Ogndal skriv: Uframt høvelbenk brukte dei og skotbenk (lengre type). Lange stykke vart festa i skotbenk.
I Nord-Trøndelag er skottbenken med i 4 av 11 svar. Skrivemåten varierer mellom “skotbenk” og “skottbenk”. Hans Vold nemner oksbenk bruka til å høvle flask på borda.
I dei fire nordlegaste fylka var det til saman 34 svar på spørjelista om snikkarhandverket. 10 av svara hadde med skottbenk men ein eller anna variant av skrivemåten. Dei fleste har også gitt ei ganske detaljert forklaring av korleis benken ser ut og korleis han vert brukt. Når ein ser det opp mot at det ikkje var spurt spesielt om skottbenk eller pløying av bord så er det stort for oss i Norsk Skottbenk Union at så mange likevel har tatt med skottbenken i svaret. Dei fire nordlegaste fylka sør til Trondheimsfjorden er omlag halve Noreg. Eg vel då å stoppe med dei i denne fyrste delen av gjennomgangen av svarmaterialet i Ord og Sed. Resten av Noreg får kome i 2 eller 3 postar til kring same tema.
As is typical with purchases from eBay, you never quite know what you are going to get. I tried to bid on one that didn't look too ratty. Not too much rust or too many worm holes.
This one has a worn out sole. The bit on an English plane that normally would be boxed is practically worn off in the front.
|The sharp part of the profile on this plane's sole is worn away.|
|Nasty tear out on the sole itself!|
|One can see the profile on the sole from the back.|
|Here is another view of the swirling grain near the sole.|
|Here you can see the blade is tapered. Curiously, it is full width the whole way back.|
|This construction method for the mortise looks simpler to construct.|
|The side strip that is glued on is one wall of the blade's mortise.|
|Another view of the sole including the inserted blade.|
|Here is a view of the blade cavity with the blade removed.|
|The plane's escapement.|
|The fence looks sprung.|
In any case, here is a construction method of a plane that could perhaps be relevant today in the view of a more entry-level plane, or perhaps a tool one would buy for a single use.
I look forward to trying this plane out to see if it will still cut a moulding. If so, it might be worth rehabbing and fixing the sole.
In any case, I might try and build one using principles seen on this plane to see if I can come up with a plane that is easy to build.
In this final installment, Frank goes over the layout and cutting of the pins and then assembles the finished joint.
When I first started in woodworking my biggest challenge was putting together a tool kit comprehensive enough to build something. And while the “minimum” tools necessary for a kit would depend to some extent on the types of things you’re building, there is a basic assemblage for most projects.
And while I’ve turned to eBay, Craig’s List, antique shops, garage sales and flea markets to buy good tools, I’ve had great financial success with estate sales.
Estate Sale Benefits
The biggest benefit to picking up tools at an estate sale is that you usually, not always, pay pennies on the dollar for items compared to other sources. Moreover, you can negotiate down prices if you buy multiple items. Frequently, I find good items with occasional gems, including wood.
Here’s a sampling of some nice finds on my estate sale hunts.
PS& W Compass Divider-$1.00 on a garage shop table.
Stanley #80 Cabinet Scraper-$3.00 buried under rusty braces in a vintage wood tool box.
Stanley Sweetheart 6” combination square-$2.00 sitting on a table in garage.
SB #18 HA block plane-$10.00 on a garage shelf.
Hand Brace-12″-Millers Falls No. 321-$10.00 on a garage table. 12” size gives great torque.
Another advantage to estate sales is that you can pick up a heavy item, like say a miter box and accompanying saw, locally for a good price. Oh sure. You can get them sometimes for a good price online too, but the shipping adds considerably to the total cost.
Still another benefit is that you can see what you’re buying before plopping down money for it. That goes a long way toward assessing a tool’s condition. It also puts the odds of avoiding broken, missing and jiggered parts greatly in your favor.
But my favorite part of estate sale rust shopping is the thrill of the hunt. There’s a serendipity element to it. Like the time when I picked up a Type 11 Stanley #5 corrugated jack plane for $8.00.
I didn’t see it in the pictures online. Nor did I see it in my first sweep of the tools. I was there to look over the handsaws—in poor condition and overpriced. That’s when the plane caught my eye. Hello my pretty…
That said, there are drawbacks to estate sales. You have to take what’s there and often, there will be nothing that interests you at all. In my area (Denver,) hand planes are scarce. And the ones I do come across are either:
late model planes I have no interest in
- off-name brands I have no interest in
- beaten and battered specimens that I have no interest in, or
- horribly overpriced whatevers that I have no interest in.
Consequently, all but one plane in my collection have come from eBay or the modern manufacturers.
Another thing you have to take into account is that your hunting will cost you both time and fuel.
So to help you make the most of your precious time and reduce the number of times you have to reach into the cookie jar for gas money, I’ve put together 10 Tips for Successful Estate Sale Tool Hunting. In the next installment, I’ll share Tips 1 through 6.
© 2015, Brad Chittim, all rights reserved.
### End Part 1
When I got the privilege to measure an antique Japanese toolbox in 2013, I knew I had to build a reproduction. I just didn’t know it was going to take me two years to get around to making this simple but beguiling box.
The first problem was the hardware. I spent entirely too much time searching all over the world for manufactured dome-head nails to secure the toolbox’s finger joints. I came very close to finding the right nails in France and then again somewhere out in the desert. But there was always something fouling the works – the size of the head, the length of the shaft or the raw material (silver is probably a poor choice).
So I conned John Switzer at Black Bear Forge to make the nails and pulls. Note to self: Start with a blacksmith next time.
The wood was the next hurdle. Logically, I should build the toolbox using pine or cypress – a lightweight and strong wood that is easy to get. But I want the venti experience, so I started looking for Port Orford cedar. A fair amount of this stuff is exported to Japan for woodworking and building temples, so that would be a nice wood to use.
As I’m in the Pacific Northwest this week, I decided to spend a morning hunting up some Chamaecyparis lawsoniana in the Portland, Ore., area. After about 10 phone calls, I found a yard that had some. When I got there, I found they had three short boards. Three short boards that were split, warped and pecked with loose knots. I call this stuff: firewood.
Luckily, the yard had some gorgeous, dry-as-a-popcorn-fart vertical-grain Douglas fir. So I purchased an 16’-long clear stick of this wood as a backup plan. The antique toolbox I measured was quite possibly made from Douglas fir, according to the people who studied the box along with me.
The employees at the lumberyard were nice enough to cut the stock up into manageable chunks for my rental car so I could ship it back to Kentucky.
Mission accomplished. Or perhaps not. More on this story on Monday.
— Christopher Schwarz
Filed under: Personal Favorites
Had I at fifteen been told to make my workbench I know it would have been intensely gratifying. I know too that I could have done it. But waiting a few years and allowing the process of work to change me did something to me. I matured, grew in knowledge and strength. The men had stopped their mocking and jealousies ceased. Today I see how that learning phase equipped me and stood me in better stead. I picked out my wood differently and knew what to look for on my own. My hands and arms were calloused and harder and the tools obeyed each stroke and demand. Building a workbench like mine is simple enough and yet it’s far from simplistic or over simplified. I have made it in different forms but always followed the same basic patterns because others seemed to counter my quest for simplicity.When done I dismantled it and put it back in the hatchback.
I’m glad we filmed the one I made for YouTube in the back garden a few short summers back. It was so real working from two saw horses that way and now we’ve had millions of views as a result of it. Emails each week tell me that my bench now stands on every continent around the world and hundreds if not thousands have been made by men and women and even young children. That’s what makes much of my work simpler without being simplistic and it’s what the real woodworking campaign was all about a few years back. You know what? It’s worked.Now Phil uses the bench as well as students who are 6’2″ tall or over.
Watching Sam make his bench at the bench as it were has been fun for me. Perhaps he too was supposed to wait a few years too but I think not. In a few years he may want to make another, better, more sophisticated one, but this period of mentoring is about him learning through each project to skill-build rapidly in a way no other enterprise or education system offers. I work at my bench, take pics as he works and get on with my work. The shame is I could take ten people like Sam and watch them from my bench in the same way. It’s an easy enough task for me to do that. I’ve done it on and off for decades.Laminated tops work best and you can use almost any wood too
Here’s what I want to say. Building a workbench is a rite of passage for every woodworker. The YouTube series worked to that end. Ut was of course free and it was a strategic quest to expand woodworking knowledge to a massive audience. It was advantaged by the digital age and yet was not at all difficult. the bench wasn’t complex, fancy, made from exotic hardwoods or anything like that, far from it. For me, workbenches need to be dead real. As Sam shapes the parts and fits them, planes, them hand routs them and cuts wedges and stuff like that I have a sense of something happening in the spirit as it were.Sam testing his leg frames into the aprons and fitting the stress wedges. Sam’s bench stands on all fours for the first time. Now he can lay out for the drawer and vise recesses.
Take a piece of iron and tumble it between the anvil and the hammer and make a simple nail can be a reward in itself. Leather worked with an awl, some waxed thread and a skiving head has the same effect, but when you make a tool or a bench and you see the square nail becomes a square awl and the leather a bit roll for you augers something shifts. Clay on the wheel remains clay until it’s fired. Glaze it and it changes all the more. Vitrified, it now holds the content of all that’s poured into it. A rite of passage challenges you and that’s what an apprenticeship should do. Something that transforms a being from one thing into another. The bench is a small portion of it. My apprenticing people is radically different. it’s high-demand in a different way. when a man or a woman chooses this path I give them all I can for a year or so. This parallels five years in a commercial setting. They become changed in tangible ways. This then becomes the foundational stone of their future.Everyone needs a foundation on which to build. Not any foundation but a solid and sure one. Otherwise what you build often crumples under the subsequent stresses and strains that always follow growth. You can’t get this in college or university because the dynamic is different. The rhythms are different and the goals are different. Living craftsmanship isn’t selling work for approval but resting in a secure knowledge that you are a craftsman whether you sell or not. Money never measures success in any real way. Contentment becomes a reality when your work is your calling. Discovering this is critical to wellbeing. You stop chasing pipe dreams and the illusions that brings. Work is a most honourable reality when you know its your calling and there is no substitute for it. You can’t buy it with weekends off, vacations rarely work that well or at least the way we think they should and though rest is important it’s more important to find the right rest which isn’t a concept but a reality. So relational work is not abstract but tangibly held and felt and sensed. You can own it in the sense of possessing it. This is what work is for me. I know, I’m privileged, that’s true, but it also means I had the vision for what work should be and mean to everyone. I held on to it and still hold on to it. I worked for it, when I feel challenged about the future I go back to the foundation of calling I found and feel settled again. It’s not necessarily easy at all, but it’s contenting for me now. So I write not as a writer but as a furniture maker, unskilled in making films but as a furniture maker and I train not as a teacher but as a woodworking furniture making man. Now it’s my turn in my time of life to help others to work for it, find it and live it.
Alan Lacer has been involved in the field of woodturning for almost four decades. He’s done almost anything and everything you can think involving the craft from turning to teaching to writing, and is a past president of the American Association of Woodturners. His latest book, “Alan Lacer’s Woodturning Projects & Techniques” is a collection of his writings for American Woodworker Magazine, presenting 15 years worth of his articles in one volume. In the following […]
Many also feel that their hands have not reached a level of competency for sharpening the profiles of gouges, let alone profiled planes.
My response to these craftsmen is always the same: don't let the sharpening of these tools intimidate you. Learn to sharpen a chisel without a jig, then a carving gouge, then a single and simple moulding plane iron (not 20 off of eBay). Teach your hands the process because the sharpening medium is the same. If you tried unsuccessfully a few years ago then try again today. Your hands are naturally better if they've been used more.
Many users of antique planes have seen widely varying levels of success due to the same. I discuss this process in my book and demonstrate it in my dvd. Larry Williams of Old Street Tool, Inc. goes much further into the subject using a different method with his dvds.
One aspect of both of our demonstrations that is the same is the use of oilstones. These hard, natural stones are ideal for anybody addressing profiled edges because they don't distort nearly to the extent of water stones.
I have been using a water stone in my work for about 12-18 months for the final polish. It's messy, yes. But more concerning is the amount that needs to be removed.
The number of times I flatten both stones illustrated below is similar. However, an Arkansas stone has a new, flat surface after a few passes on a diamond plate. A water stone may take a few minutes, especially if there has been an errant stroke that has left a mark. An oilstone leaves a discolored slurry on my plate. A waterstone leaves visible build up that could be brushed away and collected once dry.
Both of these stones started at a thickness of 1". My waterstone, again, may be a year and a half old. My oilstone, which sees 10 times the amount of work, is probably 12 years old.
The end of the tall dresser build is almost here. One of the final things left to do, other than apply the paint, is to build the drawers. So that’s what we’re doing in today’s episode, it’s all about drawer construction.
We’ll discuss dimensioning the Baltic Birch plywood for the drawer box sides. Fabricating the drawer runners that the boxes will ride on to keep them centered in their openings, not to mention how they’ll help to make opening and closing them much smoother.
Then we’ll follow that all up with the construction and fitting of the pinned rabbet joinery we’ll use to assemble the sides to the solid wood drawer fronts.
After today’s episode we have only one more to go and the entire construction of the 8 drawer tall dresser will be wrapped up and ready for the paint room.
A full set of detailed plans are available for sale on my website, thanks to Brian Benham of Benham Design Concepts.
Help support the show – please visit our advertisers
|the old way of doing it|
|groove is too small|
I made the first groove with my record 043 and I wasn't going to make the groove wider with the record 405. I did that on the tablesaw.
|need a recess for the business end of the iron|
|recess for the iron done|
|cart before the horse|
|clamp dry fit|
|dry run with sandpaper|
|different set of problems here|
What proved to be a problem was the shape of the profile of the iron when sharpening it. I was putting lateral force to the right and it was moving. It wasn't a floppy left and right annoying I'll rip your face off movement. It was more of I was able to compensate for it as I sharpened movement. I can't move it back anymore because the profile would be up on the platform and I wouldn't be able to sharpen it there. However, that would put more of the tang in the groove and make it even less prone to lateral movement.
What would negate the lateral movement is a clamp or something that I could butt up against the right side of the iron. Then any lateral force I applied during sharpening wouldn't matter.
|my lateral movement stopper|
|part one of the lateral stop is done|
|had to go|
|counter bore for the threaded insert|
|measuring for the shaft diameter|
|I think this washer is overkill but I may be wrong|
|no lateral movement at all|
|got a gap|
|a little work with a rat tail file|
|I'm putting it on a pedestal|
|3 of these will hold it in place|
|this is better|
|I can still do it at wagon vise height if I want|
|it's new home for now|
|my lunch time doodling|
I don't have any bar stock other then some 3/4" aluminum and that isn't stiff enough to use as a clamp finger. I thought of using a slotted piece of wood but the more I thought of that idea the less I liked it. I couldn't see that being strong enough or being able to make one small in scale so it wouldn't be in the way. And not breaking the first time I tightened down on it. The lateral stop is a better choice here.
Now I'm ready to finish up my molding plane irons. And that includes re-doing the ones I thought I had done a good job on already.
How tall was the French Chef, Julia Child?
answer - 6 feet 2 inches
Have you considered escaping the Texas heat this coming August? Why not come up to Maine for a weekend workshop. There are many different ones to choose from but I might be biased in in telling you about a particular one! I am delighted to get the opportunity to teach a 2 day […]