PWW 2010 184 PDF

ROY UNDERHILL’s Slick Trick for Easier Handplaning
AUGUST 2010 ■ #184
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38 52 58
F E AT U R E S
28 The Return 46 Designing by 54 Filling Pores for

Of Roubo Foot, Hand & Eye An Elegant Look
This 18th-century workbench endures as quite This handmade stool reflects the design For a high-end traditional look, it’s best to fill
possibly the most perfect workbench design ever. sensibilities of the pre-industrial age. the pores on open-grained woods. Here are two
BY C H R I S TO P H ER S C H WA R Z BY J I M TO L P I N methods for achieving a mirror-flat finish.
BY B O B F L E X N ER
ONLINE Making 4° Wedges ONLINE Design Matters
Watch our video on how to cut perfect wedges. Read more about designing by whole-number ONLINE Flexner on Finishing
popularwoodworking.com/aug10 ratios on George Walker’s blog. Many of Bob’s articles are available on the
popularwoodworking.com/aug10 Finishing page of our web site.
popularwoodworking.com/aug10
38 Mitered
Half-lap Joinery 52 Old Plane
58 Woodworking
A router, a straight bit and a piece of plywood Birdhouse
scrap are all it takes to turn a puny miter into a This easy-to-build birdhouse is just plane perfect With Wee Ones
strong half-lap joint with just minutes of work. for woodworkers. The keys to teaching your kids: Allow them free
BY G L EN D. H UE Y BY C H R I S TO P H ER S C H WA R Z range of imaginations and lie to them.
BY DAV I D RO S S P UL S
ONLINE Square Platform Jig ONLINE Birdhouse Plans
This simple router jig helps you cut perfect dados There are many birdhouse plans available in our ONLINE Shop Daughter
and dovetailed sockets for drawer dividers. online store. Editor Christopher Schwarz’s youngest daughter
popularwoodworking.com/aug10 popularwoodworking.com/aug10 may soon surpass all of us in woodworking skill.
Read about her time in the shop with her dad.
40 Magobei’s
Dining Table
This ash table with a storied past fuses Japanese
sensibilities and tools with modern methods.
BY TO S H I O O DAT E
ONLINE Odate Stones

Read our tool test on Odate’s sharpening stones.
40
COVER PHOTO BY AL PARRISH; HALF-LAP PHOTO BY GLEN D. HUEY; PLANE BIRDHOUSE PHOTO BY AL PARRISH;
PHOTO OF MARK PAINTING HIS AIRPLANE PROJECT WITH HIS DAD BY MICHELINE CALLICOTT; TABLE PHOTO BY LAURE OLENDER popularwoodworking.com ■ 3
C O N T E N T S AUGUST 2010
16 22 24
REGUL AR S
8 The Unclear 16 A New Way 24 Tallow Tales &
Future of To Inlay The Black Planes
Table Saws TOOL TEST
of Britain
BY T H E ED I TO R S
ON THE LEVEL ARTS & MYSTERIES
BY C H R I S TO P H ER S C H WA R Z BY ROY UN D ER H I L L
ONLINE Tool Test Archives
10 Counterbore
We have lots of tool reviews on our web site, free.
popularwoodworking.com/tools
26 Step Stool
I CAN DO THAT
For Holdfasts? BY G L EN D. H UE Y
LETTERS 22 Sublime Echoes
FRO M O UR R E A D ER S DESIGN MATTERS
BY G E O RG E R . WA L K ER
62 Glossary
TERMS OF THE TRADE
14 Kerf Jigs for Woodworking’s terminology can be over-

whelming. Learn the terms used in this issue.
Perfect Cuts
TRICKS OF THE TRADE
FRO M O UR R E A D ER S 64 New Names for
VIDEO Tricks-in-Action
Old Tools
END GRAIN
Watch a video of one of our tricks at work.
BY RO B P O RC A RO
popularwoodworking.com/tricks
Number 184, August 2010. Popular Woodworking Magazine (ISSN 0884-8823,USPS 752-250) is
published 7 times a year, February, April, June, August, October, November and December,
which may include an occasional special, combined or expanded issue that may count as two
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■
NODEN INLAY PHOTO BY AL PARRISH; DESK DETAIL PHOTO BY LIE-NIELSEN TOOLWORKS;

4 ■ POPULAR WOODWORKING MAGAZINE August 2010 PLANES PHOTO BY ROY UNDERHILL; CHILD’S STEP STOOL PHOTO BY AL PARRISH
NEW from Popular Woodworking Magazine –
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Part 1: Getting Started
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BOTH BY Robert W. Lang
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In these two Shop Classes, you’ll learn how to use Google SketchUp – a FREE 3D-
Computer Modeling Program ideal for woodworkers. With SketchUp, you can design
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In Part 1: Getting Started (2 hours), you’ll discover how to set up SketchUp to
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stretcher (seriously!).
In Part 2: Advanced Techniques (2 hours), you’ll discover how
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C O N T R I B U T O R S
Toshio Odate completed a traditional woodworking AUGUST 2010, VOL. 30, NO. 4
apprenticeship in Japan (where he also studied arc weld- popularwoodworking.com
ing and sand casting) before moving to the United States EDITORIAL OFFICES 513-531-2690
in 1958. PUBLISHER & GROUP EDITORIAL

As an author, lecturer and teacher he has been piv- DIRECTOR ■ Steve Shanesy
x11238, steve.shanesy@fwmedia.com
otal in spreading knowledge about Japanese tools and
EDITOR ■ Christopher Schwarz
woodworking techniques throughout the Western x11407, chris.schwarz@fwmedia.com
world. He is a sculptor, woodworker, former professor SENIOR ART DIRECTOR ■ Linda Watts
at Pratt Institute in New York, and the author of “Japa- x11396, linda.watts@fwmedia.com
nese Woodworking Tools: Their Tradition, Spirit and EXECUTIVE EDITOR ■ Robert W. Lang
Use” (Linden) and “Making Shoji” (Linden). His work x11327, robert.lang@fwmedia.com
has appeared in numerous woodworking magazines and SENIOR EDITOR ■ Glen D. Huey
x11293, glen.huey@fwmedia.com
other publications, and he’s been featured on “Martha
MANAGING EDITOR ■ Megan Fitzpatrick
Stewart Living” and “The Woodwright’s Shop,” among x11348, megan.fitzpatrick@fwmedia.com
Toshio Odate other television shows. ASSOCIATE EDITOR FOR THE WEB ■ Drew DePenning
“Magobei’s Dining Table,” Toshio Odate’s books are available through online retailers, x11008, drew.depenning@fwmedia.com
page 40. including Amazon.com . PHOTOGRAPHER ■ Al Parrish
F+W MEDIA, INC.

Since 1979, Roy Underhill has explored every aspect of CHAIRMAN & CEO ■ David Nussbaum
CFO ■ James Ogle
hand-tool woodworking as host of “The Woodwright’s PRESIDENT ■ Sara E. Domville
Shop” on PBS. This year, the show celebrates its 30th EXECUTIVE VICE PRESIDENT, eMEDIA ■ Chad Phelps
season. SENIOR VICE PRESIDENT, OPERATIONS ■ Phil Graham
In this issue, Roy writes about greasy tools and old- IT DIRECTOR ■ Jim Kuster
VICE PRESIDENT, AUDIENCE DEVELOPMENT ■ Tim Langlitz
school lubrication in “Tallow Tales.”
EVENTS DIRECTOR ■ Cory Smith
You can also catch up with Roy at Woodworking in CIRCULATION DIRECTOR ■ Linda Engel
America, Oct. 1-3 in Greater Cincinnati, where he’ll be NEWSSTAND DIRECTOR ■ Susan Rose
teaching classes and leading hands-on sessions on the PRODUCTION COORDINATOR ■ Vicki Whitford
many forms of chisels, cutting tenons by hand, dove- ADVERTISING

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ering the keynote address along with Frank Klausz. To TEL. 610-821-4425; FAX. 610-821-7884
d.schroder@verizon.net
find out more about the conference and to register, visit
DISPLAY & CLASSIFIED ADVERTISING
woodworkinginamerica.com. SALES DIRECTOR ■ Connie Kostrzewa
Roy Underhill To take a woodworking class at Roy’s new school in Pittsboro, TEL. 715-445-4612 x13883
“Tallow Tales,” page 24. N.C., visit woodwrightschool.com. connie.kostrzewa@fwmedia.com
Known by most around the Charleston, S.C., area as

“Elvin’s Dad,” (Elvin’s the younger fellow at left) David
Ross Puls is a full-time woodworker, designer and fur-
niture artist. He has exhibited his work nationally for SUBSCRIPTION SERVICES: Subscription inquiries, orders and
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Copyright ©2010 by F+W Media, Inc. All rights
“Woodworking with Wee When your kids are ready to work with simple plans, visit the “I reserved. Popular Woodworking Magazine is a
Ones,” page 58. Can Do That” archive: popularwoodworking.com/icandothat. registered trademark of F+W Media.
6 ■ POPULAR WOODWORKING MAGAZINE August 2010

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O N T H E L E V E L
BY CHRISTOPHER SCHWARZ, EDITOR
Customer Service
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Visit popularwoodworking.com/customerservice. Or write to
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What if I want more information about the projects and tools
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I
For all editorial questions, please write to Popular Woodworking
have spent my life avoiding politics machines as well. But should it be required Magazine, 4700 E. Galbraith Road, Cincinnati, OH 45236. Or
in all forms. In fact, when I was a kid, equipment on every saw? No. e-mail popwood@fwmedia.com.
Does Popular Woodworking Magazine offer group
the most memorable political statement I I think the current guarding on new discounts?
heard was: “If voting could really change table saws – a riving knife, pawls and a Group discounts are available by special arrangement with the
publisher. For more details, send an e-mail to Debbie Paolello at
things, then it would be illegal.” blade cover – is entirely effective. You debbie.paolello@fwmedia.com or call 513-531-2690 x11296.
I know that sounds like a defeatist atti- can perform every major woodworking Our Privacy Promise to You
tude, but I’ve always been more interested operation with safety equipment in place. We make portions of our customer list available to carefully
screened companies that offer products and services we believe
in dealing with people based on what they If you want to injure yourself on a saw you may enjoy. If you do not want to receive offers and/or
information, please let us know by contacting us at:
create rather than what they believe. with this guard, you have to be reckless List Manager, F+W Media, Inc.
4700 E. Galbraith Road
But earlier this year, a ruling from a or careless. Cincinnati, OH 45236
District Court in Massachusetts ripped It’s true that the SawStop technology Safety Note
away my blasé attitude toward all things adds another layer of protection. It’s also Safety is your responsibility. Manufacturers place safety devices
on their equipment for a reason. In many photos you see in
political. By now, true that the tech- Popular Woodworking Magazine, these have been removed
most woodworkers nology costs less to provide clarity. In some cases we’ll use an awkward body
position so you can better see what’s being demonstrated. Don’t
have heard about than the price of an copy us. Think about each procedure you’re going to perform
beforehand.
the lawsuit that pit- emergency room
ted Carlos Osorio, v isit. And if you
a flooring installer, want it, you can now
against One World get it on the high- Highly Recommended
Technologies Inc., quality machinery
Good layout tools are just as essential to
which made a Ryobi- made by SawStop quality work as good design and good
brand table saw that that we have tested wood. And if you work with odd angles,
Osorio injured himself on. By his own and praised in these pages. then you probably have been frustrated
testimony, Osorio was doing everything But what rubs me the wrong way is that by your sliding bevel. Most of these
wrong. SawStop could become de facto required tools won’t hold a setting and are just
plumb awkward.
The saw’s guard was off. He’d removed technology on every saw sold if this law- So do yourself a favor: Purchase a
the rip fence. He had the blade at its maxi- suit survives appeal and dozens of other sliding bevel from Chris Vesper in Aus-
mum height. And he was kneeling over similar suits go the same way. If flesh- tralia (vespertools.com.au). Yes, they
the saw on the floor. His hand slid into the detecting technology becomes required cost more than the garden-variety stuff.
blade, nearly severing two fingers (later equipment, then the price of entering the But they are worth every penny. They
lock tight. The blades are thick. The
reattached) and lacerating two others. craft of woodworking will be too high. locking mechanisms never interfere with
Earlier this year, a jury ruled that the As a result of this column, we might your efforts to transfer angles. They are
toolmaker should pay Osorio $1.5 million never see another dime of advertising from the last sliding bevels you will ever buy.
for his injury for failing to include flesh- SawStop. So be it. I use all the guards on my — Christopher Schwarz
detecting safety technology on the saw, machines, and I have all my fingers after a
which would have greatly diminished lifetime of woodworking. And I am here
the injury. to tell you that our guards are safe. Let’s
In other words, because Ryobi hadn’t just hope that our court system is smart
put SawStop technology on its saw, it was enough to see things this way. PWM
responsible for the injury.
SawStop, as we all know, is awesome
new technology. I think it should be avail-
able on every table saw – and some other
8 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTO BY CHRISTOPHER SCHWARZ PHOTO BY CHRISTOPHER SCHWARZ
BOB MARINO
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L E T T E R S
FROM OUR READERS
and biscuits. It is attached to the apron
Counterbore for Holdfasts? with fasteners, just like you suggest.

So, is the table destined for self-destruc-
tion? Should I sneak into my friends’ house
and steal the table back? And if so, what
I ’d like to use Gramercy holdfasts and
a Veritas hold-down with my work-
bench. I’m getting ready to drill 3⁄4" dog- 3⁄ 4"
Benchtop
can I do?
Rich Feldman
dog hole Washington, D.C.
holes in the top of the workbench. In
Rich,
Jameel Abraham’s blog (benchcrafted.
Because you have the top attached to the
blogspot.com), Jameel mentions that he
apron with fasteners that can move, the cen-
enlarged the bottom half of his 3Ú4" dog-
ter wide section of cherry probably won’t
holes in order for the Gramercy hold-
1" counterbore crack. My guess is that the miter joints will
fasts to work properly. Do you agree
open up and the pieces attached to the very
with this technique, and would there
ends will come loose.
be any negatives in doing this? counterbore on the underside like Jameel
It’s hard to guess because I don’t know
Terry Liebel suggests – though I’d drill that counterbore
the moisture content of the wood when you
Blackfoot, Idaho only 1 ⁄4" of your bench’s thickness.
made the table, or what the conditions inside
Terry, I’d probably try roughing up the shafts
the home are. In a worst-case scenario, the
Many holdfasts need some tuning up to first. If that didn’t make them hold tight,
cherry could change in width 1 ⁄ 8" to 3 ⁄ 16"
work in benchtops thicker than 3". You can I’d drill a counterbore freehand with a big
from a humid summer to a dry winter. At
try filing the shaft of the holdfast to make Forstner bit.
the ends, the grain of the walnut is at 90° to
it stick better. Another option is to drill a Christopher Schwarz, editor
the grain direction of the cherry. The walnut
won’t change in length seasonally so some-
thing has to give.
If the humidity in your friends’ home is
Layout Makes Sense of Angles After I had the three stretchers assembled close to being constant throughout the year,
I’m interested in building the Chinese and the seat and legs assembled, I placed the you might get away with it. You’ll just have
Stool from the Winter 2009 Woodworking two subassemblies on the full-size pattern to to wait to find out.
Magazine (Issue 16). find the intersections, as seen in the photo- Robert W. Lang, executive editor
The illustrations seem to be unclear; graphs at the bottom of page 10. I wouldn’t
a close-up of each piece would have been try to figure out the angles or cut parts ahead
useful. Please explain why the leg ten- of time, but would only work with the two ‘Roll Test’ for Used Auger Bits
ons are at an 8.7° angle (my take is you subassemblies and the pattern. The mortises In your response to Ross Manning’s ques-
wedge from outside?). I have made several in the legs go straight through the legs from tion about selecting auger bits in the April
attempts and gone through a lot of scrap outside to inside. The tenons on the ends of 2010 issue of Popular Woodworking Maga-
lumber – help! the stretchers are at the angle to allow the zine (#182), you left out one simple, essen-
Richard Rappa, Sr. center of the triangle between them to hit on tial test when looking at used bits: Roll the
Canton, Georgia the vertical centerline. bit on a flat surface to see if it’s bent. If it’s
Richard, Robert Lang, executive editor bent in the fluted portion, it will hump up
If you do a full-size layout, as shown in the and down, like a kid’s pull toy; if bent in
photo on page 7, you’ll have the answer. The the shank, you can see the square taper
main reference to find all the dimensions Tabletop Build Concerns oscillate. On small bits, where the square
and angles is a vertical centerline through I recently built a cherry hall table, with taper is larger than the bit, you have to
the seat. Because the stretchers form a tri- tapered legs and two drawers, which I gave hang the end off the table, but the test
angle when they are assembled, the reference as wedding present. I just finished reading still works.
point for the stretchers is the center of this the April 2010 (issue #182) story on table I don’t often find them bent – but I have
triangle. If you lay out the locations of the design, and the “Beginner’s Bad Luck” sec- tried, without success, to bore a hole with
legs (120° apart from each other) you will tion has me worried. My tabletop is solid a bit that I hadn’t realized was bent, so it’s
see that the stretcher assembly needs to be cherry, 8" wide x 30" long, with a mitered a worthwhile test.
rotated for the ends of all three stretchers to walnut frame around it. The frame, which Bill Houghton
intersect all three legs. is 11 ⁄2" wide, is secured with yellow glue Sebastopol, California
CONTINUED ON PAGE 12
10 ■ POPULAR WOODWORKING MAGAZINE August 2010 ILLUSTRATIONS BY MARY JANE FAVORITE

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L E T T E R S
CONTINUED FROM PAGE 10
Advice on Raised Panel Build However, I think 1 ⁄4"-thick panels are OK ‘Lost Stickley Table’ Snag
I am in the process of making kitchen – unless you make them really wide, or the I’m building “The Lost Stickley Table”
cabinets in the Arts & Crafts style. I’m wood is really wet. If these are solid-wood (November 2006, Issue #158), and I’ve
using the first cabinet to work out the panels, don’t glue them into the groove – hit a snag:
design details and have reached a stum- that’s what will make them split. The drawer front is listed at 31 ⁄2", the
bling point. The finished units will have Robert W. Lang, executive editor drawer sides at 31 ⁄ 4". This is clearly to
the look of Robert Lang’s Greene & Greene allow for the upper and lower bevels on
medicine cabinet in the April 2009 issue the drawer front. That means the drawer
(#175). “I am glad that I paid so little itself will be 31 ⁄4" high when done. How-
The medicine cabinet has a 1 ⁄4"-thick ever, the space between the front rail and
panel. This makes the inside treatment attention to good advice; had I the top of the legs is 31 ⁄ 2". That 1 ⁄ 4" gap
of the panel simple. But in my research, abided by it I might have been seems awfully large.
most sources recommend that kitchen Do the drawer rails need to be raised
cabinets should have a thicker panel than
saved from some of my most (say, 1 ⁄8") above the front rail to equalize
this. If the stile and rail stock is 3 ⁄4", and valuable mistakes.” the space above and below the drawer?
the groove is 1 ⁄ 4", how do you treat the — Edna St. Vincent Millay (1892 - 1950) The detail photo of the dovetails on the
back of a thicker door panel? American poet & playwright drawer side show the drawer’s top sitting
I’ve experimented with different almost flush with the top of the legs.
options and have yet to arrive at an aes- Ross Henton
thetically pleasing result. I’d hate to make Ideal Workbench Base Joints via e-mail
all the cabinets and have all the doors and I am building my bench, which will have Ross,
wide door fronts splitting over time. Your a split top and a knockdown base, some- I make drawer sides shorter so the drawer
help would be appreciated. what like the base for the LVL bench in the will move in and out without dragging on the
Bob Callan November 2009 issue (#179). My question underside of the tabletop. If you bevel oppo-
Michigan City, Indiana is related to the attachment of the top to site corners of the drawer front, you won’t
the base: Do you think that mortise-and- change the overall dimension by much, so
tenon joints are necessary? you can have as narrow a gap as you want.
1⁄4"
rabbet in On the LVL bench, I think you just used When I put a drawer like this together, the
panel back lag screws, correct? Because my bench is bottom edges of the sides are 1 ⁄32"-1 ⁄16" below
primarily ash, would it be better to through- the front’s bottom edge to leave a gap at the
bolt it to the base? And if through-bolted, bottom. Because the sides aren’t in the way,
should two of the four holes be enlarged you can plane the top edge of the front to cre-
to allow for movement? ate an equally spaced gap at the top. PWM
Jesse Doughty Robert W. Lang, executive editor
Poughkeepsie, New York
Jesse,
1⁄
2" thick I prefer mortise-and-tenon joints. It’s one of Go Online FOR MORE …
panel the few things I am steadfast in.
I have had lots of problems with all the Letters and Comments
other mechanical attachment methods. The At popularwoodworking.com/letters you’ll
tops jump off dowels, or something warps and find reader questions and comments, as
well as our editors’ responses.
the top shudders when you work (which was
my problem at a class one recent weekend). We want to hear from you.
Bolts are OK, but the clamping force of some Popular Woodworking Magazine welcomes
face vises can push them around, deforming comments from readers. Published corre-
spondence may be edited for length or style.
the hole for the bolt. All correspondence becomes the property
If I had to make a bench knockdown, I’d of Popular Woodworking Magazine.
Bob, use mortise-and-tenon joints and drive lags Send your questions and comments via
If you prefer a thicker panel, make them 1 ⁄2" through the tenon, much like you would pin e-mail to popwood@fwmedia.com, or by
thick and rabbet the back side. This will leave a tenon in a door assembly. mail to:
Letters, Popular Woodworking Magazine
a 1 ⁄4"-thick tongue to go in the groove in the Lots of people disagree with me, but I have 4700 E. Galbraith Road
door, and preserve the flat-panel appearance only my experiences to draw on. Cincinnati, OH 45236
on the front. Christopher Schwarz, editor

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T R I C K S O F T H E T R A D E
EDITED BY KARI HULTMAN
Jack Screws Tweak Hinges

THE WINNER: When a mortise for a hinge leaf is too deep,
the common solution is to shim the mortise
Kerf Jigs for Perfect Cuts so that the leaf is flush with the surface of
your workpiece. The problem is, there is
a lot of trial and error in getting the exact
thickness for the shim. And planing small
aking long, perfectly straight cuts Position one jig blank flush against
M with handheld power saws, such
as jigsaws and circular saws, can be a
the straightedge, several inches from the
near edge of the plywood, and secure it
shims is a real pain.
Years ago, I started using what I call
jack screws. Here’s how they work. In the
real challenge. They aren’t difficult when with two countersunk screws. Keep the
mortise that is too deep, drive two flathead
a straightedge is used as a guide, but screws well away from the path of the
screws into the mortise, making sure the
putting that straightedge in the right kerf. Use the same power saw to cut a
screw heads are flush with the bottom of
place can be. With kerf jigs, you can set 4"-long kerf in the blank. Unscrew the
the mortise.
up long cuts in seconds. blank, attach the second blank, and
Then, loosen the screws a tad and refit
Here’s how to make them. Clamp make the same cut.
the hinge leaf. Continue to adjust the jack
a straightedge to a sufficiently large To use, align the kerf jigs with your
screws until the hinge leaf is the proper
piece of plywood. With your power saw cutline, and place them at opposite ends
height. This trick enables you to micro-
pressed against the straightedge, make of your workpiece. The kerfs should
adjust the position of any hinge leaf.
a short cut in the plywood to establish either straddle or be positioned on the
Carl Bilderback
the path of the kerf. Next, cut two rect- same side of the line. Clamp the jigs
LaPorte, Indiana
angular jig blanks out of 3 ⁄8" plywood or down firmly.
Back the jack screws
other stock. Each piece should be about Next, lay a straightedge flush against out of the mortise until
6" long and about 2" wider than the dis- the kerf jigs and clamp it in place. the hinge leaf is flush
tance from the straightedge to the kerf. Remove the kerf jigs, and you’re ready with the work
surface
Kerf jigs are only accurate with the saw to make a perfect cut.
that created them, so mark each piece on Sam Smith
the top side according to the saw you’re Anthony, Florida
using (e.g. “JIG” or “CIRC”).
Clamp a straightedge to plywood Align the kerf jigs with your

scrap and use your power saw cutline – one at each end
to establish a kerf of the workpiece – and clamp
them in place
Straightedge
Jack screws are offset

Screw each from hinge screws
jig blank to Cutline
the plywood
and use the
same power Remember That Measurement
saw to cut a
4"-long kerf
Too many times I take a measurement
in each blank Workpiece
and, by the time I walk to my saw, I forget
what it was.
So, I picked up a white laminate sample
Saw kerf
at the local home-remodeling store and
glued it to the side of my tape measure.
Now I can write on it with a pencil, wipe it
Lay the straightedge against off after I make the cut, and reuse it.
Jig blanks are 6" long the kerf jigs and clamp it in Chad Stanton
and should have at least 2" of place. Remove the kerf jigs
material to the right of the kerf before you make the final cut. Toledo, Ohio
woodchoppintime.com
14 ■ POPULAR WOODWORKING MAGAZINE August 2010 ILLUSTRATIONS BY MARY JANE FAVORITE

Handy Height Gauge 2"
A few years ago, I needed a reliable height gauge 1 1⁄ 4"
and did not have the money to purchase one. A 1⁄4"-deep x 5⁄8"-wide tongue on the
lot of ideas are born out of necessity, so I decided sliding arm fits into a matching
dado in the upright piece
to make one. The frame is made from a piece 6" metal ruler is epoxied
of hardwood, the 6" ruler is graduated in 1 ⁄64" into a dado in the upright Hanger bolt with wing nut in upright
slide, in a 1⁄4" x 4" slot in sliding arm.
increments, and the pointer and metal plate Slot starts 13⁄8" up from the bottom.
are made from utility knife blades. Base block is 13⁄4" square 7 1⁄ 2"
There is a 1 ⁄4" x 4" slot for a hanger bolt and
wing nut, so you can lock it down at any height,
Pointer is made from a utility knife
up to 31 ⁄2". It works extremely well for checking blade and screwed to sliding arm
the depths of rabbets, and setting the height
for table saw blades and router bits. 3 1⁄ 2" Epoxy thin metal plate to bottom
of sliding arm
Lamar Gaines 43⁄8"
Altamonte Springs, Florida 51⁄8"
Go Online FOR MORE …

Glue Scraper From a Planer Blade 4"
4" You’ll find links to all these online extras at:
I was scraping some glue lines when I came
up with this idea. Using my rotary tool and a
VIDEO: Tricks-in-Action shows you a free video
standard abrasive disc, I cut a used planer blade
2" of one of this issue’s tricks in use in our shop.
into a 4"-long piece. Then, I sawed a 10° slot into Watch “Kerf Jigs for Perfect Cuts.”
scrap wood to house the blade and fastened it WEB SITE: Visit the new Tricks of the Trade
with a screw. The wood block is approximately page online.
4" x 4" x 2" and the corners are rounded off to BLOG: Tricks editor Kari Hultman writes
4"-long
protect my hand. Screw secures planer blade about woodworking on her blog, The
Robert Knapp planer blade Village Carpenter.
into wood block IN OUR STORE: Get “601 Woodshop Tips &
Girard, Pennsylvania 10º
Tricks,” by Graham McCullouch.
All of our products are available online at:
3⁄ 1⁄ WoodworkersBookShop.com
4"-wide x 4"-deep dado
Short pieces –
1⁄2" x 3" x 6"
Cash and prizes
Underside of long piece
1⁄4" x 14" through-slot
for your tricks and tips!
Long pieces – Each issue we publish useful woodworking
1⁄
2" x 3" x 18"
tips from our readers. Next issue’s winner
Loosen wing
nuts to adjust jig receives a $250 gift certificate from Lee Val-
ley Tools, good for any item in the catalog or
on the web site (leevalley.com). (The tools
Adjustable Mortising Jig Glue half of each pictured below are for illustration only, and
short piece to the end are not part of the prize.)
I needed a way to easily and repeat-
of each long piece Runners-up each receive a check for $50 to
edly create mortises in sizes that do $100. When submitting a trick, include your
not correspond to standard size Forstner mailing address and phone number. If your
bits. So, I created this jig out of 1 ⁄2" MDF By using 1 ⁄ 4" carriage bolts and wing trick is selected, an editor will need to contact
(but plywood or hardwood will work), and nuts, the four arms can be assembled as you. All entries become the property of Popular
1 ⁄ 4" carriage bolts and wing nuts. Woodworking Magazine. Send your trick by
shown. The long arms of the jig allow for
e-mail to popwoodtricks@fwmedia.com, or
Cut four pieces of MDF measuring 3" easy clamping without interfering with mail it to Tricks of the Trade, Popular Wood-
x 6" and four pieces measuring 3" x 18". your router. working Magazine, 4700 E. Galbraith Road,
Using a router table, cut a 3 ⁄4" dado, just shy I use a palm router with a piece of 1⁄4" Cincinnati, OH 45236.
of 1 ⁄ 4" deep, down the center of each 18" MDF attached to the base (so the adjust-
piece. Then, cut a 1 ⁄4" through-slot down ment knob clears the top of the jig), and a
the center of the dados, leaving about 2" 1⁄4" upcut spiral bit. The router sits within
unslotted at each end. Drill a 1 ⁄4" hole on the walls created by jig, not on top of the
the centerline and 11 ⁄ 2" from one end of jig, which enables it to cut very small mor-
each 6" piece. Position each 6" piece so that tises and large recesses up to about 12" x
the end with the hole overhangs the end 12". PWM
of the non-dadod side of the 18" pieces by Brad Swaters
3". Then, glue them in place. Platte City, Missouri
popularwoodworking.com ■ 15
T O O L T E S T
BY THE EDITORS
A New Way
To Inlay
One word describes this
tool, its cutters and the
twist on the materials
used: innovative.
S eldom does a tool come along that

changes how we look at a woodwork-
ing technique, but the Noden Inlay Razor
does just that. The Inlay Razor, designed Truly imaginative designs. The Noden Inlay
by Adjust-A-Bench inventor Geoffrey Razor changed the way we look at inlay banding.
Noden, allows you to make an unlimited The process is quick to complete (and addicting),
variety of inlay bandings as quickly as you and the only limitation is your imagination.
can prepare the wood.
Although the process looks as if it might
be slow, the work glides along easily. In The blocks are bisected by kerfs that
fact, the process to create straight or curved are straight, rounded, curved or whatever
banding is as addictive as it is creative. shape you can imagine, as long as you can That's money. The cutters make this tool. Cut a
While the tool itself is very simple, the bend the razor blade to fit the profile (sharp wooden block to nearly any profile, affix a razor
idea and the design of the cutters used to corners are difficult, but can be accom- blade in between and you’re ready to work.
slice the wood are outstanding and a bit plished if you break the blade). The blades,
mind-bending. The concept is light-years slipped between the block halves, are glued
ahead of its time, but the cutting blades in place with just a small edge protruding rial is easily sliced by the razor and affords
are decades old. from the wood. That razor’s edge slices the the opportunity to use exotic woods and
The cutters are wooden blocks that hold wood pieces to size. woods seldom used in furniture production
double-edged razor blades, the kind that The razor-embedded blocks are simple without a huge outlay of cash.
your grandad shaved with years ago. to switch in and out, but how and where To add to the already abundant design
you position the cutter influences the actual options, the Inlay Razor’s cutting arm
cut. To accurately repeat your designs, keep rotates on the tool’s base. It’s possible to
detailed records. Also, because the blades swivel the arm to 60º left or right of center
Inlay Razor are delicate and wear out over time, you to further influence the design.
Geoffrey Noden ■ inlayrazor.com may need to duplicate the designs to create Included are four pre-made cutters
or 609-882-3300
continuous runs. (straight, arched, S-shaped and cornered
Street price ■ $249 ($199 sale price)
The razor cutter should cut through – think mountain top), tweezers and a video
BLOG: Read more about this tool and
thin veneer, but Noden has a completely tutorial. In the tutorial, Noden demon-
watch a short video at popularwoodworking.
com/aug10. different idea that again shows his inventive strates how to use the tool, prepare materi-
Price correct at time of publication.
passion. He uses 1⁄16"-thick slices of end- als and create your own shop-made cutters.
grain wood as the inlay material. This mate- — Glen D. Huey
CONTINUED ON PAGE 18
16 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTOS BY AL PARRISH

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CONTINUED FROM PAGE 16
Bosch Solves Your Drilling and Driving Commitment Issues

If you’ve been slow to step up and spend ratcheting nuts and bolts, and two drill
your hard-earned money on an impact modes that satisfy all your standard drill-
driver because you’re not sure if you would driver duties.
use the tool enough to justify the cash out- In impact mode, the tool delivers up to
lay, Bosch has introduced a tool that should 3,200 beats per minute and produces 1,500
ease your commitment issues. inch-pounds of torque – the highest in its
Bosch’s 18v Lithium-ion Impact Drill/ category, according to the company.
Driver (26618-01) offers an ideal combi- Switch it into drill-driver mode and
nation of torque, speed and control, all you choose either a high-torque setting
within a single tool. It has three-modes: (0 - 750 rpm) for larger diameter bits or a
an impact mode, so you can put the tool high-speed/low-torque setting that spins
to use when sinking long screws or when smaller-diameter bits from 0-2,800 rpm.
The 1⁄ 4" hex-drive design on this tool
allows easy bit changes and keeps a strong
grip on your drill bits, driver bits or what-
18v Lithium-ion ever else you need to lock in and use.
Impact Drill-driver Innovation is accomplished in small The 26618-01 comes complete with two
Bosch ■ boschtools.com or 877-267-2499 steps. To light work areas, most drill-drivers 18v Litheon Fatpack batteries (Bosch’s 2.6
Street price ■ $399 use LEDs below the chuck. These diodes Ah Lithium-ion battery), and is compatible
ARTICLE Impact drivers made the “Best seldom shine above the tips. Bosch has with the company’s Slimpack batteries as
New Tools” list two years running. Read
more at popularwoodworking.com/aug10. upped the ante with three LEDs that circle well. A 30-minute charger also is part of the
the nose of the driver to fully illuminate deal, as is a carrying case, double-ended
the work area. Phillips bit tip and belt clip. — GH
Makita’s New Sander is Built for Comfort

If you’re tired of sanding for extended peri- on the underside of the handle, so it’s easy
ods with your palm stretched across the top to operate. And with your fingers wrapped
of a random-orbit sander, and your fingers around the handle, your thumb will easily
held spider-like to manipulate the switch, adjust the speed – 4,000 to 12,000 orbits
take a look at Makita’s new BO5041 tool. per minute (opm) – making it possible to
This new 5" random-orbit sander can fine-tune your sanding. The 1⁄8" orbit diam-
be held with a top-mount grip, but the eter makes this sander aggressive, so the
BO5041 also has a handle that gives you option of a lower speed is beneficial for
a chance to change your grip as you sand; finish sanding – and 4,000 opm is slower
that eases muscle tension and fatigue. And than many other sanders.
both grip areas have a rubberized cover to The BO5041 has a powerful 3.0-amp
aid in comfort. motor, an increase from earlier models.
A large two-finger on/off switch, which Another improvement is the adjustable
can be locked in the “on” position, is located handle, included with the sander. The
extra handle gives you a two-hand grip to
increase your control. The handle ring has
BO5041 Random-orbit Sander an adjustable hinge-pin so it can be freely
Makita ■ makita.com or 800-462-5482 positioned approximately 300° around the
Street price ■ $130
housing. And if the job requires, the handle
can be removed.
ARTICLE Read our random-orbit sander
review at popularwoodworking.com/aug10.
The BO5041 uses 5" (eight hole) hook- Or you can chuck the bag and hook directly
and-loop sanding discs and is equipped to your vacuum via a 21⁄8" connection. PWM
with a removable dust collection system. — GH

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TIBSQFO!ZPVS!IBOE.!BOE!QPXFS.UPPM!TLJMMT"
2010
The Ultimate Skill-Building Weekend
October
1 – 3, 2010
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D E S I G N M A T T E R S
B Y G E O R G E R. W A L K E R
Sublime
Echoes
Repetition of proportion
and shape can create
design harmony.
epending on your canoe route, Little

D Crooked Lake is about two days of
paddling and portaging from the nearest
highway. It’s worth it. On a still morning,
you can hear the smallest sound carry Oval echo. The small oval in this desk gallery by William Evans echoes the larger shapes that grace the
across the fog-shrouded water and echo off cabinet doors above.
the steep rocky shoreline. A wood thrush
pipes its flute-like song and the music folds
back on itself to transform the solo into a proportions often comes down to – repeat- more often than not, subconsciously.
chorus. I first hiked into Little Crooked ing or echoing a ratio at different scales to One of the most powerful uses of pro-
intending to catch a fish dinner. The fish create a pleasing, harmonious effect. portions is to assemble a design that repeats
weren’t hungry, but I took away memories A proportion is a relationship between a ratio or echoes it on different levels. This
of those haunting echoes that I still relish. one part and another, often signified by a drawing for a sideboard (above right) is
I don’t know why echoes can capture our ratio. Two different-sized rectangles are in organized around a simple ratio of 2:3. The
imagination. They don’t have to be loud; proportion when their sides are defined by overall form is a large rectangle that is two
sometimes it’s the small, subtle echoes that the same ratio. Additionally, groupings of parts high by three parts long (in this case
engage something deep within us. elements are in proportion when the ratios it’s 32" high x 48" long). The overall height
governing their parts are identical – even if is divided in a ratio of 2:3 to define the case
Use Proportions to Create Echoes the scale is different. In fact, it’s desirable above and open space below. The drawers
Designers have long recognized that we to arrange elements into major and minor horizontally are proportioned across their
pick up on echoes and are somehow drawn pairings to avoid monotony. Visually we widths forming a little sequence of 2:3:2.
to them. At its simplest that’s what using pick up on this and respond to it though, The drawer heights are – you guessed it –
a ratio of 2:3.
Don’t take this wrong; you are not lim-
ited to just one ratio when assembling a
design. This does illustrate, however, what
3 can be achieved by repeating just one sim-
4 ple ratio. You can even have fun with this
4 3 and weave this concept of echoing propor-
tions from the macro level encompassing
3 3 2 the overall form, all the way down to the
2
Proportion repeats. These rectangles are in pro- micro level and repeat it in the design of
portion because the ratios that govern the sides Ratios. Pairings of elements are in proportion, mouldings or an inlay detail like the small
are identical. because the ratios echo in both. banding that cuffs a leg.
22 ■ POPULAR WOODWORKING MAGAZINE August 2010 LEAD PHOTO BY LIE-NIELSEN TOOLWORKS; REMAINDER OF PHOTOS & ILLUSTRATIONS BY THE AUTHOR
Multiple echoes.
Have fun working
echoes into small
details like this
small end table’s
top edge and
the drawer pull
below it.
Complementary
curves. The bulging
curve in the frieze
above the capital
Layers of ratios. This design for a sideboard repeats the same simple ratio of emphasizes the
2:3 in multiple layers. curved volutes below.
Use Shapes to Create Echoes add another layer by using proportions to

Another way to create visual echoes is govern those shapes then echoing them in
through the play of shapes. The frieze on other parts of a design at different scales.
this Ionic order is bulged out in a convex There are infinite possibilities to employ
curve (above right). A frieze is a horizontal this and again, as with proportions, a shape
band above the capital that is often deco- can start with something at a macro level Negative echo. The curves in the top are echoed
rated with carving or painting. In this case encompassing the overall form and work in the open space below the case.
the designers left it plain but used a gentle its way down the micro level in the shapes
curve to echo the elegant form below it in of small details. Note how the tombstone-
the volutes that crown the capital. arch shape in the clock case hood door Finally, have some fun with this. Echoes
Often, shapes can echo and create below is echoed in the small brass lock are a playful way to give life and harmony
further interest by switching up and con- escutcheon. That small piece of hardware to a design. Don’t be afraid to leave an echo
trasting the mirror images. Note how the is just a faint echo, but is a wonderful detail only you can see. Who knows – generations
convex curve on the top of the small dress- that can bring delight when discovered. from now, someone may be delighted to
ing table (far right) is echoed in the con- discover the gentle song of a wood thrush
cave shape of the open space below the Application you created at your workbench. PWM
case. This also presents the opportunity to If you’d like to begin working some echoes
into your designs, experiment by weaving George is the author of two design DVDs from Lie-
Nielsen Toolworks (lie-nielsen.com).
them into some of the small details. A nice
example is to create a profile on a table edge
that repeats itself in another detail such as
a small drawer pull below it.
Some things to remember about echoes: You’ll find links to all these online extras at:
An echo always has some separation popularwoodworking.com/aug10
between the original and the sound wave BLOG: George R. Walker writes three times a
that bounces back. Also, the echo grows week on the Design Matters blog.
softer each time it reaches your ear. BLOG: Read about Editor Christopher
You want to be wary of repeating identi- Schwarz’s visit to George R. Walker’s shop.
cal cloned shapes right next to each other. IN OUR STORE: George R. Walker’s DVDs.
It’s best to separate a visual echo with some All of our products are available online at:
space as well as making it a different scale, WoodworkersBookShop.com
which allows it to reach the eye with a
softer voice. Avoid just stacking identical About This Column
shapes or identical proportions right next If you have a thirst to hone your creative
to each other like pancakes. This creates skills, Design Matters dives into the basics of
monotony. You don’t want the echoes to be proportions, forms, contrast and composition
Listen closely. Note how a to give you the skill to
overpowering like a gang of rowdy teenag-
small echo can be repeated in tackle furniture design
a detail. The arch in this brass ers in a carnival funhouse. An echo can challenges with confi-
escutcheon echoes the larger have its most profound effect when it slips dence.
hood door on this clock. into view as a gentle surprise.
A R T S & M Y S T E R I E S
BY ROY UNDERHILL
Tallow Tales
& the Black
Handplanes
Of Britain
Puzzling lubrication.
ran out of mutton tallow this morning!

I I searched my tool chests, under the
benches and in the drawers hoping to find
just enough white magic to ease the pas-
sage of the big jointer plane up and down Three black planes on a dead man’s chest. Even the iron plane is thick with decades of tallow and oil.
the long shooting board. But all the grease
boxes were licked clean – the cupboard
was bare. Must … find … tallow! Easin’ the Squeezin’ So tallow was the joiner’s grease, and it
It was a set of smelly black British So we all know linseed oil, but mutton was everywhere easing the labor of hand
planes that started me down the slippery tallow was a mystery to me. In the old tool woodworking. George Sturt, in his mem-
slope of the tallow trail. Unlike Ameri- chest with the black British planes I found oir of life in a 19th-century wheelwright’s
can planes, British planes are often black a tin of the slightly rancid white grease shop, described one of the workmen as
from ceaseless soaking in linseed oil and with the same smell that I had noticed having “a grease-box – that (also) hand-
relentless rubbing with tallow – a practice on the planes. I tried it on the bottoms made – hanging amongst the row of chis-
that was perhaps not so good in the long of the planes and was an instant convert. els over his bench. But, come to think of it,
run. Aside from linseed oil turning planes What a difference! All my effort was now every bench had this. A big auger-hole in
black with age and dirt, the royal armor- going into cutting instead of overcoming a shaped-out block of tough beech served
ers at the Tower of London have recently friction. Tallow was the ingredient I had the purpose admirably. You could thrust
discovered that the walnut stocks of the been missing. your finger … into the grease-pot close at
Brown Bess muskets that they have been Yes, there were other lubricants avail- hand and easily take out grease for anoint-
rubbing with linseed oil since the time of able in the pre-petroleum days, but olive ing both sides of your saw or the face of
King George are getting a bit soft. They oil, whale oil and beeswax were expensive your plane.”
now recommend that you switch over to and had better uses. Aside from speeding your saws and
wax after 250 years or so. Besides, in the days before the cotton planes, tallow-grease makes your spin-
gin, your cloth was either linen or wool. dles fly on the dead center of your lathe,
Linen is made from flax, and pressed flax it cuts the friction between the pad and
seed gives linseed oil. Wool comes from the crank of your bit-brace, and it lets the
“Tallowe your shyppe er you go, the outside of a sheep, and mutton from the wooden screws of your clamps and bench
it shall further you muche on inside. As meat, mutton was far cheaper vises exert their maximum force. It keeps
than pork and beef in Europe, and the poor coping saw blades from grabbing and
your waye.” flavor of lamb fat made it unwelcome in the mortising chisels from snagging. Tallow
John Palsgrave, 1530 kitchens of France, and even in Britain. makes metal screws turn effortlessly into
24 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTOS BY THE AUTHOR; ILLUSTRATION FROM ANDRÉ ROUBO’S “L’ART DU MENUISIER”
the wood and lets grindstone axles roll then gave it the standard test for quality.
freely in their bearing blocks. All of this He bent the tip of the saw fully around to
saves endless elbow grease, but if that isn’t see if it would poke through the handle
enough, the old blackened tallow-grease then spring back straight. His hands were
gathered from the trunnions of church still slippery, though, from his work in the
bells was reckoned to have special cura- shop and he lost his grip and the end of the
tive powers when rubbed into the parts blade sprung straight and slapped right
that ailed you. This may not be so, but you into the salesman’s face. Being stiff-upper-
can quickly cure a chronically choking lip British (and needing to make the sale)
plane by a good rub in its throat with soft, the toolmonger never let out a whimper.
slippery mutton tallow. Bob Simms paid and ran.
So, where do you get tallow? It’s just A puzzle. The dovetail puzzle grease box.
Oil & Water melted fat and you can make it yourself.
Tallow is animal fat, and it’s slippery Ask the butcher to save some mutton fat
because the fat molecules, the triglyc- for you – a lot easier around Easter time.
erides, are short, soft and round. When Grind the fat and heat it, either directly
coated on steel, these molecules make in a pot or in boiling water. If you render
a good protection against rust because it in boiling water the fat will rise to the
they repel water. This quality becomes a surface and upon cooling you can lift it off
problem, however, when it comes to glu- in a cake. Reheat this and pour it through
ing, for it is water that softens the long a sieve or cheesecloth. The resulting tal-
collagen molecules of animal glue and car- low will be much softer and may go ran-
ries them into the wood. If enough tallow cid sooner than that melted out directly
remains on the wood to prevent the water in a pot.
Lid 1. The first lid swings aside, but the inner lid
from penetrating, then the glue cannot If you put the grease in a pot to melt
seems trapped by the dovetail ...
hold. Still, it takes a lot of tallow to make without water, be careful of overheating
a waterproof barrier on wood – you would and keep the lid handy to smother any
almost have to do it deliberately. flame.
Sometimes it is deliberate. Tallow
rubbed on the corners of your door panels Grease Box
will keep any frame-joint glue that seeps in You’ll need a grease box too, because unlike
from getting a grip and causing your pan- beeswax, tallow can’t just sit around in a
els to shrink-split. Perhaps that was what solid block. In “L’Art du Menuisier,” A.J.
young British apprentice Robert Simms Roubo shows his workbench with a swing-
was doing before he ducked out of the shop out grease cup under the top, and this was
one day in 1922 to go buy a new saw. common in most European benches. I
As the salesman watched from across use a little puzzle box with two lids. After
the counter, Simms examined the saw the upper lid swings aside, you’re faced
Lid 2. ... until you slide the inner lid back toward
with a second lid that seems immovable.
the screw. (The pivot hole is elongated.)
The upper lid conceals the fact that the
screw hole through the lower lid is actu-
ally a slot that allows the lower lid to slide
back free of the dovetail on the end and Go Online FOR MORE …
swing aside.
Yes, the tallow makes the tools work You’ll find links to all these online extras at:
easier, but it was also a vital ingredient of popularwoodworking.com/aug10
a way of working that was visceral, mus- VIDEO: ”The Woodwright’s Shop” episode
cular and organic. There may be synthetic in which Roy makes his dovtailed puzzle
grease box is available free online.
substitutes, but I do like working in a shop
BLOG: Kari Hultman (“The Village Carpen-
where there’s nothing that would kill my ter”) makes Roy’s puzzle box.
dog if she ate it. So add mutton tallow to WEB SITE: Take a class at “The Woodwright’s
your tool chest and you will not only work School” in Pittsboro, N.C.
like a classic joiner, you will smell like TO BUY: Roy’s latest book is “The Wood-
one too. PWM wright’s Guide: Working with Edge and
Wedge.”
Roy Underhill is a former master craftsman at Colonial
Williamsburg, the author of the Woodwright series of
Roubo’s grease. André Roubo’s bench with the books and host of his PBS series “The Woodwright’s WoodworkersBookShop.com
swing-out grease cup. Shop,” now in its 30th season.
I C A N D O T H A T
BY GLEN D. HUEY
Step Stool
Whether stepping or
sitting, this multi-purpose
stool is sure to give your
youngster a boost.
For tails, it’s up. This stool transforms
from a step stool into a chair with a
simple flip of the step. As it increases
the reach of your children, it reduces
the materials in your scrap bin.
ou may not remember when you
Y looked up at the sink, or when you
climbed up to the potty – but if you’d had
a few extra inches on your legs, things the opposing workpiece when drawing A Choice of Power Tools
would have been so much easier. This stool the arch. Align the sides to transfer the layout from
can do that for youngsters – and help you The photo below shows how to lay out the first side workpiece to the second side,
clean out your scrap bin, too. the side’s curved shape. Clamp a workpiece then flip the shaped side and repeat to add
This column generally begins with a to your bench, clamp a thin strip of wood the second curve to second side. There’s
trip to buy lumber, but you probably have to the bench just in front of the workpiece one curve yet to add, but that comes after
the needed material – scraps – floating then bend that strip to the 27 ⁄ 8" layout you shape the second side.
around your shop. This especially holds mark along the top edge to get a pleasing You could use a jigsaw to cut the curve
true if you paint this piece instead of go all shape. The radius of the line should be to the final dimension, but a router with
wack-nutty with figured maple like I did. around 93 ⁄4". a pattern bit installed does the job in a
But if you need wood, simply head off to With the strip bent to position, transfer flash – then, rasp cleanup isn’t necessary
the store with your cut sheet in hand. the line to your side with a pencil. Use your and final sanding is minimal. (For more
On this project, you can cut the pieces jigsaw to cut close to the line and finish information on using a router, refer to the
to size at the beginning of the build smoothing the curve with a rasp and sand- updated “ICDT” manual.)
(most times it’s better to cut to length and paper. This is the only time that you’ll need Use a jigsaw to rough-cut and stay about
width as you need the parts in case things to use this setup. The remaining layouts 1 ⁄ 8" from the layout line. (This allows the
change). Once the parts are cut, the major- are transferred from this one curve. bit to cut exactly to the line.) Fit the sanded
ity of the work is on the sides; they get laid curve to the rough-sawn curve, clamp the
out, drilled and shaped. pieces to your bench so the clamps are out
Find and mark the locations for the of the path of the router’s base as the cut
holes prior to any shaping work and make is made, and you’re ready.
sure you have mirrored layout images. Adjust the router bit so the bearing
Keeping the drill square to the workpiece, rides along the sanded curve while the
bore the two 3 ⁄4"-diameter holes and one bit’s cutting length is aligned to remove
1 ⁄ 4"-diameter hole in both sides. waste material. Make the cut moving the
Next, align the bottom edges of the two router from left to right, or with the direc-
sides then lay out the centered arched cut- tion the router bit is spinning. After routing
out. To do that, set your compass at 21 ⁄2" the curve, flip the top board and repeat the
then find the location where the compass steps to complete the work on that side.
hits the marks along the bottom edge (33 ⁄4" Switch the sides then lay out, rough-cut
from the outside edges) and 11 ⁄4" of height Fairing a curve. A thin strip of wood makes the and rout the remaining curved edge. The
at the center – the compass point rests on perfect tool for designing a curve. sides are complete after a bit of sanding.
26 ■ POPULAR WOODWORKING MAGAZINE August 2010 LEAD PHOTOS BY AL PARRISH; STEP PHOTOS AND ILLUSTRATIONS BY THE AUTHOR
27⁄8" 7" 141⁄2"
1"
21⁄8" 2" All rounded corners have a 3⁄8" radius
1⁄4" diameter
43⁄4" 1" 31⁄2"
3⁄
4" diam. 51⁄8"
71⁄4" 1⁄4" diam.
21⁄8" 13⁄16"
45⁄8" SUPPORT ARM
3⁄4" diameter
61⁄4"
11⁄4"
SIDE ELEVATION
33⁄4"
5" Step Stool
121⁄2" NO. ITEM DIMENSIONS (INCHES)
T W L
❏ 2 Sides 3⁄ 4 71⁄4 121⁄2

❏ 2 Seatboards 3⁄ 4 31⁄2 161⁄2
If you want to bypass the router work, of the sides. The longer dowel acts as a 3⁄4 dia.
❏ 1 Long dowel 18
jigsaw, rasp and sand those three curved stop when the step is flipped up and the 3⁄4 dia.
❏ 1 Short dowel 161⁄2
profiles. stool is in seat mode. This dowel extends 3⁄ 4
3 ⁄ 4" beyond the exterior faces of the sides. ❏ 2 Step supports 31⁄2 141⁄2
There’s a bit of layout and shaping work 1
❏ 4 Dowel pins ⁄ 8 dia. 2
done to the step supports. Make sure to After the dowels are positioned, drill 1 ⁄8" 3⁄ 4
❏ 2 Steps 21⁄4 181⁄8
locate the 1 ⁄4" holes prior to any shaping. cross holes through the edge of the sides
The bottom edges of the supports have and into the dowels. Glue in a dowel pin HARDWARE
gentle curves and the corners are softened, to secure everything. ❏ 2 Carriage bolts, 1⁄4" x 2"
or rounded. Make the cuts with your jig- The seat boards and the steps are ❏ 2 Nuts, 1⁄4"
saw, then use a rasp and sandpaper to fin- attached with countersunk and piloted ❏ 4 Washers, 1⁄4"
ish the shaping. Or use the router setup screws. Plug the screw holes then sand
to complete this work, like you did on the the areas smooth and it’s time for finish,
sides. be it paint, or stain and topcoats.
With the finish complete, attach the Go Online FOR MORE …
On to Assembly step support assembly to the main stool
You’ll find links to all these online extras at:
The seat boards, with the edges rounded assembly using lag bolts, washers and nuts popularwoodworking.com/aug10
with a block plane, are taken from stan- (slip an extra washer between the support SLIDE SHOW: We took extra step photos
dard-width stock, but the steps need to be and side to keep the parts separated) then while building this piece – though you
ripped to width. Use your jigsaw to make take the stool into the house and watch can build it with what’s printed here.
the cuts and clean the sawn edges with a your youngsters reach new heights. PWM See the extra shots online.
block plane. Sand all the parts, including PLAN: Download the free SketchUp plan
the dowels, to clean up the surfaces and Glen is senior editor of this magazine, a published author, for the step stool.
teaches woodworking classes and seminars and has no ARTICLES: All our "I Can Do That" articles
you’re ready to assemble. children, so he plans to use this stool himself. Contact him are free online.
Position the dowels: The short dowel at 513-531-2690 x11293 or glen.huey@fwmedia.com.
Download the updated “I Can Do That”
fits toward the bottom center of the sides manual:
with the ends flush with the exterior face popularwoodworking.com/icandothat
About This Column

Our “I Can Do That” column features proj-
ects that can be completed by any wood-
worker with a modest (but decent) kit of
tools in less than two days of shop time, and
using raw materials that are available at any
home center. We offer a free online manual
in PDF format that explains all the tools and
shows you how to per-
form the basic operations
in a step-by-step format.
Exact replication. A flush-cut router bit with a Arrange and attach. The seat boards, as are Visit ICanD oThatExtras.
top-mount bearing makes shaping the curves the steps, are spaced with pennies, clamped com to download the free
quick work, but the profile is only as good as the together and clamped to the frame prior to drill- manual.
one copied. ing for screws.
popularwoodworking .com ■ 27
The Return of Roubo
B Y C H R I S TO P H E R S C H WA R Z
An 18th-century French
workbench is quite
possibly the most perfect
design ever put to paper.
I
n the 18th century it was common for
the workrooms and living areas of a
home to share the same space. A work-
bench, for example, would not be out of
place in the front room of the house.
This small historical fact has me con-
cocting a plan, which I haven’t yet shared
with my family.
My workshop at home is in a walkout
basement. I’ve done what I can to make it
pleasant, but it’s isolated from the rest of
the house. This is on purpose: My planer
and jointer sound like air-raid sirens.
During the brutal stock-preparation
phase of a project, my shop is perfect. I can
run machinery all day and bother no one.
But when I get into the joinery of a project,
I long for a shop with beams of natural
light, wooden floors and a close connec-
tion to the day-to-day of my household.
In other words, I want to claim some
space upstairs as a bench room.
Hold tight: This story isn’t just about
me. It’s about you, too. A furniture-grade
workbench is a great idea for apartment And here’s to you Monsieur Roubo. Few workbench designs are as bullet-proof or as simple as those of
dwellers, or people who need to set up a A.J. Roubo, an 18th-century cabinetmaker who also was a fine writer.
shop in a spare bedroom of their house.
It’s also a fine idea for people like me who
plan (read: plan to grovel for permission) Thank You, Monsieur Roubu downsides or limitations I’ve found on
to do some woodworking in a living area During the last five years I’ve built (or other forms.
of their home. helped build) more than a dozen work- Its advantages are numerous. Here are
Lucky for all of us, one of the best-look- benches based on the 18th-century a few.
ing workbench designs is also the simplest designs of André J. Roubo, a French cabi- 1. Its simple design makes it easy and
to build and most useful, no matter if you netmaker and writer. And after five years quick to build, even for beginners.
have a love affair with your plunge router of working on Roubo’s bench I think it is 2. The thick slab top has no aprons
or your router plane. an ideal bench with almost none of the around it, making it easy to clamp any-
28 ■ POPULAR WOODWORKING MAGAZINE August 2010 LEAD PHOTO BY AL PARRISH; STEP PHOTOS BY THE AUTHOR; ILLUSTRATIONS BY ROBERT W. LANG
thing anywhere on it (this feature cannot
be overstated).
3. The front legs and stretchers are flush
to the front edge of the benchtop, making
it easy to work on the edges of long boards
or assemblies, such as doors.
4. Its massive parts make it heavy and
stout. This bench will not rack or move
as you work.
But what about its looks? The first
Roubo-style workbench I built was out
of Southern yellow pine. I think it looks
great, but an 8'-long pine behemoth might
be best suited to the workbench under-
world. And it is probably too big for most
living areas.
So I decided to go back to the original
text for inspiration. You see, the original
bench published in plate 11 of “L’Art du
Menuisier” shows a bench that has beauti-
ful exposed joinery – through-dovetails
and through-tenons in the top. And it has
a single piece of wood for its top – some- Face your edge. If you are edge jointing two mas- One out of one editors agree. This is a bad idea.
thing that George Nakashima would love sive slabs into one benchtop, you need to treat Even with my coarsest ripsaw, this slab was too
(if it had a bit of bark on it). the edge of each board more like it is a face. That much. After 20 minutes of sweating, I ripped the
In other words, the original Roubo means checking the surface to ensure it’s flat edge on my band saw. The correct tools for this
bench has a lot in common with furniture across its width and length. Take your time. job are a pitsaw, a pit and a good strong friend.
of the Arts & Crafts movement (thanks to
its exposed joints), Shaker (with its lack of
ornamentation) and even contemporary tion of Craigslist.com. Old construction tery wood for the legs. I built the project
styles (thanks to the clean lines and use beams seem to come up for sale there on almost entirely with hand tools (except
of a single-board top). This bench looks a regular basis. These can be cheap, but for a couple long rips). This was for fun.
like a lot of furniture that contemporary you are going to have to scrounge a bit. Your definition of fun may vary. All of
woodworkers enjoy building and will look You can find a local sawyer (we use the techniques here easily translate to a
at home in the home (if you’re lucky) or a network maintained by Wood-mizer. power-tool shop, so don’t be put off by the
in the shop. com). Of course, drying a wet slab that joinery; just fire up your band saw.
size will take time or some serious work One other thing to note: You don’t need
About the Raw Materials in a kiln. The third option is to find a spe- a workbench to build a bench. This entire
The biggest challenge with this bench cialty lumber source, such as Bark House bench was built on sawhorses without the
is fi nding the right raw materials, par- in Spruce Pine, N.C., (barkhouse.com), assistance of any of the benches or vises
ticularly for the top. I was looking for a which specializes in selling big slabs of in our shop.
single slab that was 5" thick, 20" wide kiln-dried lumber and shipping them all I began the project by dressing the two
and at least 6' long. That’s a tall order. over the country. rough cherry slabs so I could join their
Here are some leads if you’d like to follow Almost any species will do for a work- edges to make my benchtop. That’s where
suit: Haunt the “building materials” sec- bench. Maple or ash would be my first we’ll pick up the story.
choices, but almost every species is stiff
enough and heavy enough to serve as a Take the Tool to the Work
benchtop when you are dealing with 4"- to The length and the width of your top will
“I will not give away my hard- 5"-thick boards. I ended up with two slabs determine the rest of the design of the
earned skills to a machine. It’s a of cherry that were donated by house- bench. Here are a couple pointers: Make
wright Ron Herman of Columbus, Ohio. your benchtop as long as feasible, but it
bit like robbery with violence, for They had some punky areas and some doesn’t have to be wide (in fact, wide work-
(machines are) not only intended to checks, but I was convinced I could make benches are a liability in many cases). A
them into a good-looking top. 20"-wide bench is plenty big and stable
diminish my bank balance, but also For the undercarriage, almost anything in my experience.
to steal my power.” will do, as long as it will look nice with My benchtop required one seam down
— John Brown (1932 - 2008) the top. I used construction-grade 2x6 its middle. To dress the edges I removed
Welsh stick chairmaker white pine for the stretchers and 6x6 mys- the sawmill marks with a jack plane, then
dressed each edge with a jointer plane. they create a flat slab. Glue up the top and
Running these edges over the powered let it sit overnight no matter what brand of
jointer would be a two-man job. You can glue you use. You want the glue to reach
do this by hand by yourself. maximum strength and you want most of
Once you get the two edges fl at, rest the water in the glue to evaporate (if you
them on top of each other. Look for gaps at use a water-based glue).
the seam and use a straightedge to ensure With the slab joined, dress its outside
edges – again handplanes are less effort
here than humping this slab over your
machines by yourself. After you dress the
first edge, make the second one nearly
parallel. Then cut the benchtop to length. Small and simple. I used a 7" vintage quick-
I used a 7-point crosscut handsaw. It was release vise as my end vise. You can use almost
work, but was fairly quick work. anything, perhaps even a vise you now have.
With the top cut to finished size, dress
the benchtop and underside so they are
reasonably fl at and parallel. Do a good quick-release vise and added to it a big
job here because this will be the work- wooden chop, which will support wide
ing surface you’ll be using to make the panels on the benchtop.
remainder of your bench. Flatness now In addition to the vise, you also should
will prevent struggles later. drill the dog holes in the top that line up
Begin flattening the top using travers- with the end vise. Place the holes close to
ing strokes across the grain with your the front edge if you use joinery planes
jack plane. Follow that up with diagonal with fences (such as rabbet or plow planes).
strokes with a jointer plane. Or, for the I placed the center of the holes 13 ⁄4" from
super-lucky, run the slab through your the front edge. Space them closely and
wide-belt sander. No matter how you do it, evenly – and don’t forget to note where
don’t forget to check the top for twist. the though-dovetails and through-tenons
Before you get into the legs, it’s best will be. You don’t want to put a hole where
to first install your end vise on your top. the joint will go. I spaced my holes on 4"
Straight up. You can save a ton of work for That way you can use that vise to cut all centers. If you can get yours a little closer
yourself by checking the slab to ensure it will be
the joints on the legs. I installed a vintage (say 3") then you’ll be golden.
flat when it’s glued up. A wooden straightedge is
ideal for this operation.
Accuracy on the cheap. I use aluminum angle

as winding sticks. These parts are cheap, super-
More than one way to cut a board. Handsaws are designed to be held in a variety of positions, includ- accurate and don’t lose their truth unless you
ing this one. This position uses different muscles than when you are cutting with the teeth facing the abuse them. Paint the ends of one of them black
floor. Trying different positions will prevent you from tiring out as quickly. to make the twist easier to see.

For looks alone. I added a square ovolo shape to
the end of my vise chop. It doesn’t have a pur-
pose, except to make the bench look more like a
piece of furniture. Cut the shoulders of the ovolo
with a backsaw. Use a bowsaw to cut the curve
and clean it up with rasps and files.
The Magical Mystery Legs

I have no idea what species of wood these Big, but not big enough. Use a tenon saw to
legs are. I found them in the back of my define as much of the cheek as possible by using I like backless things. Because there is no back
diagonal cuts. (Or just do it on a well-tuned band on this ripsaw, I can go as deep as I like. Stop
home center labeled as 6x6 timbers. They saw.) When you cannot go any deeper with your sawing when you touch your baseline on both
were a bit wet and had a few green streaks tenon saw, it’s time to break out the big boy. edges.
like poplar. But they were stringy, tough
and difficult to plane. In any case, they Connect two. After saw-
were cheap and look pretty good – plus I ing cheeks across the
didn’t have to glue up any stock to make entire width of the legs,
the thick legs, which is a nice bonus. this is easy work. Take
your time. Fixing a wan-
Cut them to rough length (about 1" dering dovetail slope is
over-long) with your crosscut handsaw. no fun.
The length of your legs determines the
height of your workbench. There are many
ways to determine your ideal workbench
height. My favorite technique is to mea-
sure from the floor up to where your pinky
joint meets your hand. For me, that mea-
surement is about 34".
If you use hand tools, I would err on the
side of a bench that’s a little too low rather
than too high. Low benches are ideal for text. I won’t bore you with the details (like saw (mine is a 16" model with about 10
handplaning and let you use your leg mus- I bored my spouse), so here’s what you points). First kerf in the top of the joint
cles as much as your arm muscles. Dress need to know: in the end grain about 1 ⁄8" deep. Then cut
the legs with your jack and jointer planes. The sliding dovetail and tenon are each the cheek diagonally on one side. Turn the
Then prepare to lay out the joinery. 11 ⁄ 4" thick, with 1" between them. The leg around and cut diagonally again. Then
The joints in the legs and top are remainder of the joint is a shoulder on the remove the “V”-shaped waste between.
unusual – each leg has a sliding dovetail inside face of the leg. The dovetail is sloped When the top of your joint hits the saw’s
and a tenon. Why did Roubo use a slid- at 13 ⁄4" to 1" (about 30°). That’s steep, but back, switch to a rip-filed handsaw to fin-
ing dovetail and not a twin-tenon? I don’t it looks right compared to Roubo’s draw- ish the job. Now do the other cheek of the
know. But based on building the bench, ings and other early French benches I’ve tenon the same way. Then follow up with
my guess is that the sliding dovetail is examined. the inside cheek of the dovetail.
easier to cut and prevents that part of the Lay out the joints. Be sure to make them Now cut the dovetail slopes on the out-
joint from twisting because of the sloped about 1 ⁄ 8" overlong so you can cut them side corners of each leg. Begin with the
walls. flush with the benchtop after assembly. tenon saw and finish up with the ripsaw.
I spent a couple days (yes, you read that Then fetch your biggest tenon saw and a The technique for cutting the dovetail
right), poring over Roubo’s drawings and large ripsaw. is similar to cutting the tenon. Kerf in
the translated French text to lay out the Begin by cutting the inside cheek to get the end grain a bit. Then work diagonally
joints so they were balanced and looked warmed up – it’s easiest to fi x this joint down both edges and remove the stuff
like the joints shown in the 18th-century if you go off line. Begin with your tenon between the diagonal cuts.
the third is at the inside of the leg. I used
a crosscut sash saw to make this cut. A
smaller carcase saw also would do, but
it is slower.
The Difficult Females

The through-mortises are some work.
Because you are unlikely to have (or want)
a 11 ⁄4"-wide mortising chisel, you should
take a page from our friends the timber
framers. Bore out the majority of the waste
to excavate the mortise. Then clean up the
Heavy metal. A heavy mallet (this one is 2 lbs.)
walls with a mortising chisel (at the ends)
The diagonal drill. Think of this like a big angled
will make the work go faster. Here I’m almost then chisel along the walls. tenon cheek. Kerf in the top of the joint about
halfway through the second side and the waste This job is a good excuse to buy a big 1⁄ 8" deep. Then saw diagonally down until you
is starting to come loose. Pry it out as soon as it’s brace. While most cabinetmakers will hit your baseline and the far corner of the bench-
feasible. choose a brace with an 8" or 10" sweep, top. Then go to the other side of the benchtop
and work down the other side.
I would recommend a 12" or 14" sweep.
You will gain more mechanical advantage.
I tried a variety of ways to remove the Sadly, my 12" brace went missing, so I
waste between the dovetail and tenon. gained a workout. a sash saw). Then take your crosscut hand-
The fastest way was to use a mortising Sharpen the biggest auger you have saw and make several kerfs in the waste.
chisel. Sawing it out with a bowsaw – even and mark the flutes so you’ll bore about Pop the waste out with a stout chisel and
a coarse one – was slower. To bash out halfway through the top. Clear the holes of clean the floor of the socket with a router
the waste, treat it like you are removing waste, then use a mortising chisel to bash plane and a wide paring chisel.
waste between dovetails. Chisel straight out the ends of the mortise (this is the hard
down near your baseline. Then chisel in and exacting part). Then use a wide paring A Cheat – But Not What You Think
diagonally about 11 ⁄2" away from that first chisel to split the remainder of the waste I made my stretchers using 2x6 material
cut to meet your first cut. Pop out this “V”- from the walls. This is easy stuff. from the home center. After I dressed the
shaped piece of waste. Continue until you Flip the bench over and bore through stock (it was twisty) it ended up at 11 ⁄ 4"
are halfway through. Flip the leg over and the other side. Then clean up the mor- thick. To make life easier I decided to make
repeat the process on the second side. tise on the underside and ensure the two the tenons on the stretchers by laminating
Clean up the bottom of the canyon cavities meet and have flat walls that are two 2x6s face-to-face. The long one would
between the tenon and dovetail. A par- coplanar. (Humps in your mortise walls be the tenons. The short one would be the
ing chisel makes short work of flattening are common and troubling. Check your shoulders between the legs.
the bottom. work with a combination square.) A bit of truth here: It’s unlikely my legs
Then cut the shoulders of the legs. Luckily, the dovetail socket is easy are perfectly square or their faces are par-
You have three shoulders to cut: Two are work compared to the mortise. Define the allel to one another. But if you discard your
up front at the base of the dovetail and walls of the socket using a backsaw (I used measuring systems, you’ll be OK.
Boring work. Usually I use “boring” as a pun

here. This is seriously boring work. A drill press
would have been a welcome machine here –
though how I would have put this benchtop on Side-splitting fun. Remove as much of the waste
Trace, don’t measure. Every leg will be a bit dif- the drill press’s table is beyond me. I’d probably as possible by splitting it off the sides. The wood
ferent. So trace the joint layout onto the top to move the drill press over to the benchtop and splits easily along the grain. Knowing the wood’s
get a real idea of the waste you need to remove. swing the table out of the way. weakness is always a big advantage.

Don’t be shy. Make a few kerfs in the waste then Router plane reverie. If I could write a love poem Something for the corners. Your router plane
split the bulk of the waste out of the dovetail. to my router plane, I would. It makes tough jobs won’t reach into the tight inside corners. So use
Stay about 1⁄8" away from the baseline to avoid such as this quite easy. Note you might have to a paring chisel. Use the flat floor established by
splitting away wood you want to keep. remove the depth adjuster wheel on your tool to your router plane and pare out the junk.
reach this depth.
What’s critical here is that each marked my stretchers’ finished length Mortises That Meet
stretcher fit perfectly between its legs directly from the legs. These shoulder lines When you make mortises that meet
and end up 3" from the floor. That 3" is were not square, but that’s no big deal if inside a leg, there is a tendency to have
the perfect gap for your foot, which you’ll you cut them with a handsaw. the inside corner of the joint split when
find handy (footy, actually) when planing After I cut these pieces to length with a you make the second mortise intersect
across the grain. handsaw I confirmed that they fit between the fi rst. Does it matter? Probably not
So I figured out where the stretchers their legs. Then I laminated them each much. But I want every bit of wood in
should intersect the legs and cut two bat- to a longer section of 2x6. As a result the there that I can have.
tens to length (211 ⁄ 8" long in this case). stretchers won’t have a shoulder at the So I use an old English trick for inter-
I clamped these battens to my legs and back (this is called a bare-faced tenon), secting mortises. Make your fi rst mor-
rested the stretcher on the battens and but that is no big deal in a bench. tise shallow so it will just kiss the second
How high? Who cares.

I’ve clamped two bat-
tens to my legs and
rested the stretcher on
them. Now I’m marking
the shape of the shoul-
ders directly on the
stretcher.
From the inside. Here’s

what this looks like on
my side of the bench.
Use a knife for accuracy.
Then cut your stretcher
to length with a hand-
saw.
(deeper) mortise. This prevents the inside
corner from breaking off.
The mortises in the legs are smaller
than those in the top, but the procedure
is the same. Bore out most of the waste.
Bash out the ends. Pare the long-grain
walls. You should be pretty good at this
by now.
Now miter the ends of your tenons.
The tenons don’t have to touch – you won’t Mortise holes first. The 3 ⁄8" holes pass entirely
get any points if they do. Then show the through the legs and mortises. Be sure to stagger
mitered tenon to the mortise to mark out the holes if you are going to peg all four stretch-
the location of the edge cheeks. Saw out ers. Otherwise the pegs will collide.
the edge cheeks and shoulders. Then fit
each tenon.
To hold the joints together I used draw-
Mallet Time bored pegs (to pull the shoulders tight to
Do a dry fit of all your parts to ensure the legs) and a slow-setting, flexible epoxy
Almost an instant tenon. Leave the tenons way that not only will the individual joints as insurance. You probably could get away
overlong. They’ll be mitered to size after you go together, but that all the joints will without glue. But if you can afford the glue,
excavate your mortises. go together at the same time. While you I see no disadvantage to it.
could assemble the base and then (if you With the bench pieces fit, mark where
got lucky) bang the benchtop in place, your 3 ⁄8"-diameter pegs will go on the legs.
I think it’s better to assemble the whole I placed them about 1" from the shoulder
thing at once. of the tenon.
Mortise without the mess. Here I’m boring out

the intersecting mortise, which is deeper than
the first mortise. The result is cleaner mortise
walls and more surface area for gluing.
Again, please don’t measure. Hand-cut mortises

and tenons are best done by direct comparison.
Show the tenon to the mortise (or the mortise to
the tenon) and mark what you need. High and dry. When the bench parts finally go together, the result is remarkably stout, even without glue.

movement problems). So I used some slow-
setting epoxy, which has a practical open
time of several hours. I applied glue to all
the joints, knocked everything together
then applied the clamps to get things as
tight as possible.
Then I drove in the 3 ⁄8" white oak pegs.
A couple details of these pegs: The best
way to get them is to make them yourself.
Rive them and drive them through a dowel
Move the bore. Shift the centerpoint toward the plate. Whittle one end so it looks like a
shoulder of the tenon. When building benches in pencil. Apply some paraffin to lubricate
softwood this can be about 3 ⁄32" without (much) the pin and knock it home. The paraffin
danger. is another timber-frame trick that works
well. Since I started using it I’ve had far
fewer exploding pegs.
Another design detail: Keep your mor- After driving your pegs, wedge the
tise for your parallel guide fairly close in through-tenons through the top. I used
size to the guide without rubbing or bind- wedges that have a 4° point. For direc-
Mark the tenon. Use the same 3 ⁄8" bit for boring (yes, this takes fiddling). A close fit tions on how to make these wedges using
ing the holes to mark their center points on the reduces the amount of racking that the a handsaw or band saw, visit popular
tenons. Then disassemble the joint. vise’s chop will do left and right. Trust woodworking.com/aug10. Once the glue
me on this. sets up, remove the clamps and saw the
wedges and tops of the tenons flush to
Drawboring is simple: You drill a 3 ⁄8" Big Finish the benchtop.
hole through the mortise, assemble the When I assemble something, I don’t take True up the top again, just like you did
joint, then mark where that hole intersects chances. If I can clamp it, I will. And if I can at the beginning of the project. Then you
the tenon. Disassemble the joint, move glue it, I will (unless it will cause wood- can turn your attention to the face vise.
the centerpoint of the hole about 1 ⁄16" or
3 ⁄ 32" closer to the shoulder and drill the
3 ⁄ 8" hole through the tenon.
Clamps and drawbores.
When you drive the peg in, the offset This might seem like
holes will pull the shoulder tight against wearing both a belt and
the leg. If you have drawbore pins, these suspenders, but it will
metal pins will deform the holes a bit. And reduce the number of
splintered pegs.
they let you test-fit the joint before glue or
a peg gets involved in the equation.
A Pause Before Assembly

If you are going to install a leg vise, now is
the time to bore the hole for the vise screw
and the mortise for the parallel guide. This
is no different than any of the other mor-
tises in the project, so details here would
be redundant.
There are a couple design consider-
And wedges, too.
ations: Make the center of your vise screw Roubo specifies that
about 10" or so from the top of your work- you should wedge the
bench. This will allow you to clamp 12"- tenons that protrude
wide stock in the leg vise with ease. Also, through the top.
I declare this joint
you have a lot of flexibility as to where you
bomb-proof.
put the parallel guide. I’ve put it at the floor
(for maximum leverage) and above the
stretchers (for minimum stooping). There
isn’t a noticeable difference in leverage
when you move the parallel guide up, so
I’d put it above the stretcher. It’s easier to
reach that way.
I’m a Leg Man
Roubo Workbench Leg vises are awesome. You can customize
NO. ITEM DIMENSIONS (INCHES) COMMENTS them for your work. You can build them
T W L
10" in a day. They have tremendous holding
❏ 1 Top 47⁄8 20 72
power. And they don’t have the parallel
❏ 4 Legs 51⁄2 4 34
bars that iron vises use. So you have more
❏ 2 Long
stretchers 21⁄2 5 451⁄2 23⁄4" TBE
clamping real estate.
❏ 2 Short
Why have they almost vanished?
stretchers 21⁄2 5 171⁄2 41⁄4" TBE Beats me. Most people who try them love
❏ 1 End vise them.
chop 3 47⁄8 14 The vises have three parts: The chop,
27⁄8" ❏ 2 Long which you make and which grips the work;
cleats 1 1 37
173⁄4" the vise screw (usually a purchased item),
❏ 2 Short
cleats 1 1 12
which moves the chop in and out; and the
❏ Shelf
parallel guide, which you make that pivots
pieces 1 15 43 the chop against your work.
3" The parallel guide is the thing that trips
❏ 1 Leg vise
chop 17⁄8 8 33 up most people who are new to leg vises.
2" ❏ 1 Parallel The parallel guide is attached to the chop
guide 1⁄2 27⁄8 15
4" and moves in and out of a mortise in the
* TBE = Tenon both ends leg. A pin pierces the parallel guide in one
LEG VISE DETAIL of its many holes. When the pin contacts
11⁄4"
1"
11⁄4" 51⁄2"
20"
14"
17⁄8"
PLAN
72"
8"
47⁄8"
8"
12" 3"
Coming this Summer:

Roubo on DVD 34"
We videotaped the entire con-
struction process and packaged it
with additional photos and more
in-depth details on the handwork
skill necessary to build this bench.
The enhanced DVD will be avail-
able in our store at Woodworkers
BookShop.com.
3"
51⁄2" 37" 51⁄2"

ELEVATION

the leg, the chop pivots toward the bench-
top and clamps your work.
Once you make your chop, you’ll need
to make an orifice for the vise screw and
a mortise for the parallel guide. The par-
allel guide is wedged into the chop and
is pierced by two rows of 3 ⁄ 8" holes that
are on 1" centers. And the two rows are
offset by 1 ⁄2".
I know, all this sounds complicated.
It’s not. I built my first leg vise years ago
without ever having used one. Within 30
seconds I had mastered it. You will, too.
A Place for Planes

You need a shelf. Let me repeat that: You One setup for the shelf. My shelf boards are 1"
really need a shelf. You’ll put your bench thick. I set my plow plane to make a 1⁄2"-wide
planes there, plus parts and tools that you Here’s the setup. Here you can see the paral- x 3 ⁄8"-deep rabbet. A minute of work on each
need later on in a project. Build the shelf; lel guide right before I’m about to install it in the edge made the perfect joint.
you’ll be glad you did. chop. And you can see the hole I chopped out
The shelf takes just a couple hours to for the vise screw. It’s simpler than it sounds.
build by hand (less if you slay electrons used as a wet bar, a sideboard or a table
in your shop). Begin by fastening a 1x1 behind a couch?
cleat to the bottom inside edge of the Then you’ll nail shiplapped shelf boards to You see, some people allow their work-
four stretchers. I used glue and cut nails. these cleats to create the nesting place for shop furniture to be made of ugly plywood,
your bench planes. screws and crude joints. Me, I just cannot
To make the shiplapped boards, use a build that way. When I invest my time in
plow plane to make the rabbets on the long something, I want it to be both beautiful
23⁄4" edges. This is easy work in pine. I went and functional (thank you Gustav Stickley
11⁄4" the extra step and beaded one long edge for that line).
to dress up the boards. The two boards So whether this bench goes in the dank-
on the end will need to be notched at the est dungeon or in your living room, I think
corners to fit around the legs. You know you should do your best to ensure that all
what to do. your work is ready for the front room of
4" 3"
Nail the shelf boards in place with your house. PWM
about 1 ⁄16" gap between each. A single nail
1"
in the middle of the width of each board Christopher is the editor of this magazine
is best. This will prevent your good work and is a bit worried that his spouse will actually read
LOWER LEG DETAIL this article before he’s ready to take over the sunroom
from splitting. with this workbench.
A Simpler Finish
Finishes on workbenches should be func- Go Online FOR MORE …
10" tional, not flashy. You need a finish that is
easy to renew, resists glue and stains and You’ll find links to all these online extras at:
doesn’t make the bench too slick. Slick popularwoodworking.com/aug10
benches stink. VIDEO: See a video demonstrating how to
The answer is so easy. Mix equal parts make 4° wedges.

33" ARTICLE: Read a detailed article on how to
1" boiled linseed oil (to resist glue), varnish
flatten a workbench’s top.
(to resist spills) and paint thinner (to make
BLOG: Read all of Christopher blog entries
it easy to apply). Shake up the amber liquid about workbenches.
and rag it on. Three coats is all you need. TO BUY: Purchase a wood vise screw from
When it is dry, you can get to work. Lake Erie Toolworks.
5"
What is work? Well, one of the inspi- IN OUR STORE: Purchase “Workbenches:
rations for this bench came from the From Design & Theory to Construction &
Pottery Barn catalog. I am a bit cowed to Use.”
admit this. The catalog featured a fake All of our products are available online at:
4" 12" workbench sold to be used as a wet bar. I WoodworkersBookShop.com
PROFILE thought: What if a real workbench were
Mitered Half-lap Joinery
B Y G L E N D. H U E Y
With a router, straight bit

and plywood scrap, turn
a weak joint into a
superhero of strength.
O
ne of the strongest joints in wood-
working is a properly fit mortise-
and-tenon and the opposite in
strength is a simple butt joint. For years I
built base frames with mortise-and-tenon
joints at the rear and mitered corners at the
front. The miters were joined with biscuits.
The rear joints were much stronger, so I
wanted to add strength to those mitered
front corners, but how?
Not with mechanical fasteners; screws
were out. I needed something quick to cre- Not often considered. Mitered joints
ate and when assembled, I wanted the joint are a common woodworking joint.
Most are splined or joined with bis-
to retain a mitered look. The answer was a cuits and lack real strength. With a
mitered half-lap joint. With a half-lap, there quick setup that uses your router, you
is plenty of flat-grain glue surface, and that can master the mitered half-lap. When
increases the holding power, big time. assembled, this joint rivals a tightly fit
mortise-and-tenon.
Tools for the Task
Quick means simple in my book, so if a
bunch of tools are needed, forget it. Good- allows the possibility that you’ll miss the depth (half the thickness), a larger diam-
bye, handtools. The process I came up with layout line as you plow out the waste. eter bit is no problem.
works with a router, a straight bit and a The straight bit can be any straight bit
piece of plywood that’s a couple inches that you have in your arsenal. You’re only Keep the Players Straight
wider than your workpiece and long going to use the end of the bit, so even a To begin, cut your pieces to their finished
enough so it’s easy to add clamps. Trim top-mount bearing-guided bit works. A length. For a base frame, miter the ends of
one end of the plywood to a 45º angle to smaller-diameter bit is a bit easier to use, the front rail at 45º – the adjoining returns
make things easier. but because the cut is most often 3 ⁄ 8" in are left square.
With this technique, the router sits on Chuck a straight bit into the router and
top of the workpiece and kisses the fence set the depth of cut very shallow.
on the final pass. It’s best to have a straight “The successful man will profit Grab a couple pieces of scrap and posi-
edge on your router’s base plate, or make tion one on top of the other leaving a few
sure you have accurately adjusted a round
from his mistakes and try again in inches to the right of the top piece, as
base plate so the bit is centered. An off- a different way.” shown above right. This makeshift fence
center base plate, depending on how you — Dale Carnegie (1888 - 1955) allows you to find the exact offset from the
hold the router each time it’s picked up, American writer and lecturer edge of your base plate to the edge of the
38 ■ POPULAR WOODWORKING MAGAZINE August 2010 LEAD PHOTOS BY AL PARRISH; STEP PHOTOS BY THE AUTHOR
Get it exact. The key to this technique is accuracy. Find the precise offset Offset and go. Whether it’s an angled line on a square end or a square line
measurement through a sample cut to ensure you’ll have a perfect fit. on an angled end, the offset line is king. Plus it’s where to position your fence.
Nibble away. If you’re comfortable with your router abilities, remove waste It’s a keeper. With accurate layout and routing, the completed portion is
using a climb-cut, as well as in the traditional left-to-right manner. perfectly cut to accept its half-lap mate.
a line across the mitered ends beginning With the waste material removed
at the edge of the cut. Draw a second line, from both workpieces, your joint will slip
offset by the earlier measurement (the one together with both shoulders tight. The
I told you to remember), that’s parallel to increased glue surface adds strength to the
the first lines. joint and when viewed from the top, the
Position your plywood fence at the sec- joint appears to be mitered. This is a great
ond layout line with the angled end toward technique for base frames, picture frames
the mitered end of your workpiece. Hold or anywhere else your woodworking calls
the fence flush with the bottom edge of the for a mitered corner. PWM
workpiece then clamp the fence in place.
After you adjust the bit to remove half Glen is senior editor of this magazine, a published author,
Oh the pressure. It’s easy to allow the router to and teaches woodworking classes and seminars. These
tip into the cut portion as you work. Keep down- the thickness of your workpiece, nibble days, his biscuit joiner sees little action. Contact him at 513-
ward pressure on the base plate with one hand away the waste beginning at the end of 531-2690 x11293 or glen.huey@fwmedia.com.
while steering the router with other. the workpiece and working toward the
plywood fence.
On your last pass, hold the router base Go Online FOR MORE …
straight bit. Make one pass with the base tight to the plywood. At the end of the
riding along the fence then measure the cut, the router base plate hangs mostly popularwoodworking.com/aug10
distance from the fence to the dado. This is off the edge of the workpiece, so main- VIDEO: Watch how to build and use another
the offset measurement. Remember it. tain pressure to keep the plate tight on dirt-simple router jig.
Layout is key. Form the half-lap on the the workpiece. ARTICLE: Build a jig to make straight, square
wrong face of the pieces and you’ll lose the To clean the bottom waste from the dados fit exactly where you want them to.
mitered look, so mark the faces to remove miter-cut piece, align your fence with the TO BUY: Pick up a copy of “Danny Proulx’s
the bottom half of the miter-cut end and square offset line, hold the bottom edge 50 Shop-Made Jigs & Fixtures.”
the upper half of the square-cut ends. flush with the workpiece then nibble away All of our products are available online at:
Draw an angled line (45º) on the squared the waste. Work slowly from the point to WoodworkersBookShop.com
ends beginning at the corner then square the fence.
Magobei’s Dining Table: Part 1
B Y T O S H I O O DAT E
A table built for a ‘rags to

riches’ patron becomes
the perfect project for an
accomplished protégé.
A
ll these years, my assistant, Laure
Olender, has not only been work-
ing with me doing woodwork, she
also takes photographs (including those in
this article), edits my articles and assists me
at lectures and demonstrations. I thought
she was ready to do her own large project
from beginning to end. I brought up several
traditional Japanese woodworking proj-
ects, but every one of them had some small,
complicated, technical detail that did not
fit well for her first large project.
I came up with the dining table idea
and thought this to be the perfect project
for her, so we made a plan. I explained Artistic as well as strong. The leg-
all the necessary concepts to her before to-beam mortise-and-tenon joint
she started on the project, as I have many handles front-to-back stress while
the non-shouldered tenons, which
wishes, thoughts, traditions and ideolo- are locked into the beam, help to
gies about this dining table. keep the table from racking.
Origins Born on a Farm

In a small village in Japan, my woodwork- first time in Japanese history that common
ing Master and I first made this table for farmers turned suddenly rich and wanted
the Magobei household. That table was to live as rich land owners once did.
constructed in a traditional Japanese way; The farmers began to facelift their
however, unlike Japanese dining tables, its houses, the entrance door and the houses’
legs were long and Western in style. exterior shoji. Magobei was the first in his
During World War II, Japan was struck village to apply these changes, then many wooden veranda-like step that led to the
by a dreadful food shortage. City people other farmers followed. It was also Mago- tatami floor. In most Japanese houses, peo-
would take their belongings and other bei’s idea to have a Western-style table. ple remove their shoes while on the dirt
assets to exchange them for rice, pota- Most farmers I knew in this village were floor then go up to the tatami floor. Each
toes and other foods. With time, farmers barefoot for most of their farming day. The one in the family had a hakozen, a square
became extremely rich. Finally, the war Magobei house had a large dirt floor by the wooden tray that held the individual’s
ended and soon thereafter the new gov- entrance and a wood-burning cooking eating utensils. After serving food on the
ernment freed farmers from the feudal- stove dug in the floor’s corner. hakozen, each would take it to the small
like system by agrarian reform – it was the From this dirt floor there was a small veranda at the edge of the tatami floor.
40 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTOS BY LAURE OLENDER; ILLUSTRATIONS BY ROBERT LANG
There they sat, with the tray in front of
them, to eat their meals. Even during the
winter months they would eat in this way,
but with straw sandals on.
As you may know, Japan did not have
a chair culture in its history. A large din-
ing table on the dirt floor with two sitting
benches somehow felt exotic, Western-
ized and contemporary. It brought Mago-
bei pride and happiness. Thus I call the
table Magobei’s dining table. It became so
popular that neighbor villagers followed
his footsteps.
The Object of Magobei’s Pride

Two beams are secured to the tabletop with
sliding dovetails. The legs are positioned
and locked into that beam with mortise-
and-tenon joints. There is no apron, no A quick trip to flat. A power planer is used to flatten the tabletop, the first pass is run across the grain.
brace between legs and no leg-to-tabletop
connection. I want no distraction with the
tabletop. Here is my working procedure for I suggested she use the power planer to
this table: Begin with the tabletop, work shape the slab. When using a power planer
the sliding dovetail beam and finish with for rough shaping, I plane squarely across
the legs. Under my supervision, Laure will the grain using the full width of the cam-
physically execute this table from begin- bered blade. For the medium work, pull
ning to end. Ash is the wood we chose. the blade into the tool leaving about 4"
Since I acquired the ash logs used for exposed then use the plane at a 30º- 45º
this dining table, many years have passed angle to the grain. And for fine flattening It takes two. To trim the end of the top, the cir-
by. My original plan for this wood has pro- adjust the blade further into the planer cular saw blade was too small to cut through the
gressed slowly, but well. I have made two (expose about 21 ⁄2" of the blade), then fol- entire thickness. The cut was completed with a
small boxes for my friend’s young daugh- low the grain straight. (Another method kataba Anahiki-Nokogiri, a Japanese saw.
ters, a part of my sculpture and produced would be to have three sets of blades to
a traditional Japanese geta-bako, or shoe switch during use, each blade with less
cabinet. I also have a traditional Japanese camber.) She followed my advice, taking facing the top of the table, especially when
kitchen cabinet, a mizuya, in progress. down the high points while correcting the you employ the through-sliding-dovetail
This ash is quite old and even though slab’s warp and twist on both sides. beam to secure the top, as the joint is very
it looked solid, many parts had lost its It was about 90 percent done when we visible. If kiura is facing up, the edges of
strength as lumber. We did not know how carefully checked both sides of the slab to the board will press down into the joint.
thick or wide it could be until it had been decide which surface would face up. This However, if you use kiomote on top, then
planed. The wood was dried for many years decision was a quite difficult one. Com- the board’s edges will try to move away
in a shaded and well-ventilated area; the monly, one large board has straight grain from the beam’s dovetail edges – there is
wood had the chance to move as much as (quartersawn) close to both edges and flat then a tendency for the joint to open.
it wanted to move. By now, it was bone dry. grain (cathedral grain) in the center of the After she finished planing, we saw so
However, once planed, the wood would board – Japanese woodworkers say the face many defects on the kiura side that we had
still move slightly. with the older growth rings (the heart side no choice but to use the kiomote side as
of the board) is “kiura.” The face with the the top surface.
Truing the Slab for the Tabletop younger growth rings (the bark side of the In addition, I also had to give up my
Laure started by flattening both sides of the board) is called “kiomote.” Most boards original idea of keeping the natural edges,
tabletop with a portable 6" power planer cup toward kiomote. as some parts were rotten or lacking in
– removing warp and twist carefully while Commonly, you should use the kiura strength. Both edges had to be trimmed
trying to keep the top at maximum thick- quite a lot, and one end was worse than
ness. The blades were sharpened by hand the other. I marked the worst end’s maxi-
and had a crown to avoid planer marks. mum width then checked the other end.
She used a wide brush soaked with
“I am always doing what I cannot do If I marked the same width on both ends,
water and brushed the convex side of the yet, in order to learn how to do it.” which is commonly done, then I would
plank first, then started planing across the — Vincent Van Gogh (1853 - 1890) have to trim much more of the wood’s
grain while constantly wetting the wood. Dutch post-impressionist painter healthy portion. I did not have the heart
to do that, so I explained to her that I would be about 4" x 4" x 36" with consideration The table design had no brace for its legs
keep the maximum width on both ends. for the part of the beam that goes into the and no apron under the table, so I could not
One end became 321 ⁄ 2" and the other tabletop with a tail. Laure used the jointer depend on just the tail to steady the legs. I
measured 34". The table length is about and band saw to produce all the pieces then decided to sink part of the beam, with the
108". The 11 ⁄2" difference in width did not she marked the position of the sliding- tail, into the tabletop. That provides greater
bother my eye or beliefs. I’d rather not take dovetail beams by looking at the movement strength in the connection.
any healthy portions from the tabletop. I of the grain and color. The four legs were We decided on the tail’s angle, and the
marked the maximum size of the tabletop chosen in the same manner – the left and size and depth of the tail support, before
then Laure trimmed its edges with the cir- right, then the front and backside. she marked out the lines. Laure used a cir-
cular saw. As she was cutting the edges, she On the bottom side of the tabletop we cular saw, chisels and a narrow Japanese
went through a 3 ⁄8"-diameter lead bullet. It marked the centerline from end to end plane to remove the waste. She checked
was very soft; happily nothing happened with a “sumitsubo,” an ink line. From this flatness with a straightedge to produce the
to the blade. centerline, Laure marked the table ends tapered sliding-dovetail groove.
squarely on both sides. From the end lines Next, she marked the beam’s tapered
Develop the Dovetail Beam are marked the positions of the sliding sliding dovetail with a marking gauge and
Now we have to think about the dovetail dovetail beams. knife, and used the table saw to roughly
beam. The tabletop is about 2" thick and Around this time of the process, I gave notch out the tail.
9' long. I decided that the legs and beam great consideration to the table’s weight. Using a “hifukura” plane and a chisel,
No secret here. Cuts

with a circular saw ease
wood removal at the
center of the tail socket.
Create sharp corners
using a dovetail chisel.
Smooth slides best. The

bottom of the tapered
pin groove is best flat-
tened with a handplane.
It’s not all handwork. A jointer squares the sides of the beams and legs before sizing them
with the band saw with a 2"-wide blade.
Hybrid woodworking. Use a table saw to roughly notch out the tail, then use a hifukura Aye, aye, commander. Dry-fitting a sliding dovetail into the
plane and a chisel to finish both tails, testing the fit as you work. table’s tapered pin groove takes a big hammer – and a steady
eye as you swing.

108"
13" 4" 11⁄2"

3⁄ 17"
4"
2"
4"
31⁄4" 1 1⁄4"
1"
ELEVATION
29"
1"
3⁄4" 3"
3⁄4"
4" 1⁄
2"
5⁄
8"
4"
34"
2"
23/4"
5"
LEG JOINERY
DETAIL
261/4"
Ash Table
NO. ITEM DIMENSIONS (INCHES) MATERIAL COMMENTS
T W L
❏ 1 Tabletop 2 34 108 Ash

❏ 4 Legs 4 4 36 Ash
❏ 2 Beams 4 4 36* Ash Trim to 34" after install 16"
4"
* Rough size
PROFILE
Laure finished both tails, but struggled had to make both ends quite tight. It was
while manipulating this material. I did not not easy to pound with a commander. With
have much knowledge or experience with great effort, both beams finally reached
ash, so I could not give her much advice. In their final position and each extended
spite of this, she accomplished the process beyond the table about 3" on both sides.
after many adjustments.
She mainly worked manually; I thought Not Just Regular
that was very important for her. She fin- Mortise-and-tenon Joints
ished very nicely the pins and tails of the We had to mark the position of the legs.
joint then cut a large chamfer on both ends First Laure marked the table edge all
of the tail beam before she pounded the around the beams then she decided on
beam into the groove using a Japanese the legs’ positions. Like I said before, this
wooden commander, a really big mallet. table does not have an apron or leg brace,
If the beam fit is too tight, take it out and therefore all the stress comes to this point,
make an adjustment. Then another and so I designed this joint to be able to take
another …. the stress from all angles. Eye-catching and strong. The mortise work for
I reminded Laure that we used the table- I utilized double mortise-and-tenon the leg-to-beam joinery is complex in design but
top upside down (kiomote on top) so she joints and placed a non-shouldered tenon uncomplicated to produce.
on both extremities to sandwich the tenon She notched down about 5 ⁄ 8" for the Leg Tenons to Match
joints. The non-shouldered tenon is flush non-shouldered tenons that give extra sup- Laure cut the end of the legs cleanly and
with the side of the beam. In this way, the port to the legs, then removed the material squarely, then marked for the tenons. Next,
table is secure in length and width. to leave a smooth surface. she ripped the legs’ tenons with a Japanese
Laure pounded the beams out and hand-held ripsaw and removed the mate-
marked the mortise positions, then marked rial between using chisels.
cosmetic shoulders. She roughly excavated She then marked the exact tenon
the waste from both sides with a mortise widths on both sides of the tenon cheeks.
machine and bit, then cleaned the mortises
from both sides using a Japanese chisel.
Machined breakthrough. Roughly drilling mor- Quite a relief. The non-shouldered tenon fits
Layout in spades. A few modifications to your tises into the beam, halfway through from both flush with the beam’s face. The mortise is easy to
marking gauge makes repetitive layout quick and sides, opens the slots with ease. Use a chisel to complete if you kerf the waste materials prior to
easy. accurately clean the mortise for final fitting. the chisel work.
Test your skills. Sawing the tenons A workable road map. The octagon lay-
from the leg with a Japanese rip Meet in the middle. Removing wood from between the tenons doesn’t out determines your chamfered corners,
saw requires a sharp saw, a steady have to be pretty. Work in from both sides and work tight to your and the lines set with the marking gauge
hand and a good eye. layout lines. determine the final surface.
Dressed for driving. Chamfer the

Quick, but not final. The table of a band saw leg’s bottom edges to receive the
is tilted to 45º to rough-cut the leg corners. Get Finesse the final surface. A drawknife, chisels and a handplane pounding commander. By not hit-
close to the line, but complete the work with are used to cleanly finish the octagonal shaped legs, including ting the edge wood fibers, you will
hand tools. the lamb’s tongue. save the integrity of the legs.

She could not saw these lines, so she used and chisel, she cleanly finished the octago- the wedges into the slits, then left the leg
chisels to remove the material, following nal legs and lamb’s tongues. there to assemble the next one. She then
the lines very carefully. Then she cham- The end of the legs were chamfered to returned to the first leg to cut and plane the
fered all the tenon ends. receive the pounding commander. tenons flush with the beams. The second
She chose an octagon for the leg shape. The mortise-and-tenon joints are leg is finished in the same manner.
Out of hard cardboard, Laure made an assembled with glue and wedges. She Laure cleaned and sanded, with a palm
octagonal template then traced it onto the needed to cut a little slit for wedges on the sander, the non-shouldered tenons. Before
bottom end of the legs. She used a mark- tenon; however the non-shouldered tenons the fi nal assembly, I suggested that she
ing gauge to draw the line up the face of are on both sides of the center tenons, so plane the top of the leg’s tenon a few more
the leg until it was 21 ⁄2" below the beam it is difficult to use a saw to rip the slits. times so in the future the tenons will not
line. There she drew lamb’s tongues to not However, these outside tenons terminate at touch the tabletop. Then she was ready to
disturb the tenons. the bottom of the tabletop, hence the cen- pound the beam into the top for the final
She tilted the band saw table to 45º and ter tenons will be longer than the outside time. I held the other side of the table.
adjusted the fence to make the cuts up to ones. She cut the outside tenons to their She pounded the end of the beam while
the lamb’s tongues. exact length and then ripped the slits with the legs gradually moved toward the center
That gave the legs a rough octagonal a small Japanese rip saw. All the legs were of the table. The dovetail was quite tight.
shape. With a drawknife, Japanese plane fitted and the joints adjusted. Finally the beam mark came to the edge
After she cut and planed every part, of the table. Everything went well.
Laure used a palm sander to smooth all the She measured the length of the legs
legs, sliding-dovetail beams and the bot- evenly and squarely, then marked and cut
tom surface of the table. She was ready to the legs with a Japanese saw. The octagon
assemble, with glue, the legs to the sliding edges are chamfered then the end grain
beams. She pounded in one leg at a time – was planed. A larger chamfer was then cut
the tenons, coming out of the beam, were all around the end of the legs. PWM
tightly fit. She then hammered and glued In Part 2 (which will be in the October issue)
construction wraps up and finishing is com-
plete – but a major design concern creeps into
Toshio’s thoughts; it’s a near nightmare. He and
Laure devise a plan to increase the strength of
the table without giving in to aprons or thick
braces. The solution involves hidden joinery
and a masterfully built structure that serves
multiple purposes.
As an author, lecturer and teacher, Toshio has been

pivotal in spreading knowledge about Japanese tools
and woodworking techniques throughout the
Western world. He is a sculptor, woodworker, former
professor at Pratt Institute, and the author of “Japanese
Woodworking Tools: Their Tradition, Spirit and Use”
No turning back. This completed leg-to-beam
(Linden) and “Making Shoji” (Linden).
Table leg smackdown. To handle the stresses of joint is not going to work loose under stress.
use, the mortise-and-tenon joinery has to fit tight. Once the wedges are glued in place and the
Here the legs are persuaded using the pounding extra tenon length is trimmed, the joint is pleas-
commander. ing to the eye and strong.
One more time. You’ll find links to all these online extras at:
The beams, popularwoodworking.com/aug10
with the legs
attached, are ARTICLE: Christopher Schwarz takes Toshio
again pounded Odate's sharpening stones for a test drive.

into the tabletop. ARTICLE: Build an Asian-inspired coffee
The beam’s ends table with step-by-step instructions.
are then cut flush WEB SITE: Learn the history behind tradi-
with the edge of tional Japanese woodworking techniques.
the slab. TO BUY: The best way to discover Japanese
woodworking is with a Toshio Odate book.
IN OUR STORE: Discover how to hand cut
traditional woodworking joints.

Designing by Foot, Hand & Eye
B Y J I M TO L P I N
Empirical, not Imperial,

is the measure of the
pre-industrial maker.
I
n this article I’m going to show how
I design a simple piece of furniture
whilst immersed in the mindset of the
pre-industrial, hand-tool artisan. Because
I’m not going to use power tools to build
the piece, I can shelve my usual, machine-
oriented design process to develop it. This
means I won’t be bothering with draft-
ing up (or SketchUp upping) numerically
defined drawings in order to generate cut-
lists because, as you will see, I simply don’t
need them. Machines need numbers – the
hand-tool artisan doesn’t.
I start by roughing out concept sketches
that satisfy the essential parameters of
function and aesthetics that are the “giv- Personal design. This small stool, designed by eye and built by hand, satisfies my four criteria: Sized to fit
ens” of the project. When I come to an my foot and step; stable for all potential foot positions; durable and strong enough to support more than
iteration that looks good enough to pursue, my weight; and offering a non-slip step surface.
I draw a full-scale rendering of it – and
from there construct a cardboard mock-up
that allows me to view the piece not only For Whom the Stool Toils the step board come out to be close to the
in three dimensions, but placed so I can If I’m avoiding numbers, how am I going infamous, and inherently attractive, golden
look at it in the way it will be viewed in use. to derive and define the dimensions of this rectangle.) So in designing this step stool
(Often, real-world views elongate or fore- piece of furniture – in this case a simple I develop its basic dimensions, as well as
shorten planes and details in ways that are step stool for my shop? Well, this is where the location of structural intersections,
not obvious in drawing elevations.) Once it gets interesting. around ratios of eight. Not just any eighths
satisfied with the mock-up, I commit the Because this stool is to fit me in size and though: I use my own hand-span to pro-
design to the traditional, analog recording use, I can call on my body to provide all the vide the starting point information – after
system of tick sticks and templates. No tape primary dimensions. This is how it works: all, this stool toils for me!
measures or rulers of any kind are harmed The human frame can be roughly propor-
in the creation of this design! tioned in whole-number ratios of eight. We The Particulars of the Parameters
are eight of our hand-spans (with arms The need here is to build a durable and
outstretched) wide and eight hand-spans stable, single-step stool for my own use in
high. Our head is one-eighth of our height. the shop – it will give me just enough lift
“Everything is expressed through Our centerline to shoulder is one-eighth to reach the top rack of my lumber storage
relationships.” of our width, and our foot length comes and a few high shelves. To prevent slipping
— Piet Mondrian (1872 - 1944) out to be five-eighths of our shoulder span. off the stool, I want some kind of textured
Dutch painter (This latter relationship happens to make surface on the step board. For aesthetic
46 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTOS BY CRAIG WESTER; SKETCHES BY THE AUTHOR; ILLUSTRATION BY ROBERT W. LANG
appeal I envision tapered angles and lines provide aesthetic appeal), then attach this ing a series of grooves across the face of
softened with curves. So here is the list of assembly to the step board with a pair of the step board.
“givens” for this project: sliding dovetails reinforced against side
■ Optimized in dimensions to properly movement with pocket screws. To pro- Drawing by Eye and by Golly
fit my body vide a non-slip surface on the step, I’ll add Operating in the pre-industrial artisan
■ Stable no matter where I place my some texture to the surface by hand carv- mindset I get to let myself go and draw on
foot
■ Durable and strong enough to support
my full weight
■ Non-slip step surface
Here’s how I intend to meet the givens:
To provide stability, the step board should
be about shoulder width in length (because
the weight of our body, transferred through
our feet, inherently falls under our shoul-
ders.) To offer a safe and usable width, it
should be a foot (that is, my foot!) wide.
The height of the stool should be the rise
of a comfortable step (again, my step). In
the drawing below I show how I lay all
this out precisely from the span of one of
my hands.
For strength, most any hardwood is
adequate to provide adequate bending
resistance and to resist distortion in the
joints. I avoid softwoods such as cedar and
pine because side stress against their low- Rough sketch. A thick pencil and a piece of paper is all that’s needed in the initial progression of design
density grain would likely lead to loose concepts.
joints and eventual catastrophic failure in
the event someone jumped on the stool.
For long-lasting durability that depends
One foot. The width of my custom
on physics rather than chemistry, I’ll fas- stool is one foot – my actual foot,
ten the parts of the stool together with rather than an Imperial foot.
joinery that physically locks the boards
to one another and does not rely on glue for
strength. As you can see in the drawings,
I’ll attach the stretcher to the end boards
with through-wedged-tenons (which also
Hand span. Step off the space of one hand with Two hands. The span of two of my hands is a ratio of 16:8. This dimension establishes the overall length
dividers into eighths; then use those eighths to of my custom-designed step stool.
derive every dimension on your stool.
the right (I sometimes think the bright) 16:8 10:8
side of my brain – the half that isn’t analyti- 2:8
cal and bound by a lot of rules and prece- 1:8 8:8
dents. I grab a thick pencil (to forcibly keep 1:8
myself from getting into the minutia of 2:8
details) and rough out a perspective sketch 2:8
7:8
that captures the basic functional require-
ments. I make a progression of sketches
until I feel I’ve captured both the physi- 1:8
cal and aesthetic demands of the design.
2:8
While I do strive for accurate perspective
Computer-rendered. The hand-drawn sketches were too large to reproduce well, so here’s a computer-
and pleasing proportions, I don’t worry
generated illustration detailing the “hand-generated” ratios.
too much at this point with producing
these concept sketches in perfect scale.
The next step, drawing out a rendering in
three views, brings the concept closer to eight portions between these two points. After drawing a base line I make a start-
reality by pinning down the exact sizes I record this 1 ⁄ 8 hand-span by making a ing point then step out two handbreadths
and relationships of all the parts in full, circle in a corner of the drawing; this trick to establish the overall length of the stool.
true-to-life scale. gives me a way to quickly and accurately I draw out perpendicular lines to the base
Once I have a concept sketch that I can reset the divider. at this point by geometry or by simply eye-
live with, I lay out a piece of vellum (or other Now note this: Every dimension and balling to the underlying graph paper. A
see-through paper) over 1" square graph major structural intersection of this little safe and comfortable height of a step stool
paper and prepare to draw the first full- piece of furniture will be based on so many should be the rise of a natural step for the
scale view of the stool: the side elevation. eighths of my handbreadth! The result is human frame, which is 1 ⁄ 8 of its height
(The graph paper eliminates the need for three-fold: The stool will be easy to pro- (which also conveniently happens to be a
the cumbersome, slip-prone T-square.) portion using a set of dividers; it will fit my handbreadth).
Now here comes the fun part: At the body perfectly; and, because the size of all So to mark the height, I simply step up
top of the paper I spread out my left hand its parts and portions relate in some whole- one handbreadth on each perpendicu-
and mark the extent of the span from the number ratio to one another, this piece of lar line with the dividers and connect the
outside of the little finger to the outspread furniture is practically guaranteed to look marks with my drawing stick. Because
thumb. I then take the dividers and step out pleasing and satisfying to the eye. the drawing stick is a sample of the stock
Tool List
For drawing:
❏ My hand (and foot!)
❏ Drawing surface and paper (vellum is ideal)
❏ 1"-square-gridded graph paper
(available from EAI Education, Franklin Lakes, N.J.
eaieducation.com/531109.html)
❏ Straight-edged drawing stick (a straight-edge piece of stock
trued to the thickness of the stock from which the stool will
be made)
❏ Square
❏ Dividers – at least two plus a compass (a divider with pencil)
❏ Trammel points
❏ Bevel gauge (the thin, Japanese-type recommended)
❏ Pencil (standard #2 or mechanical with .07 lead) and white
plastic eraser
For making a mockup:
❏ Cardboard sheeting (no folds if possible)
❏ Packing tape (brown) and masking tape (blue or green)
Simple needs. My drawing system is simple: a sheet of vellum spread over
For transferring layout to stock: graph paper marked with 1" squares. By following the underlying crosshatch of
❏ Story stick material (light-colored wood 1⁄4" x 21⁄2" x 24") lines I can easily create straight lines and right angles. Note that I’m using a tick
❏ Stock for template (1⁄8" plywood or thick Mylar) stick to transfer the “hand-span” dimension to the drawing.

from which I’ll make the stool I can draw
the exact thickness of the top by tracing
on each side of the stick.
Next I draw in the end boards. The final
concept sketch indicates that the ends are
canted inward at the top – both for aesthet-
ics and to increase stability and durability
by triangulating the stresses that will be
placed on the joints. I quickly see that I
don’t want the ends to extend past the top
step board (I don’t want to trip on them),
but at the same time I want the base to be
as wide as possible.
The obvious solution is to make the foot
of the ends even with the ends of the step
board. But how much should they cant in?
Just by eyeballing I can see what’s too much Big arc. To draw an arc with a larger radius than can be set on a compass, I use a set of commercial
and too little. What happens to be just trammel points. This version from Lee Valley features a vernier adjustment for setting the focal point pin.
right to my eye is, conveniently enough, The other end has a fixture for holding a pencil.
two-eighths of my hand span. I step this
distance in with a divider, then use my
drawing stick to outline the side view (and
exact thickness) of the end boards.
Now what about the stretcher? My
concept sketch indicates that it should
be located about halfway between the
floor and the top of the bench. But how
wide should it be and how far should it sit
below the step board? Again, two-eighths
of my hand-span seems to fit the bill in
both cases. I also go ahead at this point
and draw in the through-wedged tenon
and add a nice little detail: a curve to the
end of its tenon.
To create the end-view, I simply extend
the base and height lines I established
Centered approach. To transfer the length of the mortise along the centerline, I set the dividers to the
in the side view. Because I’m setting the
drawing …
width of the stool step to the length of my
foot – which is about 1 ⁄6 the height of the
human frame – I step out ten eighths of my
handbreadth. (I’m rounding off one-sixth
when I step off 10 out of the 64 eighths
that make up my full height.)
To ascertain the cant-in of the end
boards, I try going in two-eighths of a
handbreadth as I did on the side view, but
on the end view it looks too steep. Instead,
I use the same ratio, but I make it relative to
the width of the top. Now the cant-ins are
one-eighth of the length and one-eighth
of the width. To me, the cant-in now looks
just right. I then try two-eighths of the
width to set the width of the feet on either
side of the arch and I step out one-eighth
on the centerline to determine the apex
(height) of the arc. That also looks good.
I then draw the arc using a compass and
straightedge to find its focal point. … then move the divider to the centerline drawn on the template.
However, because the end board
is angled inward, its true length isn’t
expressed in this face-on view – it’s fore-
shortened. To draw the end board to its
true dimension so I can make a layout
template, I need to “expand” the draw-
ing to show the angles on the ends of the
end boards. I also redraw the arc on the
expanded view.
Make up a Mock-up
At this point, rather than going any deeper
into detailing the full-scale rendering, I
find it best to create a full-scale, three-
dimensional mock-up of the piece so I
can view it more true-to-life and from all
angles. I transfer the overall dimensions
from the full-scale rendering to the sheets
of cardboard via a tick stick and a square.
Note that I use the expanded view of the
end boards rather than the elevation. After Divide and conquer. I often create a thin plywood template to represent components with angles and/
cutting out all the parts, I make slits for the or curves. The end boards of this step stool have both. To avoid the tedious and error-prone measuring
“tenons” of the stretcher and then assemble process, I transfer all the dimensions from the drawing to the template using a pair of dividers.
the mock-up using brown packing tape.
Now that I have a 3D form to play with,
I set it on the floor (where it will live most step board partially hide it? (It does show outline the curve without having to com-
of its life), observe it carefully and start OK.) Would the step board look a little less mit to cutting the cardboard.
asking questions: Do the proportions look severely rectilinear if I curved its ends a As it turns out, the curve helps consid-
right? (They do.) Does the through-tenon little? (Don’t know, let’s try it.) I add a strip erably, and I discover that the most graceful
show fully, or does the overhang of the of masking tape to quickly and effectively curve seems to be conveniently generated
by making the curve a portion of a circle of
which the focal point is at the centerline at
the opposite end of the step board. I try the
tape trick on the bottom of the stretcher
but a curve there seems to be overkill and I
overrule it. I’ll probably just make a cham-
fer of variable width along its bottom edge
that just hints at a curve.
When I’m satisfied with the mock-up, I
transfer any new information and design
resolutions back to the full-scale render-
ing. I also finalize the location and cross
sections of the joints, including choosing a
width for the tenon of the stretcher that is
“tool slaved” – that is, of the same width –
as one of my mortise chisels.
Let’s Make a Record

To lay out the components of this piece
of furniture on the stock efficiently and
with near-infallible accuracy, I create an
analog – that is, a physical rather than a
numerical – recording of the sizes of the
components, the locations of their inter-
sections, and the size and angles of the
Mock-up. I nearly always mock up a furniture project so I can observe it from all angles in three dimen- joints. On the story stick – which is simply
sions. And because a step stool spends its life on the floor, I'll move the completed mock-up to the floor a clean, straight piece of wood about 1 ⁄4"
to observe it as I assess the design. thick by 21 ⁄2" wide by a couple feet long –

I mark and label the length and width of anymore and I can throw away the ren- revel in a place where I get to draw on the
the step board and the stretcher. I also dering if I wish. I also don’t have to worry bright side of my brain where rulers no
record the location and the angle of the about losing the cutlist because there isn’t longer rule and I am free from the tyranny
cant of the stretcher tenon’s shoulder line. one. All the information I need to make this of numbers! PWM
To record the exact size and details of the project – now and forevermore – is fully
end boards, I make a template out of 1 ⁄8" recorded on one little stick and a small slab
Jim has been working wood for more than three decades
plywood “doorskin.” of plywood. Creating a design immersed in and has written a dozen books on the subject. His next,
At this point I won’t need the mock-up the mindset of the pre-industrial artisan, I "The New Traditional Woodworker," is due out in April.
Story stick. Once the drawing is done, I make up a story stick to transfer the
component dimensions shown on the drawing to the stock. Again, there
is no need to take numbered dimensions – I’ll simply lay the stick right on
the wood and mark the position of the cutlines (which I’ll draw out with a
square or straightedge).
Captured patterns. I lay the end board template
on the stock, working around knots, and encap-
sulating interesting and appropriate grain pat-
terns – in this case cathedral grain.

BLOG: Visit Jim’s blog and read about the
classes he offers at Port Townsend School
of Woodworking.
BLOG: Read more about whole-number
rations on George R. Walker’s “Design
Matters” blog.
TO BUY: Get all the dividers you need on
eBay. Use our custom search to find them.
IN OUR STORE: Purchase Jim’s “Measure
Twice, Cut Once” from our store.
The beginning and the end. The completed stool in solid wood next to the cardboard mock-up.
Old Plane Birdhouse
B Y C H R I S TO P H E R S C H WA R Z
Every woodworker
should spruce up the
yard (or the shop) with
this simple birdhouse.
I
’ve never been a fan of birdhouses. Why
welcome something to your yard that
really wants to poo on your head?
Yet, inspiration works in weird ways.
While visiting Maine in February I saw
an enormous birdhouse that looked like
a jointer plane hanging outside Liberty
Tool, an ironmonger. I just had to have
one to hang above my shop door.
“A boat is not a boat unless it’s in

the water.”
— John Gardner (1905 - 1995)
founder of Mystic Seaport’s boatbuilding program
Simple, Quick & Fun

This birdhouse is based on a Marples 14"
razee jack plane I own. I scaled it up to
35" long so it would look good above a
standard door. If you’d like to make yours
bigger, you can scale our model by down-
loading the free SketchUp fi le through For birds both plane and fancy. This birdhouse would look great in your yard, above the door to your
our web site. shop or even in your shop.
You’ll need about 10 to 12 board feet of
a weather-resistant wood. I used cypress.
And don’t forget the waterproof glue and are made by gluing two pieces of stock drawing as a guide. Cut the shape on the
stainless (or galvanized) fasteners. face-to-face. Clamp them up and set them band saw and clean it up with a spindle
The whole project takes about three aside for the glue to dry. sander. Then use the first sidewall to lay
hours, so it also was great therapy for out the pattern for the second.
me after coming off of an intense three- Next Up: The Sidewalls Cut that one close, then tape the two
month-long project. After ripping all your parts to width, begin sidewalls together and shape them simul-
Begin by gluing up the wood for the by shaping the two sidewalls. Lay out the taneously so they are identical. I used the
thick wedge and the tote. These pieces razee shape on one sidewall using the spindle sander here as well.
52 ■ POPULAR WOODWORKING MAGAZINE August 2010 LEAD PHOTO BY AL PARRISH; STEP PHOTO & ILLUSTRATIONS BY THE AUTHOR
1"
Old Plane Birdhouse
1Ú
2" NO. ITEM DIMENSIONS (INCHES)
T W L
1Ú
2" 3"
❏ 2 Sidewalls 3⁄ 4 61⁄2 35
❏ 1 Toe 3⁄ 4 5 61⁄2
11Ú2"
3" ❏ 1 Top 3⁄ 4 5 8
❏ 1 Front of mouth 3⁄4 5 5
3⁄ 4 31⁄2
11Ú2" 3Ú16" ❏ 1 Frog 5
3" ❏ 1 Plate for tote 3⁄ 4 5 171⁄2
❏ 1 Divider 3⁄ 4 5 31⁄4
1 grid square = 1" 3⁄ 4
❏ 1 Heel 5 43⁄4
1 Sole 3⁄ 4 5 331⁄2
1Ú
8" TOTE PATTERN ❏
❏ 1 Tote 11⁄2 71⁄2 10
5"
❏ 1 Wedge 11⁄2 5 91⁄4
❏ 1 Iron 1⁄2 5 18
WEDGE & IRON DETAIL
121Ú2"
the Internet will call up the hole sizes for

45Ú8" a variety of birds). I want to attract Purple
Martins, so I drilled my holes at 17 ⁄ 8" in
diameter.
61Ú2" 33Ú4"
31Ú2" 5" 43Ú4" So that the birdhouse is easy to clean,
attach the second sidewall to your birdhouse
using No. 8 x 11 ⁄4" stainless screws.
To hang the birdhouse, I made a French
71Ú4" 17" 73Ú4"
cleat. One half gets screwed to the sidewall.
Its mate gets screwed to the house, right
ELEVATION
above my shop door.
And what about having the birdhouse
hanging over my shop door? That seems
Assembly. What, Already? stupid. Maybe. But perhaps the threat of
Cut the interior parts to size: the toe, heel, some loose-boweled birds will prevent
top, front of the mouth, frog, divider and my neighbors from pestering me when
sole. Sand or plane them smooth, then get I’m working in the shop. PWM
your nails out.
Glue and nail these seven pieces to Chris is editor of this magazine and married to a crazy
the sidewall that will eventually have the cat lady, who just might like the idea of a birdhouse that
attracts food (I mean birds) to the yard.
entrances for the birds (you’ll bore those
holes later).
Now shape the tote. Remove the thick
piece that you glued up earlier from the Go Online FOR MORE …
clamps and cut it to size using the pat-
terns and drawings provided above. Dress You’ll find links to all these online extras at:
it smooth and then screw the tote to the
BLOG: Read Chris’s blog, which gets
plate for the tote. Glue and nail the finished
updated five times a week.
assembly to the sidewall.
PROJECTS: Get more free outdoor projects
Shape the iron and the wedge using the from our web site.
drawings to guide you. Glue and nail them WEB SITE: View many of the common hole
in place to the sidewall and the frog. sizes for different species of birds.
TO BUY: More than a dozen instant down-
Be Bird-friendly loadable birdhouse plans are in our store.
Drill some ventilation and drainage holes IN OUR STORE: Buy “Birdhouses You Can
in the sole and in the top of the plane using Build in a Day.”
This plane is hollow. Glue and nail all the interior a 1 ⁄4" bit. Then decide what sort of birds you All of our products are available online at:
pieces as shown before you screw the second want to attract and drill entrance holes that WoodworkersBookShop.com
sidewall in place. are based on the species (a quick search on
Filling Pores for an Elegant Look
BY BOB FLEXNER
Two methods to create a

mirror-flat surface.
V
ery few woodworkers or refinish-
ers fill the pores of wood anymore.
The process is not well understood
and it’s perceived to be difficult. So if the
wood has large open pores, the pitting is
usually allowed to show. Unfilled vs. filled. The difference on a wood such as this unfilled mahogany surface (left side) and a
filled mahogany surface (right side) is striking. The pores on the unfilled side break up the light creating a
This open pored, “natural wood” look raw look. The filled side looks richer, deeper and more elegant.
has even become quite popular and is often
promoted in the woodworking literature. Top Wash-
But for some, the natural-wood look coats coat
creates a less-than-elegant appearance. Sealer
This is surely the view of companies that Wood Grain
mass-produce high-end furniture and filler
Pore
most people who buy this furniture. For Unfilled pores. Topcoats follow the Filled pores. You can use grain filler to fill pores
the last 150 years, in fact, most better- contours of this unfilled wood surface. almost level. But to get the surface perfectly
quality, factory-produced furniture has mirror-flat, you still have to sand a little.
had its pores filled to create a “mirror-flat”
appearance.
Better-quality furniture in the past was with grain filler (also called “paste wood If you use shellac or lacquer on a wood
made largely from mahogany, walnut or filler” or “pore filler”) then complete the with a pore structure resembling mahog-
quarter- or rift-sawn oak. It’s these and filling by sanding the finish level. any, you should consider using grain filler.
other woods with similar pore structures The first method is fairly effective with If you use varnish or water-based finish,
that look better with their pores filled (in alkyd and polyurethane varnish, and with you could experiment with both methods
contrast to plain-sawn oak, for example, water-based finish, because these finishes to see which you like best – or simply not
which is difficult to get flat because of the build rapidly. It’s often less work to leave mess with grain filler at all.
wide segments of deep grain). out the filling step with these finishes.
If you use these woods to make furni- But with lacquer and shellac, it’s defi- Filling With Finish
ture or you restore old furniture and you nitely more work using only the finish to There’s nothing complicated about fill-
want the wood to look its most elegant, you fill the pores. It is also wasteful of finish ing pores with just the finish. It’s simply
need to know how to fill pores. material and sandpaper, and the finish a matter of applying enough coats so you
shrinks back into the pores more over time don’t sand through when sanding them
Two Methods than if grain filler is used. level. You won’t know how many coats
There are two ways to fill pores in wood to Keep in mind that until recently, with is enough without trying first on scrap
produce a mirror-flat finish. One is to apply the introduction of water-based and high- because woods vary and people vary in
many coats of a film-building finish such performance two-part finishes, the furni- how thickly they apply each coat. Four to
as lacquer, shellac, varnish or water-based ture industry and most shops have always six coats of varnish or water-based finish
finish then sand them back (a little after used either shellac (until the 1920s) or should be enough, but more will be neces-
each coat, or a lot after all the coats) until lacquer (since). So most discussion of fill- sary with shellac and lacquer.
the pitting caused by the pores comes level. ing pores has always been connected with For instructions on sanding and rub-
The other is to fill the pores almost level these finishes. bing a finish to the sheen you want, please
54 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTOS BY THE AUTHOR; ILLUSTRATION BY HAYES SHANESY
Before filler. The three situations for applying grain filler are (from left) over With filler. A walnut-colored grain filler stains and fills the unsealed wood at
unstained and unsealed wood, over unstained and washcoated wood and left but fills and colors only the pores of the washcoated wood in the middle,
over stained and washcoated wood. and the stained and washcoated wood at right.
refer to “Rub to Create a Great Finish” in Sand the sealer using non-stearated Grain Filler
the August 2006 issue (#56) or online at sandpaper until you reach a little resis- I’ve heard of people using all sorts of prod-
popularwoodworking.com/finishing. tance, which tells you that you have ucts to fill grain, including wood putty,
With both alkyd varnish and lacquer, reached the varnish or lacquer. Then stop plaster-of-paris and joint compound. I can
dedicated sanding sealers are available sanding so you don’t sand through. This understand how these could be made to
that are much easier to sand than the finish technique will eliminate the build of sand- work, but they provide very little working
itself. Sanding sealers contain a soap-like ing sealer that could cause problems. time, especially in warm or hot tempera-
lubricant that causes the finish to powder Water-based finish and polyurethane tures. At least with shellac, lacquer and
rather than clog sandpaper, so it’s easier to varnish sand fairly easily, so no sanding varnish, oil-based grain fillers are a lot
bring the pore pitting level with sanding sealer is necessary – or even available. easier to use.
sealer than with varnish or lacquer.
But sanding sealer causes bonding
problems if applied thick, so you shouldn’t
apply more than one or two coats. A trick,
if you decide you want to fill the pores with
sanding sealer, is to apply a full coat of the
varnish or lacquer first, then apply several
coats of sanding sealer on top.
Finish as filler. To fill the pores of wood and

keep it looking as natural as possible, without
any color in the grain, use just the finish and sand
it level after many coats. To speed the sanding
of alkyd varnish and lacquer, apply a coat of the
finish, then several coats of varnish or lacquer
sanding sealer. Then sand off the sanding sealer,
as I’m doing here, until you reach the resistance Thinning filler. To thin oil-based grain filler to make it easy to brush or spray, use mineral spirits to add
of the varnish or lacquer. You are filling the pores more time for large surfaces or naphtha to speed up the drying on small surfaces. You can also mix the
with the sanding sealer. two thinners to get something in between. Thin to a brushable consistency.
Brushing. The most efficient method of applying grain filler is to brush or
spray it to get an even thickness that hazes uniformly over the surface as the
thinner evaporates. A thinned grain filler soaks into the pores on its own. If Hazing. When the grain filler hazes, it’s ready to be removed. Removing the
you apply the filler thick with a cloth, you should press it into the pores as filler before it hazes will result in more shrinkage in the pores as the remain-
you wipe. ing thinner evaporates.
Rag wiping. One method of removing the excess grain filler is to wipe with a Burlap wiping. If the grain filler has hardened too much to be removed eas-
cotton cloth across the grain so you pull less filler out of the pores. If you time ily with a cotton cloth, use burlap instead. Burlap is coarser but not so coarse
it just right, the filler will still be soft and moist enough to remove easily with that it scratches the wood. On turnings, carvings and inside corners, use a
the cloth. Finish by wiping lightly with the grain to remove streaks. stiff brush or sharpened dowel to remove the excess filler.
These fillers are made thick with a high Also, the stain may contain dye, which of water-based fillers. Temperature and
percentage of solid material (usually silica) could fade. humidity will be critical.
added to some oil (which acts as the binder) Usually, a walnut color is best, but
and a little thinner. there are situations where you might want Sealing First
A few brands offer grain filler in colors, another color, such as white for a pickled Instructions have created confusion about
but most fillers are available only in “natu- effect. whether or not to seal the wood before
ral” to which you have to add a colorant. In most cases it’s best to thin the grain applying the grain filler. Unquestionably,
Adding color is critical with oil-based fill- filler to make it easier to spread or spray. the best practice is to seal first. But before
ers because they don’t “take” stain well Use mineral spirits or naphtha (for faster discussing why, I want to discuss “seal.”
after they have dried. evaporation) with oil-based fillers and A sealer coat is a first coat of finish. It
You can add any colorant to oil-based water with water-based fi llers. You can can be any finish, but it’s usually the same
grain fillers, including Japan, oil and uni- apply grain filler successfully at any con- as you’re using for the topcoats.
versal colorants. Use universal colorants sistency. I like to thin it about half to an If this sealer coat is applied heavy, it will
with water-based fillers. These are the easily brushable consistency. round over the pores and more of the filler
same colorants paint stores use to tint latex All commercial brands of grain filler will be pulled out when you wipe off the
paint. Don’t use a dye colorant because it I’ve tried, which is most, work well; the excess. So it’s best to thin this first coat to
could fade and leave the filled pores lighter critical difference is drying time. It’s best create what is called a “washcoat.” A wash-
than the surrounding wood. to adjust your work rhythm to the drying coat is about 10 percent solids content,
You can also add stain to the filler to get time of the product you’re using, but you which translates to varnish thinned with
the color you want, but this is not usually can also add a little boiled linseed oil (to about two parts mineral spirits (the same
the best practice because it locks you into slow the drying) or some Japan drier (to as “wood conditioner”), lacquer thinned
the evaporation rate of the thinners in the speed the drying). with about 11 ⁄2 parts lacquer thinner and
stain, which may not be what you want. It’s not easy to change the rapid drying shellac thinned to about a 3 ⁄4-pound cut.

■ If you don’t get all the filler removed
before it begins to harden, you can remove

it with solvent (mineral spirits or naph-
tha for oil-based and water for water-
based) without also removing some of
the stain.
On the other hand, you can skip the
stain and washcoat and use a colored grain
filler to stain the wood and fill the grain
in one step. There is nothing wrong with
doing this.
Scrape off. An efficient method of removing the
With water-based grain filler a case can
excess grain filler is to scrape it off with a plastic be made for applying the filler directly to
spreader. Then follow with a cotton cloth or bur- unstained wood. Then scrape or wipe off
lap. Whichever method you use, finish by wiping as much of the excess as you can and sand
lightly with the grain to remove streaks. Sand off. It’s nearly impossible to get all water-
off any remaining after it dries. Use colored based grain filler wiped off of wood (such as this
grain filler as a combination stain and filler. crotch mahogany) when no washcoat is applied.
Or use natural grain filler, then apply a You’ll have to sand it off, trying to avoid sanding
Water-based finishes don’t work well stain after you have wiped and sanded off so deep you open up some of the pores.
when thinned with a lot of water, so use a all the excess. Most brands of water-based
commercial water-based washcoat or wood grain filler take stain fairly well.
conditioner instead of doing the thinning I’ve applied water-based grain filler have to sand the last coat level and rub it
yourself. Or apply the water-based grain both ways – over a washcoated surface and to the sheen you want. Very little sanding
filler directly to the wood as I describe directly to the wood. I like the first method will be necessary if you’ve done a good
below. best, but I sometimes use the second with job of filling.
A washcoat will leave enough film build colored filler. The second doesn’t produce The biggest fear is usually that the filler
to block the color in the filler from getting the depth the first does, and neither method will set up hard before you get it all wiped
through to the wood while leaving the top using water-based grain filler produces the off. You need to get used to the drying rate
edges of the pores sharp enough so more depth the oil-based system does. of the product you’re using, of course, and
of the filler will remain in the pores. It’s you can washcoat the wood first, then fill
not necessary to sand this washcoat, and Other Considerations smaller areas at a time. But if the grain filler
in fact you shouldn’t because you might Because you can’t wait until all the thinner still gets too hard to wipe off even with
sand through. has evaporated from an oil-based grain burlap, remove all or most of the excess
The best practice, therefore, especially filler (or it will be too hard to remove), quickly by wiping with mineral spirits or
with oil-based grain filler, is to stain the there will always be some shrinkage. So naphtha for oil-based filler or water for
wood, apply a washcoat, then apply the you will always get a more level filling with water-based filler, then fill again – working
grain filler. Here are the reasons: two applications – the second after the first faster or in smaller areas at a time. PWM
■ You’ll get better contrast between has dried overnight.
Bob’s new book, “Flexner on Finishing” (Woodworking
the pores and the wood, which will cre- If you are spraying lacquer over an oil- Magazine Books), will be available in mid-August.
ate more depth. based grain filler, spray the first coat or two
■ The surface will be slicker so it will be very light, even to the point of just “dust-
easier to wipe off the excess filler. ing” the finish by holding the gun farther
■ The washcoat will create a cushion so from the surface and moving it faster. Try
you’re less likely to sand through stain if to avoid wetting the surface excessively. You’ll find links to all these online extras at:
you have to sand off some streaks of filler A wet coat will cause the filler to swell and popularwoodworking.com/aug10
later. push up out of the pores. Sanding to level ARTICLES: Visit the “Flexner on Finishing”
■ A washcoat makes it possible to apply the surface then removes some of the filler archive.
filler to small areas at a time without get- and leaves the pores partially open. IN OUR STORE: Publisher Steve Shanesy’s
new DVD, “The 10 Commandments of
ting lap marks, which are darker-colored You could also apply a coat of shellac
Finishing,” is now available.
streaks caused by overlapping. between the filler and lacquer coats. The
TO BUY: Bob’s first book, “Understanding
alcohol in the shellac won’t cause swell- Wood Finishing,” is available through
ing and the shellac will slow the penetra- Amazon.com.
“There are two kinds of people, tion of the lacquer thinner that is causing IN OUR STORE: Bob’s new book, “Flexner on
the problem. Unlike the other fi nishes, Finishing,” will be available in mid-August
those who finish what they start the thinner in each fresh coat of lacquer – pre-order now!
and so on.” opens up the pores a little even if you’ve All of our products are available online at:
— Robert Byrne (1930 - ) sanded the surface perfectly level. If you WoodworkersBookShop.com
American author and champion billiards player want a perfectly mirror-flat surface, you’ll
Woodworking with Wee Ones
B Y DAV I D R O S S P U L S
Kids’ imaginations are

inversely proportional
to their attention spans.
W
ant to take up woodworking
with your kids, but find it diffi-
cult to keep them in the shop?
I share this desire and dilemma. I sheep-
ishly admit that the difficulties arise from Concentration. Elvin’s earplugs are, according to his father, meant to block out the sound of the other
my needs and notions, not those of my son. children as he concentrates on producing the perfect paint job for his plane project.
He is, of course, perfect in every way.
I believe that all of us old-fart wood-
workers need to give up our foolish notions projects in my shop. And, I can honestly say 4. Time. A child’s attention span is short
of design, technique, function and even that I have absolutely no idea what many (use a dial caliper to measure it, you’ll see
completion if we are to encourage our kids of our creations are. They are of the high- what I mean). At first, forget making any-
to join us in our ligneous endeavors. est caliber, however, and are of maximum thing that takes more than a few steps. I
I learned quickly with my son that coolness, according to Elvin. remember trying to get my boy to hurry
allowing him to follow his muse was up saying, “ We’ve only got five more min-
utmost. It also took the pressure off me. 10 Things to Consider utes!” He looked up with a smile and said,
He happily does as he pleases and I get to 1. Safety! My No. 1 rule for young visitors to “Wow, Poppa! That’s a really long time!”
look brilliant with almost no effort. My the shop is: DON’T TOUCH ANYTHING!!! Either have lots of ready-made parts on
son, Elvin, and I have clocked a gazillion Everything is plugged in and everything hand, or be prepared to work fast. You’ll be
hours (his count – it has only felt like a is dangerous. I tell them, “Please ask; I’ll amazed at what a 2x4 and some wooden
couple zillion to me) working on countless show you how anything works.” Often wheels can accomplish. Their imagina-
this means tearing down the machine a tions supply the details.
bit, so don’t make this promise if you won’t 5. Letting go. If you think their atten-
follow through. tion span is short, wait until you see how
2. Safety equipment. Kids are often inter- long they can focus on one idea. (Keep
ested in a machine until it makes a really a magnifying glass on hand to read the
“BIG” noise – then they are turned off. Even dial on those calipers.) If you want to keep
though the young ones will never touch a them coming back, let them decide what
piece of equipment, the proper safety gear to build. Let go of the need to know what
is essential. Get them their own goggles, it is you are making. The end result is not
hearing and dust protection – not the play important. Keep the scrap bin full.
stuff. They know the difference. Gearing 6. Molecular bonding strips. A “fasten-
up is half the fun. They feel cool and grown ating” thing. After the cutting is done, let
up. There is also nothing cuter than a little the child do as much of the assembly work
one in full safety regalia. Keep your camera as possible. Kids are naturals at putting
handy. And set a good example by wearing things together, if not necessarily in the
your own safety equipment. manner adults might choose. Leave cutting
Safety drill. Julia is wearing 3D glasses to protect 3. Plane truth. Make lots of long, curly, dovetails for another day. I once saw on the
her eyes as she learns how to drill press. shavings – even if you don’t really need to. bulletin board in the hallway of my son’s
58 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTOS BY MICHELINE CALLICOTT

“Free the child’s potential, and you something out of the masterpiece he has
painted for me.
will transform him into the world.” 9. Celebrate. No project can be complete
— Maria Montessori (1870 - 1952) without a celebratory snack. Make sure
Italian physicist and educator there is room in the shop fridge for their
favorite juice and cookies.
10. Nap. ’Nuff said. (Though I’m not
preschool, that the teachers had placed sure who needs it more.)
Thanksgiving lists of things the children
were thankful for. Most of the responses A Teaching Moment
were predictable: Mommy, daddy, gramma Right about now, some of you are say-
and grampa, my kitty, Jesus and the like. ing: “But I want my kid to actually learn
My favorite, however, was one from Adam. something.” I agree. I have always felt
He was thankful for tape. that woodworking is best learned stand-
It’s not permanent, but a bunch of scraps ing knee-deep in sawdust, pounding on
and a roll of tape can be immediately grati- the process with a rubber mallet, until it
fying. Rubber bands, twist ties and dental fits neatly under your hat. It is hands-on, A sticky friendship. Best friends Sophie (left) and
floss are good, too. For the rest of the time and can’t be learned through books alone. Carly (right) practice perfect glue lines.
use glue, nails or drywall screws. While my son would happily pound on
7. Suck up. Never clean up before the kids anything with a rubber mallet, this par-
arrive! They absolutely love the shop vac- ticular metaphor is unlikely to evolve into and pride, we toast his success with our
uum, and watching the sawdust magically a useful teaching philosophy, and would juices. (Don’t squeeze when you do this;
disappear. Also small tools, nuts and bolts. probably only guarantee an eventual visit it squirts out the straw.)
8. Color. The last and most important from the local constable. How, then, do we This scenario is also effective in fending
step in any project is the employment of an get our children to share our suffering and off our own pesky perfectionist tendencies.
expert pigment/ finish application tech- learn something? You may have your own This is a road best not taken. You learn to
nician. Once again, kids are the obvious ideas, but mine is simple: lie. simply do your best and be happy.
candidates for the job. Keep a small can Lies, trickery and deceit. The oldest You will undoubtedly have your own
of each of the primary colors, and black implements in the parenting toolbox. teaching methods, gentle reader, and I
and white (latex, of course), a brush for Every parent who has flown a spoon and encourage you to share them. But please
each, and lots of soap and water and paper made the airplane noise to get a morsel do so quietly. Kids hear everything. Once
towels. Supply kids with a smock and stay of food into their child, knows the power the secret is out, the tool is gone from the
the heck out of the way. of this. It is the moment at which we all parenting toolbox, and is out in the yard
Whilst you may feel differently about don the big black hat, grow a handlebar somewhere, rusting. My son asked to read
the surface of your workbench, mine is a mustache, and hunch over, wringing our a draft of this article, and when he finished,
riot of colors, which brings back memo- hands and cackling with evil glee. Any he looked up at me with a wise and know-
ries and a smile whenever I think about parents in denial about this are simply ing smile and said nothing. I am in deep
what was accomplished there. My plan is not watching the same cartoons as me. doo-doo. PWM
to one day make my son a coffee table or Good parents, however, resist the urge
David is an artist and woodworker on Johns Island, S.C.
to tie their children to the railroad tracks
– even if they really deserve it.
Yes, I lie to my darling boy. I sit next to
him and make my own projects. I stumble, Go Online FOR MORE …
I bumble. I get splinters and take them out
with my teeth. I make things that fall apart You’ll find links to all these online extras at:
on purpose. I sputter, get frustrated and popularwoodworking.com/aug10
exasperated. Method acting complete, I BLOG: Read about Editor Christopher
leave the solution to my problem in plain Schwarz’s adventures in the shop with his
view on the table. youngest daughter, Katy.
WEB SITE: Our “I Can Do That” page fea-
In disgust, my son will say, “Geez, Dad!
tures projects that are ideal for budding
It’s not that bad!” I throw up my hands woodworkers (with adult supervision, of
in defeat and walk away saying: “I need course).
a drink! I could use a tall cold one. Can I TO BUY: One of our favorite collection of
get you one?” beginner projects is John Nelson’s “The
By the time I return with our juice bags, Big Book of Weekend Woodworking.”
he has solved my problem, completed All of our products are available online at:
Little brother. Lucas looks on as his sister, my project and made the world safe for WoodworkersBookShop.com
Gabriela, shows him how it’s done. humanity. With astonishment, gratitude
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G L O S S A R Y
W oodworking’s lexicon can be over-

whelming for beginners. The follow-
ing is a list of terms used in this issue that Auger bit
may be unfamiliar to you.
auger (n)
A tool or device having a helical shaft that is frieze (n) ally made of zelkova (a species of deciduous
used for boring holes. The tip is threaded to A horizontal band above a column’s capital trees in the elm family).
help pull the tool into the wood. As you work, between the architrave and the cornice of an
tallow (n)
waste material is excavated from the hole. entablature; it’s often decorated with carving
A natural product (animal fat) derived from
or painting.
bare-face tenon (n) mutton or sheep that’s used as grease to ease
A tenon – a projection on the end of a work- hifukura plane (n) the labor of hand woodworking. PWM
piece for insertion into a mortise – having only A traditional Japanese pointed-side plane used
one face shoulder. to clean up the sides of wide grooves and slid-
ing dovetail joints. The plane is operated by
chop (n)
pulling it toward oneself.
On a vise, the chop is a block of wood that acts
as a jaw to clamp the work. ironmonger (n)
The traditional term for a person or store sell-
ing hardware, such as tools and household
“The difference between genius implements.
and stupidity is that genius has jack screw (n)
In woodworking, a screw that can be turned
its limits.” to micro-adjust the position of an object, such
— Albert Einstein (1879 – 1955) as jointer knives or even a hinge leaf.
scientist, mathematician, inventor
kiomote (adj)
In Japanese woodworking, the side of a slab
dowel plate (n) of wood on which the flat grain (the cathedral
A steel plate with various sized holes. Small in the center) comes out from the board and
sections of squared wood are driven through faces the core.
the holes to form the pieces into accurately
kiura (adj)
sized dowels.
In Japanese woodworking, the side of a slab
echo (n) of wood on which the flat grain (the cathedral
In design work, the repetition of a ratio at dif- in the center) goes into the board or faces the Chop
ferent scales to create a pleasing, harmonious bark.
effect.
lamb’s tongue (n)
flute (n) A decorative hand-carved profile that is used
An architectural term used in woodworking to transition smoothly from a chamfered edge
and design. The flute is a hollowed out vertical into a 90° corner. Parallel guide
groove milled or carved into columns to add Guide pin
parallel guide (n)
a sleeker and more decorative look.
A piece attached to a workbench chop that
moves in and out of a mortise in the leg. A pin
pierces the guide which then contacts the leg
Dowel plate so the chop pivots to clamp your work
riven peg (n)
A peg that is split (instead of sawn) from a log You’ll find links to all these online extras at:
or other larger piece of wood. popularwoodworking.com/aug10
VIDEO: Watch how an auger bit works, from
sumitsubo (n) Woodworking in America 2008.
A Japanese black ink pot used for marking long ARTICLE: Discover how to rive wood for
straight lines onto various surfaces, similar to your projects, from bodger Don Weber.
a Western chalk line. The sumitsubo is gener-
62 ■ POPULAR WOODWORKING MAGAZINE August 2010 DOWEL PLATE ILLUSTRATION BY MARY JANE FAVORITE; PARALLEL GUIDE ILLUSTRATION BY HAYES SHANESY
WHAT’S NEW in the BOOKSHOP Editor’s TOP PICK
The 10 Commandments
of Finishing DVD
This new DVD from Publisher Steve
Shanesy shows you how to finish Woodworking Magazine
like a pro – in your home shop. Book, Issues 13-16
You’ll discover how to prepare your In this final hardcover collection of Wood-
projects for finishing, then learn how working Magazine, you’ll find all the issues
to select and apply the perfect finish from 2009, plus an index that covers all 16
and achieve a silky-smooth surface. issues of the magazine. This book (along
More than a set of finishing “rules,” with the first two volumes) is a perfect way
this DVD shows you how to develop to ensure your Woodworking Magazine
SketchUp for
a finishing system that works for you. collection will last for years to come.
Woodworkers CDs
Part 1: Getting Started
SketchUp is one of the most important tools a
woodworker can use. It’s a free program you
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all within a few clicks. In minutes, you’ll 2008 Compilation CD, with 35 helped me improve my SketchUp skills – and
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E N D G R A I N
BY ROB PORCARO
New Names
For Old Tools
Just keep saying ‘micron.’
W oodworkers who use hand tools to

lay the quality touch on their work
know what can be accomplished with these
wonderful inventions. Along with skill,
supplied of course by you, a good hand
tool is an exquisite blend of simplicity and
sophistication that is capable of sweeten- impact multi-alloy cleavers capable of put- “Ah, I don’t understand all the intrica-
ing your work well beyond what machines ting at least 10,000 psi to the wood surface cies, but somehow it works by means of
alone can produce. with extreme contact accuracy. (That must light rays that guide you to intuitively move
Despite this, I don’t think hand-tool be one bad boy in the shop.) A handsaw the tool; it just responds to your wishes.
woodworking gets enough respect in is a linear bidirectional multi-point wood It’s a weird feeling to use at first but after a
today’s world. For the record, sure, I use separator with a biologically integrated, while you’d be amazed at how natural and
machinery in my woodworking. Yes, the light-based guidance system. (Really? They efficient the work becomes. I dial in the
machines are high quality, well-tuned, take have that kind of stuff now?) incremental removal adjustment to within
plenty of skill to use and I wouldn’t be with- Similarly, our workbenches, lay- about 10 or 20 microns of where I want it
out them. Yet when I discuss the joys of our out tools, specialty planes, sharpening and then have at it.” (The micron thing
craft with folks not therein immersed, I am stones and so forth would perhaps inspire sounds so much better than inches.)
invariably asked which major power tools deserved esteem if described with weighty “Sweet. You know, I’ve seen antique
inhabit my shop. This is especially true words, which still would be, technically furniture in museums and wondered how
of techies, but the same question comes speaking, accurate. Our hand tools, so people made that stuff. I mean, they didn’t
from many woodworking beginners. I common to us, represent the evolved syn- even have machines then!”
don’t seem to earn credibility as a seri- thesis of materials science, clever engineer- “Imagine that.”
ous woodworker until I’ve cataloged my ing, a profound understanding of human “It’s beautiful woodworking though.
cabinet saw, 16" band saw, jointer and so capacity and intimacy with that glorious I suppose that with some strange know-
forth. Otherwise, I sense I’m regarded as a product of nature, wood. how it’s amazing what could be done with,
dilettante who toys with the sort of quaint Now the conversation gets upgraded I guess, hand tools.”
tools people used before there was indoor to something like this: “Cool, your shop “Yeah, amazing.” PWM
plumbing. Who could produce serious must be huge. What were you saying about
work with those things? that micro-adjustable …” Rob is a woodworker in Medfield, Mass.
Perhaps this is just a matter of nomen- “Well, it toasted my wallet but this
clature and description. If we could tell, thing can create great furniture, and faster
in modern tech-speak, of the remarkable than you can imagine. It’s powered by a Go Online FOR MORE …
qualities of our hand tools, I think respect rechargeable battery system that never You’ll find links to all these online extras at:
and even awe would ensue. needs replacement and carries a lifetime popularwoodworking.com/aug10
Here we go. My No. 4 is actually a cord- warranty. The power unit is so quiet that BLOG: Read Rob Porcaro’s blog, Heart-
less micro-adjustable incremental wood- you can listen to music while you work.” wood.
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64 ■ POPULAR WOODWORKING MAGAZINE August 2010 PHOTO BY AL PARRISH

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For more information, go to PWFREEINFO.COM. © 2010 Stanley Black & Decker, Inc.
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ROY UNDERHILL’s Slick Trick for Easier Handplaning

AUGUST 2010 ■ #184

Free Video Tour of the Workbench: Visit popularwoodworking.com/aug10

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12 ■ POPULAR WOODWORKING MAGAZINE August 2010

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14 ■ POPULAR WOODWORKING MAGAZINE August 2010 ILLUSTRATIONS BY MARY JANE FAVORITE

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