General Woodworking

seven rails

Learned something prepping the rails that had gone over my head like a cement balloon. There is an order of operations with prepping the rails that I wasn't following. First op is to rip the rail to width. 2nd op is square one end and then square the opposite end and saw the rail to length. I was flattening/straightening one edge, squaring the ends, and finally sawing it to final width. The problem with that sequence? The ends were square to the original reference edge but not with the other one (width wasn't parallel end to end). For years I did prep that way obviously wandering in La La Land without knowing it. 

23 slats

I was able to get this many slats out of the off cuts from the stock prep.

my desk

33 slats on my desk that I will repeat on Miles's desk. I have a fondness for the look of this. They will be 3/4" wide by 3/8" thick. I doubt I'll use less then this number but I may add a couple more - to close the distant between the last slat and the legs.

44 slats

The width and thickness was different between the 5 batches of slats I did. To even all the slats I did one final ripping to width and thickness. The total operation of making the 44 slats took me 2hours.

cherry sawdust

Generated a bigger pile than I expected. There was also a fine sawdust in the shop that covered everything.

headache time

Didn't realize until after I was done with the front that I had made a hiccup. I was looking to get a continuous grain flow. I didn't want one drawer, I wanted two inset ones. The headache was caused by trying to figure out the length of the drawers.

the front rail

I first saw this done by Norm Abrams from the New Yankee Workshop. I think it was called the library table. I have done this once before without any problems. Trying to find the length of the drawers and the left, middle, and right dividers was making me feel like I had the IQ of a lima bean.

The result of this is the drawer inserts came out short. I just lost my continuous grain R to L.

hmm.......

Normally I would have used biscuits but I recently got a Stanley #59 doweling jig and I used it instead of biscuits. I did good on the alignment on the bottom but I was off on the top. I thought I had registered the jig but I did it wrong for the top one -either the divider or the top rail.

double, triple checking

I would have bet a lung I had done the registration correctly. Of the 4 registrations I was right on 3 and off on one. I was happy with the bottom - it came out dead flush on all 3 dividers. The fix was easy, glue in dowels and redrill for them. 

I couldn't wait

Twenty minutes after I glued the dowels in the errant holes I sawed off the proud and flushed them. Tried it with the center divider and I was flush top and bottom.

happy face

Dead on flush, top & bottom, on all three dividers.

it won't stretch

Got a 1/4" gap and I tried but I couldn't stretch it enough to close it up. Eyeballed it and I couldn't think of any way to 'fix' it. I can't use these drawers for slats as they aren't long enough. I will save them in the wood pile for a future use.

nope

I thought I was clever using a scrap of pine to figure out the length of the drawer. When I did it the pine was a snug fit in the opening. Turned out that the pine was the same length as the cherry drawer from the git go. Don't understand how that happened. But I did remember how I had done the previous front rail from many moons ago. 

On that one I had left the right and left outside dividers over length. On this one I had sawed the top and bottom to the same length as the back rails. I should have left the middle part over sized. Got me thinking about maybe redoing this. I have extra stock and the 'fix' for it. 

nice jig

One thing I have learned over the years is to leave jigs etc set up until everything is glued and cooking. This way it isn't a scramble to set the jig up again to 'fix' a me-steak.

accidental woodworker

No one should be ashamed to admit he is wrong, which is but saying, in other words, that he is wiser today than he was yesterday.

Alexander Pope

In the previous article in this series we finished fitting and shaping the handle of our gennou hammer in accordance with our design document. Some refinements may be pending the results of testing, but in any case the time has come to attach the head.

This is an important task, perhaps not as easy as it sounds, because this is a craftsman’s handle, made with love and skill, not a mass-produced cockroach killer ground out by barefoot Bangladeshi farmers and secured with crude wedges. It’s not a typical tool of the sort sold at Home Despot designed to fail quickly and be tossed into a landfill soonest. And because the head is not secured with barbaric wedges but relies entirely on the extremely tight fit between the eye of the steel head and the tenon Beloved Customer cut on the end of the handle, some careful, but nonetheless violent action is required to successful connect head and handle. The purpose of the article, therefore, is to help you install it carefully with all due violence.

Installing the Head

Beloved Customer can install the head either before or after sanding and finishing the handle, but in this example we’ll attach the head before testing and finishing the handle. This approach will be most efficient if you decide to adjust or rework the handle after performing the tests I recommend in the next article.

In this case, I use the word “finish” to mean to apply a chemical “finish material” to the wood, not to “complete” the work or “conclude” the job. This difference in definition matters to me because confusion regarding the dual, even treble meaning of the word “finish” has caused problems for me in the past. So there you are.

Preparing the Tenon

First, remove any tape remaining on the tenon and, if necessary, use a solvent such as lacquer thinner to remove any adhesive residue. DO NOT USE soap, water, or any water-based chemical as this will make the tenon swell! After cleaning there should be no finish material, wax, oil or unicorn wee wee left on the tenon.

Depending on the relative humidity the handle is acclimated to, it may be advisable to make an effort to shrink the tenon a bit by placing the handle in a low-humidity environment for a time. Please do NOT microwave your handle, cook it in your oven, or heat it in your toaster, not even with cheese and Tabasco Sauce.

There are several ways to remove moisture from the tenon in order to shrink its width and thickness a bit without ruining the handle or burning down your workshop. Perhaps the safest way is to store it for a time in a tightly-sealed plastic container with packages of silica desiccant. Other ways include placing it in a warm spot close to an operating gas furnace, or indirectly exposing it to an electric room heater for a day or so.

If you use any method that involves heat, make sure you are nearby to monitor progress and deal with scorching and fires.

Orienting the Tenon

You’ve already shaped the handle, and shaved and lightly chamfered the tenon so it should partially fit into the head’s eye almost as deep as the chamfer, but should go no further using only hand pressure.

Please keep in mind during this process that it’s extremely important to get the tenon started in the eye straight, and to keep it straight, without allowing it to become cocked.

It’s also important to install the head in the correct orientation. This usually means it’s flat striking face is oriented towards chisel or nail, and with the brand oriented towards the handle’s butt.

Some people like to orient the head’s brand so it faces up (away from the butt) when using the hammer. I can understand this compulsion, and while it makes no difference in performance one way or the other, you should be aware that it’s seen as bass-ackwards among professionals in Japan.

Starting the Tenon

Of course, in accordance with your humble servant’s advice in previous articles, you’ve already created an elegant dome on your hammer’s butt to prevent these taps and strikes from damaging the handle.

I like to place the head on a working surface such as a benchtop or a softwood board like pine or cedar resting on the floor/ground cushioned by a piece of leather or rubber to prevent slipping.

Insert the tenon into the eye, and, after sighting the handle and head from multiple directions to check alignment, when you are absolutely certain the tenon is poised to go into the eye straight, tap the handle’s butt with a flat-faced hammer, genno (not a domed-face hammer) or mallet. After a few taps, stop tapping, check your progress, and make sure the tenon is going in straight and not cocked.

Although the tenon should not have entered the eye more than a millimeter or two, it should be an extremely tight fit, with each tap making barely any progress.

I can’t describe the sensation in writing, but if the fit is too tight at this point in the process, you may need to scrape or sand the tenon a little.

Driving the Tenon Home

This is where the “violent” part of the job I mentioned above begins.

With the tenon properly aligned and started in the eye, stand up, hold the hammer in a fist with the head hanging straight down, and strike the butt of the handle with your hammer or mallet paying attention to its progress into the eye with each strike and the friction created. Gradually adjust the impact force of your strikes accordingly. Don’t be surprised if it takes literally dozens of extremely hard strikes to install the handle completely. If the tenon just slips in, however, we have a problem, Houston.

If you find that the fit is too loose, however, don’t despair, simply shim it with quality paper as described in the last section of the previous article. Remember, most people find it difficult to get the tenon/eye fit right the first time. Such adjustments to a new handle are nothing to brag about, but neither are they something to be ashamed of. It’s more the rule than the exception until experience is gained.

Some people like to make their tenon extra-long so it projects out of the eye 6-12mm or so. Nothing wrong with this approach, but it looks silly to me in the case of a new handle. Once again, beauty is in the eye of the bean holder.

I was taught that the ideal is for the tenon of a new handle to remain recessed inside the eye a few millimeters. The purpose for this goes back to one of the reasons for the gennou handle design described in this series of articles, namely, that the handle does not have a tumorous swelling below the head but the neck is approximately the same dimensions as the eye for a portion of its length to permit the user to tap the handle further into the eye should it loosen. By leaving the end of the tenon short of the end of the eye in the case of a new handle, one provides visual evidence that (1) the handle is tightly fitted and; (2) that plenty of tenon length is available for making such adjustments.

Accordingly, a tenon projecting a long way out of the eye indicates to the knowledgeable observer that either the handle is either old and has been adjusted many times, or the tenon fit was sloppy from the beginning. In my humble opinion, a tenon of a new handle projecting from the eye a significant distance looks odd, but in practice, it doesn’t make much difference. The choice is yours.

In the next article in this series of articles about danger and violence, we’ll test you’re new handle. How exciting!

YMHOS

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Previous Posts in The Japanese Gennou Hammer & Handle Series

• Part 1 – Introduction
• Part 2 – Ergonomics
• Part 3 – What is a Gennou?
• Part 4 – The Varieties of Gennou: Kataguchi, Ryoguchi & Daruma
• Part 5 – Kigoroshi
• Part 6 – The Ergonomic Anaya
• Part 7 – The Unblinking Eye
• Part 8 – Head Style & Weight
• Part 9 – Factory vs. Hand-forged Gennou Heads
• Part 10 – Laminated Gennou Heads
• Part 11 – Decorative Gennou Heads
• Part 12 – The Drawing: Part 1/6
• Part 13 – The Drawing: Part 2/6
• Part 14 – The Drawing: Part 3/6
• Part 15 – The Drawing: Part 4/6
• Part 16 – The Drawing: Part 5/6
• Part 17 – The Drawing: Part 6/6
• Part 18 – Wood Selection
• Part 19 – Laying-out the Handle
• Part 20 – Making Sawdust
• Part 21 – Installing the Head

 

grey pad work last night

Everything I read/watched about milk paint said sanding between coats wasn't necessary. However, a scratch pad works wonders smoothing out the paint. It surprisingly didn't generate any appreciable dust. I had used this grey pad (the only one I had) between each application of the paint.

happy with it

There was a 'foam skin' covering the top that stirred into the paint without leaving lumps. The consistency of the paint has remained the same since I first mixed it up. Hope that I have mastered making it now.

3rd coat

Although this doesn't look like latex paint with regards to coverage, I'm happy with how three coats of this batch of milk paint look like. I'll be ready to slap 3 coats of shellac on it in the AM.

the next day

The paint still had a 'foam skin' covering the top. Unlike last night it took some vigorous stirring to make it lump free. Consistency remained the same - encouraging that there hasn't been the slightest hint of it wanting to turn into a jello like blob.

4th coat

Didn't need another coat but I was curious about how the paint would be after sitting out on my bench for two days. Is it just me or does it look like the color has deepened a wee bit? The paint laid down with no problems or hiccups.

I started looking on line about making linseed oil paint. My grandfather worked as a house painter when he first came to the USA. He made the paint that he painted houses with. Supposedly linseed oil paint doesn't peel/blister/crack like modern latex/oil paints do. Just something to have on the back burner to muse about.

legs

Sawed out the legs for Miles's desk. This 8/4 cherry stock is 1-7/8" thick. 

prepping

Planed two adjacent faces square, flat, and twist free. Next step is to plane the four legs to equal thickness on the lunch box planer.

hmm......

Leg prep was done and I measured the two adjacent faces. This face was almost 2" wide and the other face was 1 7/8". That gives about 1/8"+ for wiggle room. There is nothing carved in stone for the thickness but I was shooting for as thick as possible.

done

It was a beautiful pre spring day for planing. The temp at the time I did this was 67F/20C. It didn't take long to do -  it took longer to set up and break down then planing the legs.

not perfect

All the legs when checked against each other were close. On a couple there was less than frog hair and I have no intentions of chasing my tail on them making them perfect. 

calling this done

Still have to hinge it and get shellac on the lid but no one will see that in a pic. I like these chests better painted than left natural. I wouldn't paint a nice hardwood one, but pine is a good choice for milk paint.

back/side view

There is a difference in the two paint jobs. The blue is a ton more streaky while the red is uniform with almost zero streaks. The red also covered imperfections/glue blobs much better then the blue did.

sigh

The area I sanded due to lifting grain. It lifted again but no as bad. Thought briefly about making another batch of blue but nixed it. Wish this wasn't on the front but I can live with it. 

legs

I had to redo my layout. On the first one I saw that I had put planer snipe facing the where the mortises were. There were only two of them, one I was able to place at the bottom and the 2nd one facing out toward the front. I'll plane the snipe off after the base is done.

wow

I love this bottom piece of cherry. I wanted to use it for the front but all the lovely grain was on the right side. The left side was flat sawn and bland. If the right grain was more centered I would have used it. 

big empty hole

I need seven rails for the desk. The one with the knot hole will be used for the top back - the knot won't be seen in the finished desk. It doesn't extend all the way to the opposite face.

accidental woodworker 

I got the idea for this blog entry because Im learning to turn and I've been watching a lot of lathe videos. What has struck me about the very simple operation of mounting a piece of wood between two centers is how complicated people can make it. When I first started turning, I would follow some of these more complicated instructions to the letter and I didn't get great results. Mostly my own fault, but now that I know more I can say these protocols were also unnecessarily hard and complicated ways of getting stuff done.

I'm not exactly sure where I first saw the method I will describe in this post. I instantly concluded, Oh, this is much easier. It might have been from the videos of Richard Raffan, who has put out some excellent turning videos which I highly recommend. And he's eminently practical.

The Gramercy tools treadle lathe comes with a 1" crown center to drive the work and a live cup center to support the spindle work at the other end. There are a lot of excellent reasons for using a crown and a cup center to support the work, including safety, but one real advantage is that it makes mounting the work in the lathe really, really simple.

All you need to do is find the center of each end of the stock and put a punch there. Other types of centers require an actual drilled hole, but when you use a crown center and cup center, you don't need more than a punch mark.

The question is, Where does the punch mark go? And the answer is, In the center of the stock. There's a whole host of gadgets for figuring this out. They sort of work, but if the stock isn't actually square, they don't really work. Moreover, they are not necessary anyway.

Here's what you do:
Take a pencil hold it at approximately halfway over the stock and mark the stock all around (above). You can't see it too well in the picture but I am using knuckle on my middle finger as a fence against the wood so that the pencil square is centered all around on the stock.



You will end up with a little square in the middle. Put a punch mark in the center of that square. Eyeballing that center is perfectly fine (but don't punch yourself in your eyeball).



I use an automatic punch, but you can use a nail and a hammer. I always punch twice cuz I just do.
Then we do the other side.



That done, it's time to mount it in the lathe. The crown center is a spring-loaded pin. All you do is put the punch mark up against the pin on one side, with a little pressure so it doesn't slip out. Then you advance tailstock so that the pin in the cup center presses into the punch mark on other side. They you tighten the tailstock until the cup digs into the stock.

That's it! You are done. As you turn, the crown center especially has a tendency to loosen up a little bit. And the cup center may work itself a little deeper, so you might want to tighten the tail stock periodically. It's pretty easy.

Incidentally, as I mentioned in the beginning of this blog post, I've been watching Richard Raffan videos. He has a method of putting stuff between centers without any layout at all, just eyeballing it as he's putting it on the centers. I tried this method and it works fine. The reason I don't just eyeball it is that I think the method I've described here is even easier and requires even less thinking. Although you do need a pencil and punch handy.

A few months ago, I responded to an ad for an old handsaw.  When I looked at the saw, I noted a fairly bad kink in the plate, so I told the seller I'd pass on it.  Realizing it was not worth much, he said "OK, just take it for free".  Not only that, but he also gave me an old Craftsman saw and an old Dunlap smoothing plane.  Those I'll address separately.

26" crosscut saw from E. C. Atkins

The beech handle close-up.  The type of wood, the screw locations and the lambs tongue were the details that helped me try to identify the model.

And the medallion

Turns out the saw is a 26", 8 ppi (7 tpi) Atkins crosscut handsaw.  I don't know the model number for certain, but the handle and description mostly match a #54 in the 1906 catalog (and 1919 and 1923 catalogs) I found at a blog on Atkins saws by Mark Stansbury.  That doesn't mean this saw is from 1906 - that's just one of the catalogs I saw a similar saw in.  But there is one big difference: the saw I've got has a breasted tooth line, and I didn't see any breasted saws in the catalogs I looked at.

After looking further at the catalogs, it could also be a #58 or #63 or #71.  No etch was seen on the plate before, during or after cleaning up, so that's no help in identifying it.

I've read articles and seen video of getting a kink out of a saw plate, but had never tried it and this saw was a perfect candidate.  The following picture attempts to show the kink in the plate.  The kink is on a diagonal starting about 8" back from the toe at the tooth line and about 5-6" back from the toe at the top of the plate.  The picture does not show how pronounced the kink really was.

Looking up the tooth line from the heel. The kink was much more pronounced than it looks here.

A straightedge was used to help locate the center of the kink

Then the pounding began.  I used the end grain of a chunk of maple butcher block countertop as my anvil.  My hammers include a 3 lb. small sledge, a 1 lb. carpenter's hammer and a small ball peen hammer.

The "anvil" setup

Hammering out the kink

The hammering took a long time.  It's possible that my small sledge didn't have enough curvature on its head because I noticed much quicker results about an hour later when I used the small ball peen hammer.  But with the kink's convex side up, I hammered and hammered and gradually the kink started straightening out.  I did this in sort of a grid around the main kink area, an inch or two either side of the main kink line, but focusing more blows along the kink line.

Using the small ball peen hammer might have been a better choice

Last year I picked up Matt Cianci's book "Set & File", in which he covers fixing kinked saw plates.  I recommend the book to anyone who wants not only to fix kinked saws, but also who wants to know how to sharpen saws.

I also give credit to Bob Rozaieski, who has a nice video on YT about hammering out a kinked plate.  I'll get into the rest of the rehab of this saw in another post.

 Got a late start in the shop today. I had to go AAA to renew my truck registration. I maintain my AAA membership just to be able to do DMV (Dept of Motor Vehicles) business. It took less than 15 minutes to renew. At the DMV it probably would have been more than an hour.

After this I was going to go to the local recycling drop off but it didn't happen boys and girls. Luckily for me I had checked the site on line before leaving. The only thing in the truck that the drop off would have taken were the 2x4s. They don't accept plywood (had tons of it), stained or finished wood, sheet rock, and pressure treated wood. The 2x4s were at the bottom in my truck so I'll be moving on to plan 2. 

All I have on plan 2 is naming it plan 2. The Johnston landfill won't take construction debris which is what in my truck. At this point in time I don't have a clue as to where I can depose what is in my truck bed.

lime and pigment

Had to make a quick run to buy vinegar to make the quark. I got the pigment dye mixed and the lime was the next batter.

9 1/4 oz of quark

The author says the minimum is 8 oz/250 grams with any extra not sinking the ship. I brought a cup of water for mixing/whizzing everything up. Spoiler alert - I didn't use any of the water.

red milk paint

Kind of looks like tomato soup with some cream it it. The consistency is a little looser than the blue milk paint but not the same consistency as latex paint. Felt better with how this paint came out. I covered it to let it set up while I was topside cleaning up the containers.

I am not thrilled with the whizzing machine. It sounds labored and initially it didn't whiz up the quark at all. It all got whizzed once I added the lime. I will look and see what is available in small blenders. They should have stronger motors than the I whizzer I have now.

wow

I was surprised with how this batch laid down. No streaks and no bald spots. It laid down like a latex paint and covered. I wasn't expecting this and it is what I hoped for with making my own milk paint would be like.

hmm.......

I am not thrilled with the color of the red. I was expecting it be fire engine red whereas this is more of a salmon color(too much orange IMO). It doesn't look too much out of place against the blue of the chest. This will have to do.

this was surprise

This is one coat on the end grain. Usually paint on end grain soaks in  and looks bare. I thought this milk paint would do the same. The milk paint went on and lay on the end grain like it was sealed. The only prep I had done on the end grain was to sand it with 120.

wow again

The second coat coverage is outstanding. I can't see the wood grain clearly underneath the paint anywhere. This is what I wanted from this milk paint. The 2nd coat went on two hours after the first one. The paint still had the same consistency as it was for the first coat. I plan on putting a 3rd and final coat on after dinner. In the AM I'll start on shellac.

The only change I made with the red is using the quark right away. I didn't drain or stick it in the refrigerator (I did refrigerate two leftover ounces). I also didn't go nutso on my water management. I used 5 TBSP of water with the lime because it appeared to be a wee bit on the dry side. I used a lot of water mixing the red pigment. Not sure exactly how much but I'm guessing 6-8 TBSP? I hope that I can repeat my success with this on the next batch. 

I will keep the leftover red milk paint and track to see how long it will last before heading south. Very happy that the paint didn't turn to jello between the 1st and 2nd coats. (PS - didn't turn to jello between 2 and 3 neither)

accidental woodworker 

The chance to see and touch and investigate so many thousands of square feet of Early Oak carving, in one place doesn't happen every day. So, I took the day today for a trip to Paul Fitzsimmon's - A Life in Oak auction viewing.

Every inch a joy. For a carver and furniture maker, like me, the opportunity could not be missed.

To see the backsides, the underneaths, the details which may not be shown in full photos. A few hours well spent.

Somewhat sad, but infinitely interesting were the lots I saw last; collections of parts. Spare bits from a life in oak. Maybe they will find their missing bits one day, or someone will make the missing parts once more.

Well done Paul, for all your hard work; collecting, researching, contributing so much to the understanding of Early Oak furniture!

 Over the last 3 days the snow dumped by the blizzard has finally melted down significantly. I can see about 20 feet of my front sidewalk. Tomorrow it is forecasted to be 63F/17C so I guessing my entire sidewalk should be clear. Looking forward to not having to shovel it. The good news is I think we won't have any more of the white stuff for about 7-8 months.

happy with this

Got 3 coats on the new screw boxes. I separated the two of them - one has only flat head screws and the other has round and oval head ones. 

I'm calling the miniature chest blue paint job done. The coverage still isn't what I wanted but stepping back, I am ok with it for being milk paint. Decided to go ahead and make up a batch of red milk paint for the lid. I am can be a wee bit stubborn about some things and I just can't walk away from this milk paint hiccup.

I plan on using the quark right away for the red and I am not going to obsess about how much water I use. The blue batch actually started to look and lay down like paint when I added water. Fingers crossed on that and I'll be trying that in the AM.

why not

I measured each screw and put a tag in its compartment. I did it for all four of the #5 & #6 screw boxes. Thinking that I should also do it for the #4 screws. The rub on that one is that 16 of the compartments are flat head with two being oval head. hmm......

platform

I keep the screw boxes on top of my version of Roy Underhill's multi drawer cabinet. There is enough room on top for the 4 boxes but not for the current 6. The two cleats on the underside will fit in between the top moldings and keep the platform from moving/shifting.

top of the cabinet

This is where the platform will go. The platform is 16 x 19 and will easily hold the 6 screw boxes plus two smaller boxes. These two hold loose screws and brass brads.

done

I didn't want the platform to overhang on the R/L. Instead I put the overhang out at the back. 

Another slow day. It is getting easier to get my right shoe on but the right foot is still swollen. Walking is slowly getting better but not as fast I want it to. Some things I have zero patience for but I'm forced to have it with this. 

accidental woodworker

 Debating whether or not to do the red milk paint. After the results of the blue milk paint it ain't looking good for the home team boys and girls. I read the book again and I spent a lot of time on You Tube watching milk paint vids. Nothing I saw addressed the the paint turning it a big blob of jello milk paint. The only thing about the blue milk paint that I didn't have any hiccups with is the pigment dye. But that is only 1/3 of what makes up milk paint.

sigh

The milk paint got underneath the grain and it lifted. Having this pop up here and now sucked the wind out of my sails. I don't want to plane it but I can't leave it as is. I'll try sanding it with 120 and give it an eyeball after.

surprise

I was expecting to find a blob of blue jello but it is liquid. Not the the consistency of loose pancake batter, just a wee bit thicker. The shelf life of milk paint is short. Depending upon who you listen to it is anywhere from 24hrs to maybe 3 days if it is refrigerated.

I have to cover the spots I painted and I don't want to mix up a batch of new blue milk paint so I'm going to try and use this. I'm encouraged by the fact it is somewhat liquid.

hmm.....

Of course the first coat sucks. I can't leave these as streaks so I'll wait until it is dry to the touch and lay on another one. Fingers crossed the paint stays liquid.

hmm......

2nd coat and it looks a wee bit better. The paint is covering just like it did when I painted the chest. I did notice that it covers just a little better if I brush it on against the grain. With the grain the paint appears to slide over it without covering.

nope

The hinges I'm using for the new screw boxes requires a #3 screw. I have #3 screws but they are all flat head and I need a round head. I drilled out the screw holes on the hinges to accept a #4 RH screw.

one down, one to go

I am becoming a fan of the 90° stop hinges I used. They are flush mounted and more than adequate for these screw boxes. I don't like flush mounted hinges but for shop projects my OCD stays quiet.

lid first

I tried to clamp the box and the lid in the vise and apply the hinges to both. It turned into a real shit show on the first screw box from many moons ago. It is a lot saner for me to do the lid first, clamp the lid/box in the vise, and secure the hinge to the box.

done

Both boxes are hinged and have the first of 4 coats of shellac.

Only made 3 trips to the shop today. My right foot blew up to the size of a watermelon and it did the same today. I know I should be resting and keeping it elevated but I can't sit and do nothing. But I did manage to limit my time in the shop and how many times I had to go up/down the cellar stairs.

 PS - Who knew? I was totally oblivious to the time change. Wee bit of a shock when I got up this AM. 

accidental woodworker 

couple of hours later

Went back to the shop after dinner to get a 2nd coat on the chest. It was about 3 hours after the first coat and the paint was not like it was for the first go around. It had the consistency of hard peanut butter - like it had been in the refrigerator for a while. 

I stirred it but it didn't go back to the loose pancake batter consistency. I put a little water and stirred it in without much success. It got a bit better but was still too thick to apply with a paint brush. I doubt I could have spread it if I had used a trowel.

whizzed it up

This and a little more water, got me back to the pancake batter. I wasn't expecting the paint to go into La La Land on me like this. Got it thin enough to apply another coat with a paint brush.

not a happy camper

Not getting a warm and fuzzy with the 2nd coat coverage. It is barely better than the first one which was disappointing. In some spots, as you can see, the coverage was good but most of it is streaky. The paint just wasn't grabbing and laying down completely. The batch of milk paint, although it has a better color, isn't any better than the paint job on the first miniature chest.

hmm.......

Milk paint on poplar. Thinking maybe the eastern white pine I've been using is the problem. The paint coverage on the poplar wasn't shouting back at me. It is streaky and the coverage was just as poor and spotty as on the pine.

cherry

It is looking like to me that this milk paint doesn't give a rat's arse what it gets slapped on. The coverage and look is the same. So far the only thing giving me a happy face is the pigment - the color is good and without being splotchy. 

this sucks pond scum

It is the AM and the milk paint is a blob of a nice looking blue color. It wiggles like it is jello with the same consistency. I stuck, or rather tried to put a stick in it and nada. It was like it was rubber and I had to put some oomph into getting the stick inserted in it.  

No way this could brushed on. I tried putting some water in it and got nowhere. Stirring did nothing and I just ended up with a big blue, rubbery blob on the end of the stick.

whizzing it again

I started with 4 TBSP first and only a small portion was liquid. I had to dump in about a 1/4 cup more of water before it whizzed up into a smooth, but thick consistency. 

better but......

I was hoping for a better build with this after the 3rd coat. I have had latex paint act like this milk paint but this sucks pond scum result wise. The coverage is still not at the level I want. It has some good dark coverage spots but still has way too many streaky spots.

screws came in from McMaster-Carr

I don't have any room in my current screw boxes. Decided to make two more for #5 and #6 screws. These two boxes will be just for flat head screws. The current #5 & #6 boxes will hold round and oval head screws.

current screw boxes

#2 &#3 (in one box), #4, #5, and #6 screws (atop the big cabinet).

hmm......

I'm using the original ends intended for the current miniature chest. They were 11/16" thick and I had to thin them down to 1/2". This chunk popped off when I planed the board straight across.

two boxes there

The sides of the boxes are only 1 3/4" high so I'm using a single dovetail at the corners. I'll glue a 1/8" plywood panel on the bottom of each box. Got the dovetails done on each box. The next batter is doing the 1/2 pins.

1/2 pin sockets done

Next up is the part that always gets me revved up. How will it fit off the saw? I did both at the same time whereas I usually would do these one at a time.

first dry fit

Good fit and after a few pulls and tugs, got the diagonals to agree dead on.

glued and cooking

The dovetails were snug enough that I didn't need clamps. I had enough stock for the sides and one lid. The back box needs another piece. I'm not a fan of glued up lids but with my 4 other screw box lids, two of them are glue ups.

almost

Found a scrap of pine more the large enough but I had to thin it down to a 1/2". I left it a wee bit proud and I'll flush it after the glue has cooked.

dividers

I only did a groove for the two long dividers. The ends of the smaller cross dividers I'll secure with super glue. I already know that each of the compartments will hold more than a 100 screws.

one down, and one to go

No hiccups or an oops with the first egg crate dividers. My other boxes have 18 compartments and these two will have only 15.

 

shooting for 2 for 2

I got the half lap sawn on the long ones. I set them down on the cross dividers as far as they would go and marked them.

mark both sides

When I sawed the half lap I positioned the saw blade centered between the layout lines by eye.

two dry fitted

Happy that this came out without any me-steaks. I can easily finish this in the AM with the exception of slapping some shellac on them.

Slow going today and I didn't get as much done as I had hoped for. A couple of days ago when I took the desk top out of the clamps, it fell off the clamps and smashed down on my big toe on my right foot. I hopped around on one foot, screaming expletives for 10 minutes. 

The toe blew up and turned some rather interesting shades of purple, red, and black. It took me 5 minutes to get my boat shoes on the next day but I was able to do it without passing out. The day after I dropped the top I woke up to a huge blood blister on the big toe. Popped it and the toe felt a little better. Still walked with a slight limp. 

Yesterday I repeated the dropped desk top exercise on the same right foot. Didn't drop it on the big toe again but on the next two adjacent toes. Now those are an interesting shade of purple and black. 

The big toe swelled some more along with the two other toes. This AM it took me seemingly forever to get my right shoe on. The limp is more pronounced and I can't bend/flex my toes while walking. Walking flat footed very slowly and I had to rest and sit a lot while I was in the shop. Chopped the tails and pins sitting down which is a first for me.

I think it is going to be a few days before I will be able to do a full day in the shop. I will try to confine my movements/walking while in the shop as much as I can.

accidental woodworker 

 

from the boneyard

After seeing the price of screws yesterday, I salvaged more from the sewing machine cabinet I broke apart. I took all the spare wood I had in the boneyard and loaded it into my truck bed. I'll bring it to the town recycling friday or monday. By filling up the truck it will force me to get rid of it. 

over 2" thick

This an ash glue up I did several years ago. The plan then was to make this into a sharpening bench but that never happened. I couldn't bring myself to toss it into the truck bed. Maybe I'll get inspired to use it in the coming months.

still mounded

I got lucky and the epoxy fill didn't shrink over night.

flushed

Got most of the epoxy flushed with a block plane. I still have a ways to go before it is done.

almost

The black spot]on the right isn't part of the knot hole fill. I will have to plane that area until it is gone.

99.99%

The knot is flushed and within a frog hair of being done. The right spot is being stubborn. I hit both spots with the #12 and #122 scrapers. It is slow going but at least neither scraper was chattering on me. There is no need to get this completely done today but I was curious about how the epoxy fill would look done.

Wally World run

Got some containers for the paint along with some spoons, I ran out of them last week. Getting ready to mix up a batch of milk paint.

hmm.......

My quark turned out to be 8oz exactly. The quark is hard - ish. I used a quart of fat free milk plus one cup to get the required amount. 

ta da

This milk paint is so much better than my previous attempts. This one is smooth and has the consistency of a loose pancake batter. This batch matches close to what the author says it should be. 

The quark didn't whiz up easily. I put a couple of TBSP of water in it and whizzed it again. Difficult but it smoothed out when I added the lime. Got a smooth consistency then.

Rinsing the quark this time yielded better results. I was more patient this time and rinsed it until the water ran clear. A lot clearer than my last batch for sure. I think for the next batch (red) I'll use the quark right away. I won't wait and let it set up overnight in the refrigerator. The paint should whiz up quicker and easier than doing it as hard as the quark was today.

so so

The first coat of paint. Better coverage than the previous blue dye I used. Still not the coverage I was hoping for. 

other two sides

Kind of happy with the batch. I will slap on another coat after dinner. I don't want to see any wood with this milk paint. I want the chest to look like something close to if this was painted with latex paint. Fingers crossed I'll have a happy face on in the AM.

accidental woodworker 

 

making quark

Before I went to the shop I made a batch of quark for the blue milk paint. I will make the 2nd batch of quark for the red paint after I get this one done.

hmm......

The open knot on this face (the down side) is almost an inch and a half at the widest and 3/4" at its narrowest. Undecided about whether or not to fill it in on this side. It is on the underside and won't be seen - the drawers will cover it.

#4 1/2 with a 55° frog

The proud was not quite a 16th and I couldn't flush it entirely with this plane.

#80

Got it almost flushed with the #80 within a frog hair. I had problems with the #80 chattering a lot more than I expected.

got a hump

I got all 3 of the glue joints dead flush and it is flat on the opposite diagonal and there was a hump this way. The hump is right on the swirling bullseye grain. The 4 1/2" didn't have any problems planing this area without tearing out.

toothing iron

This is the third time I've used this iron. I've had it for almost 20 years. Using the jack so I could feather out the hump area.

almost

This wasn't as awkward to do as I anticipated it being. I have two stops on the workbench, one at the end and another on the left side. I pulled the planes toward me while standing at the end of the workbench. It took a while before the hump got flattened.

love the depth of the black color

I stuffed the knot hole with a bunch of cherry shavings so I didn't have to use gallons of epoxy to fill it. 

2nd application

About 20 minutes after I initially filled it I put some more on. One spot had dipped down below the top. Fingers crossed that come tomorrow it will be still over filled and not sunk down.

quark is 99% done

I think I did better on this batch then I did with the previous ones. I know I did better with rinsing until it ran clear. I put this in the refrigerator to dry out and drain any remaining liquid.

hmm.......

Got this yesterday from Amazon - 10 feet of plumber's chain. I wasn't sure here if it will work as a chain stay for the miniature chest.

not smooth sailing

As I smoothed one set of chatter marks, I made a new set. Tried all the tricks I knew but without success.

stubborn spot

I had smoothed this area of chatter marks but I had to take one more swipe. My reward? Three more lines of chatter. This one area was an absolute nightmare trying to smooth out.

the smoothing trio

The scraper plane (Stanley #112) was the only one that didn't chatter. The Stanley veneer scraper (#12) chattered a couple of times. The #80 was the worse. The scraping planes left behind a glass smooth surface, much better than the #80 did.

ornery spot

This area was a PITA to smooth out. It didn't tear out exactly but certain strokes left a fuzzy line.

been a while

I thought I had two #112s but it is two #12s. The last time I used these was when I made the cradle for Miles. Hard to believe but that was almost ten years ago. BTW I only have one Stanley scraper iron in these three. After searching I finally bought replacement irons from Hock. I bought two toothed irons from Kunz - I emailed the US representative and bought two from him. Had to wait until Kunz in Germany made a batch of them. The fit with both the Hock and Kunz irons was perfect.

it works

Setting the hinges using super glue. Two dabs on each hinge with a little weight for 10 minutes holds the hinges in place long enough to get screws started.

underside

No leaks. The blue tape is still down tight and it isn't bulging neither.

two screws

Got two screws in each hinge. Unfortunately for me, I didn't have any flat head, slotted, #6 screws in the length I wanted. I went to ACE but two things stopped me from buying screws there (and having an involuntary bowel movement). They had brass screws in the size I wanted but they were phillips head (a no no for me) and the cost took my breath away. 50 screws in 1/2" was $17 and the 3/4" size was $19. I don't remember screws costing this much the last I bought a pkg of 50. 

I ended up buying the screws from McMaster-Carr. Bought two boxes of 100 each and the price was almost as much as the ACE pkg of 50 screws cost. I'll have to start watch vids on making without any fasteners like screws and nails.

hardware is done

Got the chain stay installed without any hiccups. The hinges are all set to be reinstalled once the paint is done.

shellac time

Got 4 coats on the interior of the chest (done) and two on the back doohickey thing. 3-4 more on it and it will be done.

accidental woodworker

Game Table. NY 1760-1790

A recent visit to the furniture collection at the Metropolitan Museum really emphasized how profoundly furniture-making has changed since my youth - and even in the 25 years since I founded TFWW.

I grew up reading Popular Mechanics, and I imagined that I too would engage in their home improvement projects when I grew up. Build a den; build a media center; build a kitchen cabinet; stuff like that. On top of that, the magazine offered tons of material on building reproductions of colonial style furniture, usually with the latest power tools. Home repairs, like car repairs, were within the grasp of ordinary people with mainstream skills and tools. DIYing was a popular hobby and for the average guy, (and I mean guy at this point in time) practical classes in Shop class in school gave you the foundation to make things.

I also began reading Fine Woodworking in 1976. (I missed the first two issues and started with Issue No. 3.) The magazines focus on fancy techniques like wood bending and a high valuation of the craft were real eye openers for me. Fast Forward to now. The major area of business for modern cabinet makers is in architectural woodworking - re-fitting kitchens, building interiors, stores, bookcases and other millwork. The popular expectation of dressers, tables, beds, etc. is inexpensive and disposable, made by IKEA and IKEA-like companies.

Fewer people now than ever before would consider themselves amateur woodworkers. The interesting part is that the ones who are doing it are doing it to a higher standard than ever before. They are no longer constrained by the mass market. If youre going to the trouble of making a colonial style high boy, youre probably doing it because you want to dive into that kind of piece, even if that means learning how to veneer, learning how to dovetail, learning how to carve details. All sorts of wonderful skills - which is where the challenge and interest lies.

Getting back to the museum: While the Metropolitan Museum of Art has the second largest collection of American furniture in the US (after Wintertur), most of the vernacular stuff they have is in the study collection, not in the fancy exhibition halls. The period rooms almost all have fancy rich furniture - items that highlight and show off wealth rather than comfort and function. The pieces are all beautifully made with great skill, but very few things are relatable nowadays. People aren't looking for a chair with fancy decorations and inlays. They want something that conjures up the image of a traditional chair - and the vernacular stick chair world does that in spades.

For most people interested in traditional skills, the direction seems not to copy the stuff in museums, but rather focus on the kinds of vernacular furniture that frankly was too downmarket to interest bigtime furniture collecting. I'm talking about stick chairs and other folk work. People are following this path for two reasons: first, while you need much fewer tools to make a stick chair, the craft demands the same rules of design and proportion so its still a fun challenge, and second, vernacular furniture is a lot more relatable in a modern house than the fancy furniture we see in museums.

Note: the Metropolitan Museum of Art has remounted a lot of works in their American Wing. They're mounting furniture in a way that asks you to look at it closely and see the details. They're trying to create an appreciation of the design of traditional furniture, or should I say, traditional high-end furniture that has largely vanished. I think a lot of people look at the furniture in the American Wing, and say, My word! That stuff looks dated! and never look past this unrelatability to the details. (This is especially true when whole rooms are preserved.) They therefore dont enjoy or appreciate the craft that went into making fancy furniture. Of course the museum pieces were expensive luxury items. But theyre still wonderfully proportioned; theyre elegantly made; and a pleasure to examine and well. A lot of them dont fit into a modern lifestyle, i.e. a place to put your laptop, a sofa you can watch TV from (and sadly nobody these days is coming over to play games). But this doesn't mean the works aren't extremely elegant in the context of their original use - and we can still learn from them.

Note: We stock a lot of detailed, accurate measured drawings by Carlyle Lynch of early American Furniture, some fancy,some not.
We also stock "Welsh Stick Chairs" a wonderful book and we have a few copies left of The Stick Chair Journal.
For a more philosophical look at chairmaking you might want to look at "Chairmaker's Notebook" by Peter Galbert.

 

hmm.......

First change is with the top. This one will be about 36x24. I got four boards to choose for the top. That will be whittled down to a 3 board top. My desk top is 44x 25.

maybe not

This is the cherry bookshelf I made for Mile's desk. It looks a wee bit too big IMO. I pictured this being used for reference or school books (CD/DVDs too). I'll be rethinking this - I have two smaller cherry bookshelves waiting in the wings that might look/fit better.
 

took a while

I went back forth with the four boards and I ended up using the one with a knot. I like how the grain flows with these three boards. The knot goes straight through the board. This face has the smaller opening with the opposite face over twice the size. I am going to fill it in with epoxy dyed with black pigment. 

can't dutch it

I was thinking of covering the the knot hole with a dutchman. I didn't have any cherry off cuts with a circular grain pattern like the knot has.  First option was cherry and then I thought of using walnut. Nixed both because of the grain.

jointing the top boards

This is about the only time I use my #8 Stanley - just for jointing boards for edge gluing. Checking for the edge square to the face. Used a 48" straight edge to check the edge was flat and straight.

hmm......

There was a slight gap here due to a hump. It took a few plane and check steps before the gap disappeared.

sigh

I dry clamped the top 3 times before I glued it up. All three dry attempts I had problems flushing these edges. However, I didn't have any hiccups get it flush when I tightened the clamps. That changed when the glue went on. It was flush initially and when I finally got all the clamps tightened down, I saw this. By the time I saw it and tried to fix it the glue had already set. This is the major reason I went with 5/4 cherry for the top.

glued and cooking

I used the Bessey clamps to keep the joint lines flush and tight to the clamps. Got a surprise when I checked the joint line from above again. It had closed up a little more. I should be able scrap away what it is now there with the Stanley #80.

Real crappy day here in RI. The weather seers said it would rain, sleet, and snow off and on all day long. Some rain, no sleet as of this blog typing but it did snow for about 20 minutes. The seers said that none of the precipitations would accumulate. 

accidental woodworker 

 I haven't forgotten about Miles desk. I have decided to make a copy of the desk that I use. Mine is red oak and Miles will be cherry. For that matter, Leo's desk will be cherry too. I wanted to finish the current plate of projects before jumping into the desk build. Now that the miniature chest woodworking is done, the first thing on the desk agenda is making the top. I have the measurements of my desk but I won't be following them exactly. They will be subject to whim and what I think looks good.

hmm....

I applied wood putty to the dings and divots on the chest yesterday. The chest will be rustic looking but I don't want to see all the boo boos under the milk paint to come.
 

hinge mortises done

I had three sets of these hinges, two in bronze and one brass one. The brass one was buried in the hinge goodie bin. Got the heebie jeebies thinking I was losing it again but I found it. 

chamfer done

I stopped the chamfer 1 1/2" from the back edge of the lid. I did this with my battery operated router. 

looks a wee bit rough

This is making my OCD tingle a wee bit but I'll try to get over it. The mortise is shallow leaving the hinge is 1-2 frog hairs proud.

prepping for milk paint

The last milk paint I used the last miniature chest didn't cover/stick to the wood putty well. So I applied shellac to them and the end grain of the front and back. Not sure how milk paint will do on end grain but the shellac sealed it and it should act as a primer coat.

done, for now

Decided on how the back doohickey thing will be attached. The lid will be painted red and the doohickey will be finished with shellac. I attached it with 5 screws and I will remove it before I paint/shellac it. Once the finish is done, I'll screw it back on.

finger grabbie thing

The lid overhangs the front of the chest only about a 1/4". Decided that wasn't enough to ease opening the lid so I added this to help out.

ready for paint

Spent about 30 minutes with my head buried in my arse searching the shop for some window sash metal chain. I know I had some left over but as usual I can't remember where I hid it. I'll search/order some from Amazon. I have time before I'll need it.

sigh

Well, boys and girls, they ain't done yet. The cherry one was borderline but the two walnut ones needed some help with the top edges on the ends. After dinner I'll eyeball them again and more than likely they will get another thin coat of shellac.

I had to go the VA after lunch because one of my meds ran out. The doc will review it and I'll  get the refill in the mail. In the interim I got a ten day supply. The streets leading to the VA were a complete mess. I thought the side streets were I live were bad but the ones in Providence were way worse. A 5 minute ride through them pre blizzard took me 20 minutes today. Thankful that I don't have to go to the VA for an appointment until next month.

accidental woodworker

 

The electric mandolin (e-mando) is now complete! In this video, I give a “guided tour” of the instrument and a demonstration of how the pick-up system works.

And a few photos below.........

Hope you like it!

Cheers Gary

 

now they are done

No home for either one of these. I'll ask my sister Donna if she wants them. If not I'll give them to my sister Kam. I still have to get a hold of her for day to bring the boneyard goodies to her.

3 more done

The middle cherry one is for Miles desk. The two walnut ones are homeless for now. But I am thinking of gifting one of the walnut ones to Maria at the Frame it shop.

hmm....

Got the moldings in and the two long ones are a few frog hairs higher then the short ones. I had checked them and it looked to me that they were all the same height. I'm leaving it as is. I just nailed the moldings in place with no glue. I didn't glue the plywood bottom to the bearers neither.  

I hand nailed one short molding and pin nailed the others. There was barely any room for the hammer head to hit the nail. Nailing it off with the pin nailer wasn't much better but I managed to get it done.

hmm......

Thinking about how to attach the back doohickey thing. Clamp and nail it, or use screws? Also, do I do it before the hinges are attached or do it after? Good place to kill the lights and head topside. This was all I got done today in the shop. Spent the rest of the day watching old Star Trek shows on Amazon Prime. I never saw the first few years of any of them.

accidental woodworker 

 

hmm.........

These two were the original ends] for the miniature chest. The bottom one is dead flat and is the one I had clamped a split/crack in. The top one was flat but it ain't anymore. No problem flattening it with hand pressure. No idea what I'll use these for but they will be available in the scrap pile.

glamour pic

I like how this turned out. Initially I wasn't happy with how the bandings were applied vice inset in dadoes/grooves. Now that I can eyeball it with the lid on, I like the look.

hmm.....

I think the feet being applied and proud help to anchor the bandings. There is a lot of color and texture from all the different woods to look at.

oops

Thought I was done with it but it ain't so boys and girls. I missed getting shellac on the inside of the top of the lid.

nope

I had left the cupped, smaller doohickey clamped over night and most it was gone this AM when unclamped. However, I ripped out another one a 1/4" taller and a few frog hairs thicker.

got lucky

The top has 4 coats on it and the pine has a light honey color that compliments the cherry insert nicely.

the after pic

The lid had cupped slightly and no matter which way I put it on the top there was a gap at the front. Put the board on the bench and planed the hump flat first and then the cupped side second. I only lost a 16th on the thickness too - ended up at 11/16".

sigh

Today the chest was rocking. Put the sticks on the legs expecting to see some twist and nada. The sticks told a tale of zero twist so why was it rocking?

the problem??

The miniature chest is on the tablesaw laying dead flat and zero rocking. On the blue outfeed table it was rocking. No rocking on the workbench neither. Looking back I think this table was causing the headaches I had with the walnut bookshelf. I had checked for rocking first on this outfeed table.

A quick check with a long straight edge showed this table has some twist/hump. I'll stop using this to check for rocking starting today.

molding choices

I wanted to use the quarter round molding but it is too small. It would be a ROYAL PITA trying to nail or glue it in place. I am going to use the beaded molding on the right. This one I can press down tight to the plywood bottom and nail without any hindrances that I can foresee.

3 coats of shellac

Almost done. It looks ok with three but one or two more will raise the shine up a couple more notches.

one more coat to come

I had to scrape waterfall drips on all three of the bookshelves. One more light coat of shellac and they will all get a check mark in the done column.

accidental woodworker 

 

Woodworking minus patience equals firewood. 

– Author Unknown

In the previous article in this series, we selected and prepared the wood for our gennou handle and layed-it out in accordance with our design drawings.

The next step in the process is to gather our tools and begin the fun work of making sawdust.  Yeeehaaaa!

Tools

I prefer to use the following tools when making a gennou handle. You will need to have similar tools on hand for layout and fabrication, but the specific choice is entirely yours. 

1. Divider with sharp points (transferring dimensions and tenon layout); 
2. Sharp pencil (making pencil marks (ツ); 
3. Small try square (laying out and checking tenon); 
4. Marking gauges (Titemark and kama kebiki. Marking tenon and centerlines) ; 
5. Marking knife (layout); 
6. Rip handsaw for roughing out; 
7. Hozohiki rip saw and/or dozuki crosscut saw and/or rip saw for cutting the tenon (in hardwood, a sharp hozohiki rip saw frequently makes both rip cuts and crosscuts cleaner and more precisely than a crosscut dozuki saw);
8. A fine saw such as a fret saw or coping saw with a fine blade for making curved cuts;
9. Auriou cabinet rasp (Lie-Nielson) (optional); 
10. Bogg-pattern flat-sole spokeshave (Lie-Nielson) (optional but really handy);
11. Sandpaper; 
12. Satin Polyurethane finish (optional); 
13. Mineral spirits (optional.
14. A board to support the handle-in-progess. I suggest dimensions of 300-400mm long x 50-60mm wide x 40-50mm thick, with a “V” groove cut full-length and a cross-stop inlet about 2/3 its length. The handle will rest, more-or-less securely in this groove, and be restrained at one end by the stop when using spokeshaves and rasps. This support board can be clamped in a vise, or clamped to a workbench with a C clamp. I also find it most efficient to place this board on my benchtop with the gennou handle resting in the v-groove with one end touching my chest, perhaps cushioned by a rag, and use rasps and spokeshaves pulled towards me to shape the wood.

The Tenon and the Unblinking Eye 

Let’s start by cutting the tenon and fitting it to the gennou head’s eye. 

You’ve already layed-out the tenon, so use a fine precision rip saw like or 210mm hozohiki to cut the four cheeks being extremely careful, like a big-eyed kitten stalking a grasshopper, to stop short of the layout line. Be careful to work very precisely with your saw to not cut too deeply as any excess meat removed from the tenon, or sawcuts left in the tenon, will fatally weaken it. I’m not kidding!

I’ve made this mistake more than once, ruining all my work to that point and wasting some nice wood. Indeed, it may be best to cut the shoulders shallow and trim with a chisel, once again being careful to not cut too deeply. Ruthless, merciless, unrelenting control of your naughty inner-badger is critical!

At this point, the handle is a chunky, graceless block with square edges and flat surfaces. That’s alright. There’s no need to contour the handle yet.

Cut itsy-bitsy teeny-weeny chamfers on the end of the tenon to help guide it into the eye without cocking and binding. A big chamfer will benefit nothing and look ghastly.

Mark the reference face annotation on the corresponding tenon cheek because you don’t want to mistakenly force the tenon in bassackwards.

Test fit the tenon into the eye a few millimeters but without driving it all the way on. It should not start by hand pressure. 

Although you shouldn’t have to try tried a full-power test fit, when you are satisfied that the tenon will fit into the eye of your gennou head without the driving forces shaving off much wood, and marked the reference faces, then tape the tenon with masking tape so you don’t accidentally knick or shave it. Don’t ask me why I know this risk exists.

With the tenon close to completion, let’s next shape the curved front, back and side surfaces to fit.

The Back and Front Edges 

Cut the back and front edges (surfaces parallel with the long axis of your gennou head) to your design profile using saws, rasps and/or spokeshaves. The two guiding details in this process are the butt and the tenon, with the tenon being most important. These two surfaces should be shaped to smoothly connect the butt with the tenon, not the other way around.

However, leave the corners square for now to help guide you in shaping the critical back and side surfaces because, if you start rounding and smoothing edges and corners now, it often happens that the geometry which aligns the hammer’s face with chisel and nail will be compromised.

The tools you use don’t matter so long as when this step is complete the back edge is perpendicular to the reference face, the opposing side face, and is consistent with the layout lines. 

I recommend you cut outside the layout lines plus a millimeter or two because accidentally cutting deeper than your layout lines will not only disrupt the even flow of the design but may damage the structural integrity of this elegant, minimalist tool. 

Do not cut or shave the handle’s sides flush with the tenon yet, but leave them just a hair proud. 

When done with the this, lightly remark the centerline and extended the eye’s lines. 

The Sides 

At this point in the process the right and left sides should still be flat and parallel, perpendicular at any point with the back surface, and have neat, square corners.

Use the paper/cardboard profile pattern from your design drawing to mark the handle’s layout on the back and front edges. 

Just as with the back and front edges, cut the side surfaces using saws, a drawknife, rasps and/or spokeshaves.

The transition from tenon to butt should be uniform and smooth. As you approach the final dimensions, be careful to avoid tearout or gouging in the neck area since removing these irregularities may require you to reduce thickness too much. 

Do not cut or shave the sides flush with the tenon’s cheeks yet, but leave them just a hair proud. 

Smoothing and Rounding 

I find it most effective to leave the back edge (opposite the flat striking surface of the head) flat with slighty relieved corners. Some people like to make the back edge of the handle oval or egg-shaped, but I recommend you leave it flat at first and then adjust it to fit your hand as you use the gennou. 

Common sense will scream at you in a voice like a nazgul to round the the back surface or to make it oval-shaped, but while such surfaces might look better hanging on a peg in a hardware store, or feel better when using your hammer to kill coackroaches, it is counterproductive when doing serious work, I promise you.

Why? Because, despite what you may think, a flatter back surface does not bite into the hand in-use, but because of the greater surface area in contact with the hand it provides, actually reduces the pressure of impact reaction forces on the hand reducing fatigue and bruising. More importantly, it helps with quickly and unconsciously indexing the striking face of the head correctly.

With the back edge where it needs to be, next round the front edge into the design profile. I prefer this surface to be more-or-less a perfect radius at any point in the handle area, but some guys feel an egg-shaped cross-section fits their fingers better. Six of one half-dozen of the other.

In any case, this surface must smoothly morph into a flat surface with slightly radiused corners in the neck area, and finally with no radius as it approaches the tenon. Yes, you read correctly: no radius.

I usually round-over the flat on the back edge right where my index finger wraps around to the side just a little to avoid developing a blister. But keep in mind that the only way to tell what small details works best for you is trial and error. 

Doming the Butt 

The butt should be flat with sharp edges at this point in the process. 

You may find a domed butt strange, but it has both a practical purpose and an aesthetical one.

Let’s consider the structural, practical purpose first. If the wood is adequately hard, and the tenon is not too skinny, you will need to hammer the butt like a son-of-a-gun dozens of times to get the tenon into the eye. Don’t start yet, but when the time comes you must be careful with the direction of your hammer strikes to avoid breaking the tenon.

If the butt is flat with crisp edges, unless you have perfect aim with every swing, your hammer might chip or even split the butt. A domed surface directs impact forces away from the edges of the butt and into the neck, helping to prevent chipping. Likewise, a curved butt will also reduce damage to the handle over many years of hard service.

With regards to aesthetics, a domed surface is more organic and, to my sensibilities, more elegant than a flat one because straight lines seldom exist in nature, are boring to the eye, and seldom please it.

A warning. Everyone has different opinions about what pleases the eye, as you know. Beauty is in the eye of the bean holder, or something like that, so I entirely understand if you dismiss the aesthetic reasons I’ve suggested. But please don’t ignore the practical, structural reasons if you want to avoid wasting your time and wood.

Assuming the butt is flat and its surface is more or less perpendicular to handle’s centerline, use a marking gauge set at ¼” to scribe a shallow line along the handle’s edges and sides. Lightly scratch another shallow line the same distance around the perimeter of the butt. These lines will be the limit of the chamfer between the grip and the butt. 

Next, mark a cross on the butt using the front and back edge’s centerline, and a perpendicular line parallel to the back edge. This cross will be useful in profiling the butt. 

Use a knife, chamfer plane, block plane, files or other tools to chamfer to the lines just scratched.

Next facet the butt using planes or a sharp kiridashi kogatana knife and remove all tearout and filemarks. The time for using sandpaper will come later in this adventure when we apply finish. 

Fixing a Loose Head

So here’s the “I toljaso” in advance.

If you were not a clever little big-eyed kitten when fitting the tenon, you may find the tenon becomes loose and the head begins to wiggle with the passing of a few seasons. A Sergent Elias moment!

I won’t say it out loud, but just between you and me and CCP you can remedy a loose head by removing it and shimming the eye with quality high-rag-content typing paper. Don’t have any such paper in your bat cave? Don’t tell the Secret Service I said so, but a strip cut from a dollar bill works best. Crane Stationary makes the best paper in the world.

In the next post in this series we will attach the gennou head to the handle.

Until then, I have the honor to remain,

YMHOS

Lena Dances With the Knight by John Bauer 1915

If you have questions or would like to learn more about our tools, please use the questions form located immediately below. To see a list of our tools and their pricing, or to contact us, please click the “Pricelist” link here or at the top of this page.

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Previous Articles in The Japanese Gennou & Handle Series

• Part 1 – Introduction
• Part 2 – Ergonomics
• Part 3 – What is a Gennou?
• Part 4 – The Varieties of Gennou: Kataguchi, Ryoguchi & Daruma
• Part 5 – Kigoroshi
• Part 6 – The Ergonomic Anaya
• Part 7 – The Unblinking Eye
• Part 8 – Head Style & Weight
• Part 9 – Factory vs. Hand-forged Gennou Heads
• Part 10 – Laminated Gennou Heads
• Part 11 – Decorative Gennou Heads
• Part 12 – The Drawing: Part 1/6
• Part 13 – The Drawing: Part 2/6
• Part 14 – The Drawing: Part 3/6
• Part 15 – The Drawing: Part 4/6
• Part 16 – The Drawing: Part 5/6
• Part 17 – The Drawing: Part 6/6
• Part 18 – Wood Selection
• Part 19 – Laying-out the Handle

cooked overnight

This was going to be the ends for the new miniature chest. Didn't know it here yet.

eats up a lot of real estate

The bottoms are done on all of them. Next up is getting 4-5 coats on the rest of them.

yikes

One of the ends and this decided to shake hands with me. There was a split/crack on one end what when I tried to open it up so I glue it, it split opened from end to end. It didn't separate entirely making it easier to fill it with glue and clamp.

I made another end but it was thicker than the other original one. I had the stock so I just made another end panel so the two would be the same thickness. 

one miniature chest

There is surprisingly little stock required to make this chest. Two ends at the front with the front, back, and lid behind them.

came yesterday

This a 1/2" timber wolf wood slicer resawing bandsaw blade. I got it from Highland Hardware. Can't wait to see if this is the cats meow for resawing.

hmm.....

The fence and the blade ain't square to the table. Fixed that boo boo before I tried resawing again.

big negative on that Houston

The 3/8" chinese bandsaw blade had zero problems ripping through this pine. Unfortunately for me the cut was far from stellar. Parallel at this end (the entry) but angled on the exit.

this ain't good

Again, the blade eased through this better than a hot knife going through a tub of cheap oleo. This cut is something new for me. I had tried to push the stock through the blade like I have seen on a bazillion You Tube vids. The saw cut had a mind of its own than this was what it wanted to do. 

yikes

This was the last resaw I attempted. I pushed the stock through the blade. I didn't go nutso pushing the stock tight against the fence as I pushed it forward. I have yet to see one You Tuber pushing against the fence as the stock is fed into the blade. Time to step back, resist the urge to give free flying lessons, and think about what the (*^)(_*(!@$^&*)_@(+$ am I doing wrong.

need a dutchman

The grain is uplifted here and it will be a catch hazard. A dutchman will cure that hiccup.

good fit

It is ready to glue with a few gaps. My initial knifing of the dutchman was faint and I had trouble refining them when I chiseled the outline.

glued and cooking

No need to clamp this. The dutchman fit snug.

why?????

One continuous cut, smooth with zero binding or hesitation. Why can't I duplicate this cut with resawing?

comparison

Sawed these notches on the bandsaw. Smoothed one and the top one awaits its turn. The amount of scalloping wasn't effected by pushing it slowly or fast through the blade. Rough as it is/was, it was square to the face.

hmm......

The side panel is proud of the leg on the end. This is harder to fix then if the leg was proud of the side panel.

fixed

The side panel and the leg are flush now. I used the same fix on all four legs.

the fix

Planed four strokes with the LN 140 making a shallow rabbet. I wasn't too concerned about an exact depth. If it was a little too deep, a few strokes with a plane on the leg would flush it. Nailed the front and back on with 5 cut nails on each end with a wee bit of glue.

ledgers

Nailed and glued the ledgers on that are for the plywood bottom to be secured to.

bottom in dry

Thinking on whether or not to put a molding here to keep the bottom in place. I did that on the previous miniature chest and I like it.

lid and the back doohickey thing

I like the proportions of this miniature chest more than the previous one. The length to width ratio looks better to the eye IMO.

hmm......

The doohickey thing has a healthy cup to it. I was able to clamp and flush it with the back edge of the lid. Not getting a warm and fuzzy with it in spite of the ease with flushing up. I would rather have doohickey thing be straight and flat from the git go. 

I hadn't expected to get this far with the chest today. After I got the front and back nailed to the ends, everything else just fell into place. No hiccups or road blocks. This will be painted with milk paint and the pigment dyes I bought. Blue for the main body and red for the lid. At least that is the plan as of today.

accidental woodworker