Sometimes the best innovations are so simple it's a wonder that they aren't everywhere. This week, Mike Siemsen of Chisago City, Minn., sent me an e-mail about his new workbench that opened my head like a can opener.
Siemsen, who runs Mike Siemsen's School of Woodworking, recently completed building a very close copy of Peter Nicholson's workbench featured in the early 19th-century classic: "The Mechanic's Companion, Or, The Elements and Practice of Carpentry," which you can download for free from Google.
Siemsen developed the workbench with the input of period woodworker Dean Jansa. (Remember this marking gauge he built for Popular Woodworking? Let's all encourage Dean to write more.) The bench developed by Siemsen and Jansa looks a lot like Nicholson's – with one small upgrade that is amazingly useful.
The bench has a small gap between its two top boards. Look through the gap and you can see the transverse bearers that support the top. This gap allows you to do some really cool things with your planes and saws. By dropping a batten into the gap and onto the transverse bearers you can plane across the grain of a board (called traversing). Wedge the board against the planing stop plus a batten in the gap and you can work diagonally. You also can use the batten as a bench hook for sawing. And you can use the gap to store tools.
Is there precedence for this? Yes. George Ellis's Planing Board (which I describe here) uses wedges in the same manner. And a Nicholson-style workbench shown in Audel's "Carpenters Guide" shows a bench with a loose top. You could easily see how the gap could have been exploited….
In any case, it works. Check it out here and on his blog.
— Christopher Schwarz
Here you can see how you can use a batten in the gap to work across the grain.
Here the batten is used with the planing stop to work in a more diagonal fashion.
Here it's a bench hook for sawing.
And here the gap is used for tool storage. Next week we'll show how it makes julienne fries.
It’s funny what you can accomplish when you’re ignorant. No one told me I couldn’t cut joinery with a hacksaw, which has fine teeth and little set. But that’s exactly what I used to do -- until I took a class in hand joinery and learned all about backsaws.
Same thing goes for scraping. For years I used a card scraper on pine until I read somewhere that you can’t scrape softwoods.
You can scrape softwoods, such as pine, with a sharp scraper, a light touch and a slightly different angle of attack. When I scrape hardwoods, my card scraper is usually about 65° from the surface of the wood. When I scrape softwoods, I increase that angle slightly until two things happen: I get curls instead of dust and the grain stops looking fuzzy.
Other lies:
• Always work “with the grain.”
• Curved edges cannot make flat surfaces.
• Grits have no flavor.
— Christopher Schwarz
It’s easy to get grumpy about the way you work in the shop and resist the newfangled features that appear on tools. To be sure, some of these “innovations” are boneheaded (the bench chisels with rasp teeth on the blade spring quickly to mind).
But other ideas are great, and you just have to give them a chance.
This month, I embraced two innovations that I resisted for a decade. I actively mocked these features on tools in both public and private. I went out of my way to avoid buying them. I rolled my eyes when I saw them on tools in other woodworker’s shops. Now I see my error.
1. Lasers on miter saws. We’ve had a dozen laser-guided miter saws in our shop, and they never did anything for me. But after we installed a version with two lasers – one laser on each side of the kerf – in our miter saw’s stand did I swallow the bait. I stopped marking out all my cuts with a try square. I simply laid my tape on the work and lined the laser up with the marks on the tape.
2. Integrated lights on drill/drivers. My first router, an inherited 1970s Craftsman, had a light on it. But the openings in the base were so tiny that it was like peering into a really well-lit shadowbox, which was shooting chips at you. But somehow an impact driver ended up on my bench with an integrated light. I love it. While working inside cabinets I can now use both my eyes and my fingertips to get screws in their holes. It’s much easier and faster with a light showing the way.
Egads. What could be next? Taiwanese moulding planes? Belt sanders? Chardonnay?
— Christopher Schwarz
 The August 2000 issue of Popular Woodworking is one of my favorites. On the cover is a secretary that Troy Sexton built that was the result of a lot of hard work by the entire staff. We worked with Troy during almost an entire year to pull together the story about his excellent design.
So you can imagine my dismay when the magazine went out to subscribers, and my phone started ringing off the hook with angry readers on the other end of the line.
“Where,” they would ask, “is the story on wainscoting?”
It seems that as we were carefully massaging the story on the secretary we had messed up the cover. The top headline on the cover was “Wainscotting in a Weekend.” Only there was no story about wainscotting in the issue. We had removed it and then forgotten to change the cover.
Grrr.
It seems that we spend most of our days at the magazine making our own mistakes and cleaning up the mistakes of others. That is the job description that should be on my business card (if I had business cards – long story).
Some of my mistakes are mistakes of omission. For example, for the last 12 months I have been meaning to write a review of the shoulder plane kit produced by Legacy Toolworks. It’s a gorgeous kit and looks about 10 times better than the shoulder plane kit I’d built from Shepherd Tool years ago. But I overbooked myself this year and haven’t started the kit. And now Legacy has announced it is closing its doors. If I had been able to review the kit, perhaps that could have helped them.
Other mistakes are what we call in Arkansas: “Getting bit by the dumb-a**.” This is where you do something so stupid that the tale should begin with, “Hold my beer while I….” Such as when I told 200,000 readers to run the router the wrong way to cut a rabbet on a door frame. I didn’t mean to do it, I just got turned around and never caught my error.
So it should come as no surprise that toolmakers also make mistakes. Most readers probably think that the tools that come into our shop have been carefully tested and tuned by the manufacturers to make sure they are perfect. Based on how many goofed-up tools I’ve seen in 13 years, I doubt that’s the case.
And in fact, I take it as a mark of the toolmakers’ honesty that they send us one right off the warehouse floor.
Here’s a small sample of some of the stuff we’ve seen:
DeWalt: The company makes good tools, but we had a jigsaw come into the shop where the blade clamping mechanism failed. It went click, click, and then the blade dropped out like a rotten tooth. When DeWalt introduced its first hybrid table saw, the first rip fence we got was twisted. So was the second. The third replacement was fine.
Delta: When Delta introduced its C-arm drum sander, we were all excited in the shop. We set it up, plugged it in and cranked the puppy up. It spun up and then spun down forever. The motor burned out after three seconds.
Harbor Freight: It might sound too easy to pick on this discount seller. But they sell tools and people buy them. So here goes: When we tested the company’s plunge router, the collet failed. The bit slipped out and flew out. That was one of the days that I wished we had some Depends in the first aid kit.
Black & Decker: Here’s every tool marketer’s worst nightmare. Black & Decker sent us its new cordless tape measure. Now let’s ignore for a moment the possibility that you do not need an electric tape measure. So Senior Editor David Thiel takes it out of the box in front of the entire staff and demonstrates how it works. The tape extends about a foot and then dies forever.
Metabo: Cordless drills aren’t supposed to shoot flames out the back are they?
Lobo: When we tested its edge sander the sheet metal base flexed like tin foil. You would turn the machine on, and the thing would do the twist like Chubby Checker.
Powermatic: Yes, even Powermatic. An early version of its benchtop mortiser had a flaw in the piece of metal that joined the motor to the arm mechanism. The gears on the interior stripped out. So when you pulled the arm, the motor never moved.
Tools for Working Wood: The Ray Iles mortising chisels are great, but one of my students at the Marc Adams School of Woodworking snapped the tip off one when working in poplar. I heard it from across the room. It turned out that a few of the tools had been made from A2 instead of D2. It did make for an amusing day as everyone crowded around the chisel like the victim of a car accident.
Lie-Nielsen Toolworks: I had a narrow iron shoulder plane that was an early production run. The bronze grip wouldn’t stay in place when you retracted the iron. When I turned the screw, the plane disassembled itself in my hands.
Veritas: An early version of the Veritas cabinet scraper (an adaptation of the No. 80) would clog after a few passes like Crystal Gayle’s shower’s drain. The company has since fixed that problem and the tool works great.
Stanley Tools: During a test of jack planes, we had a tool that simply would not function. It was like it was haunted. If you snugged up the frog screw to where you thought it should be, you couldn’t adjust the iron. If you loosened the frog screw so you could adjust the iron, the thing would chatter and shake like a Vega going 56 mph. We never figured that one out.
Wenzloff & Sons: While teaching a sawing class at Kelly Mehler’s School of Woodworking, one student’s carcase saw was misbehaving. It was tearing out the shoulders of his tenons something fierce. At first I though it was user error. Turns out the saw was filed for rip when it was supposed to be crosscut.
Let me conclude by saying that mistakes slip out the door for every toolmaker (and magazine editor). We’ve never heard of any toolmaker with zero returns. The real test of a toolmaker (and editor) is how you deal with the mistakes when they occur.
We published the “Wainscotting in a Weekend” story in the following issue and have not made an error on the cover since that day. And almost all of the toolmakers above are known for cheerfully replacing any defective unit and then correcting the problem.
And that’s one of the reasons we’re all still in business.
— Christopher Schwarz
Yesterday I finished up work on the dry sink that is the cover project for the Spring 2009 issue of Woodworking Magazine (Issue 13). As always, the finishing part of the project was as much an adventure as designing and building it.
The project is made from Eastern white pine, so we knew that coloring it with a pigment or dye would result in blotching. My first gut feeling was to paint the thing – I've seen a lot of painted dry sinks. But paint would hide all the nice wood selection and joinery, so we opted to first try something else.
First we experimented with tea stains (yes, made from tea) and made some sample boards. Then we added some orange dye to the tea. Then we switched gears and tried adding dye to an oil/varnish blend. No dice.
So we fell back on our pumpkin pine finish from a few issues ago. It involves a stain controller, a maple stain and shellac. The test boards looked good, so on Monday I added the stain controller in the early morning. That evening I added the maple stain. Yuck.
The result looked good in places and blotchy in others. The stain controller didn't seem to work consistently over the entire piece.
So Senior Editor Glen D. Huey brought in a can of Olde Century Colors "Yankee Blue." I swallowed hard (being a cracker-loving Southerner) and applied two coats. Now I'm happy.
The experience reminded me of a column I wrote for our Autumn 2006 issue, which discussed the role of paint in furniture-making. So I thought this would be a good time to reprint it here.
— Christopher Schwarz
“Many of the things I make are not treated in any way afterwards, because
nothing that I can put on them will enhance the beauty of the natural wood.”
— James Krenov, "A Cabinetmaker’s Notebook” (Linden)
The second Welsh stick chair I ever built was made using both traditional methods and traditional materials. That meant elm for the seat, white oak for the legs and the arm bow, and ash for the spindles.
My plan was to color the chair with a brown stain that would visually tie these three species together. So after carefully preparing all my parts, making a few test boards using stains and hues that I was familiar with, I colored the chair one Saturday afternoon.
When the stain dried, the chair didn’t look like I had hoped. But I told myself to be patient; a topcoat of clear finish can change the final appearance of a finishing job. And I was right; the chair looked even worse with a topcoat.
Something about the stain color I chose, the wood I picked for the chair or my finishing technique made these three species together look like a visual jumble. The coloring was so inconsistent that my eye would jump around the chair, never sure what was important or where to look next.
So I pored over my books on chairmaking and then slept on the problem. By morning, I knew the answer: Paint the thing. Lots of early furniture was painted, especially Windsor-style chairs that used a variety of species in their construction.
But there was a problem here. A mental problem. Like most woodworkers, painting a piece of furniture was something of a last resort in my head. We woodworkers are supposed to celebrate the grain of the wood and finish it to enhance its swirls and swoops. A coat of paint on furniture is seen as evidence that something is amiss. Maybe we used inferior materials. Perhaps we chose our materials so poorly that the grain selection is ugly. Maybe our joinery is gappy. Or we are incapable of preparing a surface for a stain and topcoat. Or we simply cannot finish.
I hate stripping finish, so I decided to give the paint a try. I purchased a quart of dark Windsor green and some primer. I set to work covering up my misdeeds and pondering where I could stash this chair in my house so my woodworking friends would never see it.
After two coats, the chair looked radically different. Details that had been obscured by the grain or stain color jumped out in sharp relief. During construction, I had carved a small gutter around the perimeter of the seat that – when painted – appeared as a perfect dark line rimming the work. I had spent an hour planing and filing a nice curved chamfer on three edges of the crest rail at the top of the chair. Those chamfers now shined, no longer shying away from attention. And a chamfer on the swooping arm bow looked clearly tied to the chamfers on the crest rail.
But there was more. When I stood back a few steps I could really and truly see the chair. It was like a graphic drawing of a chair. It looked more like a shiny green animal ready to pounce than a jumble of sticks covered in brown goo. It looked like the chair I had seen in my head when I set out to build it. I simply had to cover the wood with two coats of paint to uncover its true form.
Years later now, I’ve found that painting furniture well is a skill that requires careful cultivation. Since painting that first chair, I’ve painted a full set that I’ve built and have been experimenting with different mixes of paint and varnish (to give the paint a luminescence) and different brushing techniques. Painting a chair is as challenging as any hand-applied finish I’ve ever tried.
And now I know the truth: Paint doesn’t obscure mistakes. Instead, paint can reveal the form (good, bad or average) that we sometimes try to hide with flashy joinery, showy wood and shiny finishes. The opaque pigment lays bare our skills as designers of furniture, which is perhaps one of the real reasons we avoid painting the things we build. WM
— Chrisopher Schwarz
There are so many fine Western sawmakers today that it's hard to believe that there were virtually none in 1996 – the year Independence Tool was founded.
New sawmakers are cropping up so quickly that it's tough for me to keep track (and heck, it's my job). I do try to stay on top of the market as best I can, and during the last couple years I've gotten to use saws from almost every maker – thanks to the handsawing classes I've taught in Michigan, Kentucky and Oregon.
I'm telling you all this because I've been working with a dovetail saw these last two weeks that has blown me away. It is, compared to its peers, the first among equals.
The dovetail saw from Andrew Lunn's Eccentric Toolworks is a super-tuned jewel of a saw. It starts easier than any Western saw I've used – much like a Japanese saw. It flies through ½" and ¾" stock with ease. It is extraordinarily balanced. It leaves a whisper of a kerf behind.
And on top of all that, the saw has handmade touches (such as carving on the tote and engraving on the brass back) that make it as nice to look at as it is to use.
The price of all this amazingness? As of Jan. 5, 2009, it's $350.
So who the heck is Andrew Lunn? And where did he come from?
Denizens of the discussion groups, such as WoodNet, have seen Lunn's work. And if you were at the Woodworking in America conference, you might have seen some of Lunn's saws in Mike Wenzloff's booth (Wenzloff graciously agreed to host a couple toolmakers in his booth).
But Lunn is not a professional toolmaker. He's a 37-year-old 911 paramedic who lives in Worthington, Ohio, and makes saws in his spare time. He describes himself as "obsessed" with saws, and that's not an overstatement.
His dovetail saws are different than other premium saws in several significant ways. The blade is thinner than any other Western saw I've used at .015" thick. Other saws use steel that is .018" or .020" thick. One criticism of this thin steel is that it will kink more easily if the saw is abused. Perhaps. But I think the saw's blade feels very steady.
The teeth are minimally set – Lunn sets them with a special hammer that he forged himself. As a result, the saw removes very little wood and produces a razor-thin kerf that looks like a kerf from a Japanese saw. This is one of the other factors that makes the saw plunge through wood.
Also different: The saw's rake. Most commercial saws have a consistent rake on every tooth. Relax the rake and the saw is easier to start but slow. Tighten it up and the saw becomes more aggressive but harder to start.
Lunn has relaxed the rake at the toe, which makes the saw easy to start. In the middle of the blade the rake is almost zero, which makes the saw aggressive once you start it. And he's relaxed the rake at the heel as well, which prevents the saw from sticking there. It really works.
A criticism of this filing is that it is going to be a challenge for the user to replicate. Perhaps, but you can always get Lunn to resharpen it.
Another interesting difference is the folded brass back. The back is narrower at the toe than at the heel, which reduces weight at the toe. Also, the saw's blade is "canted," which means it's narrower at the toe than at the heel. Both of these tweaks help give the saw its excellent balance.
And finally, the tote is thicker than those on other saws. When I first picked it up I thought the tote felt too thick (so did Senior Editor Glen D. Huey). But after working with the saw a bit, we changed our minds on that score. It's a very comfortable handle.
The handmade touches only add to the whole package. The saw uses traditional split nuts, with a hand-engraved medallion. The tote itself feels very handmade with no sharp edges for your hand and has the subtle toolmarks of good hand work. The engraving is just cool.
All in all, I'm profoundly impressed and recommend this saw without reservation. Lunn loaned it to us to try, but it's not going back. I am buying this one personally for my shop at home.
To contact Lunn about making a saw for you, visit his web site at Eccentric Toolworks.
To download a chart comparing the saws in our shop right now, click the file below.
Dovetail Saw.pdf (23.5 KB)
— Christopher Schwarz
These last couple weeks I’ve gotten to break in my new Benchcrafted wagon vise while building a dry sink for the next issue of Woodworking Magazine.
The dry sink is enormous (it looked so small on paper). And every surface has passed under a handplane. The wide stock was prepped entirely by hand. The narrower stuff I processed first with a powered jointer and planer – and then handplanes.
I’ve been planing narrow and wide stock on edge, and the faces of wide panels. I’ve been planing with the grain, diagonally and across the grain with a fore plane, jointer plane and smoothing plane. I’ve been planing joinery with a plow plane and a fillister plane. And I’ve been planing mouldings with hollows and rounds and a beading plane.
As a result, I’ve been planing what seems like acres of pine. I’ve filled up the garbage can at the end of my bench twice with shavings.
So I feel confident in saying that the Benchcrafted vise has gotten a good workout with a lot of the tools you’ll find in a shop that blends both power and hand tools. And with each workholding challenge I presented to the Benchcrafted, it swatted them all down with ease.
The vise’s sliding block moves quickly along its threads, so you’re not spinning the wheel endlessly. And you can engage it with both subtlety and enormous force. The vise holds its position when you clamp a panel and want to plane across the grain but don’t want to bow the work – a delicate balancing act that would cause my old hillbilly wagon vise to slip.
And when I wanted to use the vise to really clamp something hard – such as a drawer side – it made the workpiece feel like it was physically attached to the benchtop. Totally solid. It also was robust enough to disassemble joints when used like a spreader clamp (this operation would pull my old vise apart).
So I’m sure you’re thinking: “Great, but is it worth $350?”
For me, absolutely. I spent about $250 to build my bench out of yellow pine, and so the $350 Benchcrafted vise means I still have a bench that works better than any other I’ve worked on in my life for less than half of the scratch I would pay for a high-quality commercial workbench.
Is it better than a traditional tail vise? So far, I think it is. We’ll see if the Benchcrafted sags in use like a tail vise does – only time will tell that. But what I like about the Benchcrafted vise compared to a tail vise is that I don’t have the large “no work” zone you get with a tail vise. You cannot pound or lean on a tail vise or it will quickly sag.
How does it compare to adding a quick-release vise with a big wooden chop? I think it’s a draw. I like having the full support of the Benchcrafted wagon vise, but I also really like the quick-release function of a steel vise. If you don’t have the money for a Benchcrafted vise, a quick-release vise in the end vise position of your workbench is the next best thing.
Some will balk at the price. Fine. This vise isn’t for you. Me? I’m sick of the low-quality vise hardware that has passed through our shop during the last decade. It used to be easy to buy fantastic vises from England and America. But now you are rolling the dice when buying new vises. I’ve seen decent new vises from the emerging economies, but I’ve also seen some stuff that went right back into the box and back to the seller. Junk.
There are no regrets with the Benchcrafted. It is impeccably made, overbuilt like something from the USSR’s space program and flawless in use.
And that’s good enough for me.
— Christopher Schwarz
On Halloween night in 1993 I went to the lumberyard in search of wood to build a sitting bench for our kitchen in Lexington, Ky. Like any good woodworker, I sorted through the entire pile of 1 x 12s to find boards that were straight, flat and looked good.
I was frustrated that night because I couldn't find wood that looked right. It was all too boring, clear and knot-free. Yes, that sentence is correct. There is something about knots that I've always liked.
Stare at them long enough and you'll realize (without the assistance of illegal substances) they look like a tree trapped inside a tree. They are the important intersection between branch and bole. And knots point out that wood is not just a homogenous and bland substance.
Of course, they can be quite ugly and distracting as well.
So I struggle with my knot fetish. One of my favorite places to put them is in drawer bottoms and in cabinet backs. For the most part, they are then hidden by the underwear, socks and books held by the project. But every once is a while, you'll pull out just the right book and the knot will be staring at you, like an unlidded eye.
This dry sink project features a few well-placed knots. Sure, there are some in the back, but there are also two small ones in the left side of the cabinet. One looks like a falling comet to me.
The top has two massive knots that were a real challenge to plane without tearing things out. And though they're quite visible now, I know that whatever is placed on the top of this dry sink will keep them obscured until just the right moment.
— Christopher Schwarz
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I really need to start keeping a list of all the things I use my sawbenches for. Sure, I saw stuff on them. And I stand on them while go-go dancing in the shop to amuse visitors. Those things are obvious. What's not so obvious is how often they get me out of weird jams with my handplanes.
On Monday as I was planing down the face frame of this dry sink, the sawbench was the obvious choice to lend a hand. I wedged it between my bench and the dry sink, and voila. The job was done.
I also plane down table aprons in the same fashion with a sawbench (this particular sawbench was made by craftsman John Wilson; all mine seem to end up in the shops of friends). Frequently, I'll assemble cabinets or glue up panels on them as well.
If you've come up with other good uses for the shop appliance, post them here. Your suggestion might convince another woodworker that they should build a pair.
— Christopher Schwarz
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When I first got serious about woodworking after college, I remember reading a dire warning in a woodworking book about working with pine:
“If you work with pine, be sure to purchase your material, mill it, cut it and assemble the entire project all in a single day. If you let pine sit overnight, it will warp and be unusable.”
At the time, the warning flummoxed me. Sure, the pine from our home center tended to cup a bit if left to its own devices. But the pine I'd salvaged from my home’s 100-year-old floor was the most righteous and stable stuff I’d ever laid hands on.
Since those early days, I have had lots of experience with pine. Thousands of board feet of all sorts of species have passed under my hands: yellow pine, sugar pine, some wacky junk from Sweden, and (this week) Eastern white pine.
All of the species have their charms. The yellow pine is tough like maple but is difficult to saw. The sugar pine is lightweight and stable but splintery. The Swedish stuff reminds me of some exchange students at my high school. And the Eastern white pine cuts and planes beautifully.
Here’s the truth: What I have found is that pine is stable when it’s properly dried and at equilibrium with its environment. Pine’s bad rap comes from the fact that it’s usually sold a little wet at the lumberyard. As it dries, it moves. Also, I've found that construction-grade pine is prone to suffer from drying defects, such as case-hardening, which also besmirches its name.
The hard data from the U.S. Forestry Service backs all this up. The government’s “dimensional change coefficient” figures for hardwoods and softwoods predict how much a species will move when the humidity changes.
Most of the pines are more stable than typical domestic hardwoods. Eastern white pine and sugar pine, for example, move less in service than all the typical domestic hardwoods: maple, cherry, oak, walnut, alder, beech, birch, hickory and ash. And quartersawn Eastern white pine barely moves at all, according to our government. It’s like the MDF of the softwood world. A theoretical 12"-wide quartersawn board would move about .009" when its moisture content changed by one percentage point. That ain’t much.
The pine in our shop this week is a joy. When we brought it in, the moisture meter readings indicated it was actually a little drier than the rest of the wood in our shop. And so I knew what to do: Cut the stuff to length and let it soak up a bit of moisture. It moved a bit. And now it’s tamed.
— Christopher Schwarz
When pine goes bad. Here's a piece of yellow pine that was brought in right from the lumberyard and planed to 3/4" thick. Overnight, it cupped like this. Of course, this could be a novel way to make a coopered door....
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Cabinetry is made of chunks of wood that are fairly standard in size. Most of your parts are going to be shorter than 48" long. It’s rare that individual planks will be wider than 12", or that your casework is going to be much deeper than 24" or so.
And so most of our tools, workbenches and shops are set up to deal with parts and assemblies that fall into those ranges. What’s really amazing to me, however, is how things can fall apart when you step just a little outside those standard sizes.
This week I’m building a reproduction of an 18th-century dry sink that is based on a Connecticut piece. I drew up the plans after studying a lot of photos of the piece and its actual measurements. In my zeal to make my reproduction look spot-on, I glossed over some details that should have raised red flags as I was sketching.
1. Danger, Wide Load: The carcase of this dry sink is 50" wide. That gave our table saw’s sliding table some fits, but I was able to work around its limitations. Where things got hairy was when I assembled the carcase. I needed some 50" clamps to secure the sides to the bottom. But all our clamps only go to a shade more than 48". Our shop's band clamps have fallen into the same black hole as a set of long-missing bed bolts. So I drove the bottom into the dados in the side pieces and used cut nails to hold everything in place while the glue dried. Good thing the original used cut nails as well.
2. In Too Deep: The carcase is almost 27" deep, which means the side panels were too wide for my 24"-wide workbench. So I had to work in stages: I planed as much as I could. Then I shifted the panel and planed the remainder. It was slow, but it worked.
3. Wood Too Wide: The dry sink's door requires panels that are 14" wide. Even our massive machinery can only face-joint a 12"-wide piece. So those boards for the doors had to be processed with handplanes. It wasn’t a show-stopper, but it sure slowed me down.
4. Two Inches Too Long: Because the carcase is 50" wide, many of the boards for the top and bottom were 49" to 50" long. Because the rough stock was 8' long, there was no way to get two 50"-long pieces for the top from a 96"-long piece. As a result, I had to struggle not to waste too much wood.
The good news is that I’m going to adjust the construction drawings and cutting lists for the readers so they won’t stumble with these slightly oversized parts and assemblies. Shaving an inch or two will save a thousand headaches. The bad news is that I probably should spring for a few 52"-long clamps for the shop so this doesn’t happen again.
— Christopher Schwarz
 Lie-Nielsen Toolworks has just released a DVD that is based on the theories, research and building that I did for the book "Workbenches: From Design & Theory to Construction & Use." The DVD – titled "The Workbench" – shows how I use (and adapt) three different workbenches to work on the faces, edges and ends of boards.
Shot during a week in Maine, this DVD demonstrates how to accomplish basic (and some advanced) workholding with a traditional European-style workbench, a David Charlesworth-style workbench and my own Holtzapffel-style workbench.
I also show how to use basic appliances, such as a bench slave, shooting board and a wide planing stop, to extend the capabilities of your existing workbench.
And if you are in the throes of designing or purchasing your workbench, this DVD points out the important design details to consider, including the size of the bench, its workholding and the structure of its top and undercarriage.
This DVD is (I hope) a distillation of my 144-page book on the topic. I think you'll find the DVD especially useful if you haven't read the book or would like to see its principles put into action on a variety of workbenches.
In addition to the 40 minutes of video, the DVD contains a glossary of workbench terms and articles you can print out on shooting boards, holdfasts and bench hooks.
As usual, all of my DVD proceeds are donated to charity. My proceeds from this $25 DVD will benefit the endowment fund of the Early American Industries Association, a very hand-tool friendly non-profit organization.
The DVD is now in stock and can be ordered directly from Lie-Nielsen.
— Christopher Schwarz
Our shop is thick with the sweet odor of Eastern white pine this week as I’m milling about 70 board feet of the stuff for the next issue of Woodworking Magazine. The smell (Megan Fitzpatrick would say “redolence”) is worlds better than the funky fish and burned popcorn smell that wafts daily from our cafeteria.
But with that great smell comes great mystery.
In the first batch of Eastern white pine we brought into the shop, the sapwood was streaked throughout almost the entire load. The streaks are gray-blue and end abruptly at the pine's darker heartwood.
The streaks brought on a little debate in the shop. Some of us think the streaks are mineral deposits that the trees got into. I suspect a fungus among us. After doing some poking around the U.S. Forest Service web site, I suspect we have some trees that were attacked by fungus. The Forest Service says the fungus attack could have come after a beetle infestation. Check it out here.
The staining doesn't appear to have compromised the strength of the wood, so I'm going to use the stained pieces on the inside of the 18th-century dry sink I'm building this week.
But the stain marks did make more work for Senior Editor Glen D. Huey. He's the one who scored the pine for us. To get us some clear wood for the exterior of the piece, he ended up having to go back to his (super secret) source and climb over another seven stacks of wood to find what we needed. As a bonus, he found a couple boards that were 16" wide in the rough. He's a good guy to have around.
— Christopher Schwarz
Anyone who works with me in the shop knows that I'm a bit of a bully when it comes to the stereo. I'll get to the office early, plug my iPod into the crap-tacular shop stereo (which hasn't actually played in stereo since Kool & the Gang were on the charts) and hit "shuffle."
But since early October, the iPod I take to work has been on the fritz. The 1/8" jack has been acting up, and the music has been cutting in and out. So Bob Lang has been able to play his 1970s supergroup CDs in the shop, and Glen Huey has been able to sneak in some Dean Martin.
Today I resolved to do something about it. I took the iPod to our Apple Store and asked for help at the Genius Bar. The guy took my iPod to the back room for about 15 minutes. When he returned he handed the iPod back to me.
"All better," he said.
And the problem was?
"There was some tape jammed in there," the genius said. "I pulled it out and now it's working fine."
I narrowed my eyes and considered my Scotch-tape-loving crafty children as likely suspects. So I asked:
"What color was the tape? Clear?"
"No," he replied. "Blue."
Then I knew it was my own dang fault. I use blue tape for everything in the shop, and bits are constantly stuck to my shop apron. Somehow I managed to jam some of my beloved blue stuff in the 1/8" jack.
The good news here is, however, that I am catching up on my Centro-Matic, Built to Spill and Wilco listening. As is the rest of the office.
— Christopher Schwarz
When I first built my Roubo-style workbench, I wanted to see if I could work without an end vise. So for the first year or so I used my planing stop, holdfasts, battens and geometry to steady my work as I planed it.
But I got tired of the whack-whack, shuffle-shuffle necessary whenever I needed to plane across the grain of panels (called traversing) or plane diagonally on any size board.
So I started futzing around with wagon vises, which I first spotted in an early 20th-century French tool catalog. My first attempt was rather "agricultural" – let's call it the "Early Cletus Period." I built one using a veneer press screw, some wooden runners, chewing gum and a fancy French-style escutcheon plate.
I soon left the Cletacious period and designed an evolved wagon vise that used a bigger acme vise screw, which is on the English-style workbench in my book on workbenches.
But today I am walking fully upright, leaving my sloping forehead ways behind me. My Roubo workbench is now outfitted with the ultimate wagon vise by Benchcrafted.
In the interest of full disclosure, I paid full price for this vise and spent my own money – Le Roubo is my workbench. (The prospect of my company moving all my stuff out of the office is probably one of the reasons I've never been downsized. It would take weeks.)
The Benchcrafted is a nice piece of work. After installing dozens of poorly made vises (and a few good ones), I was impressed to see how well cast and machined every component was as I took it out of its box.
The vise's installation instructions are thorough, well-illustrated and to-the-point. Benchcrafted also includes full-size templates that make laying out all your cuts and holes a snap.
For me, installing the Benchcrafted was a retrofit. So it was a little more involved than if you were installing this vise on a new bench under construction. The vise requires a cavernous cavity on the underside of your benchtop to house all its finely machined guts. So I spent some serious time hogging out waste with a router and a mortise chisel.
Then you need a beefy end cap on your bench to hold the vise screw. My cap is about 3" thick and is lag-bolted to the benchtop. A new bench could easily incorporate dovetails into the design or some sort of breadboard construction.
With the cavity and end cap complete, the rest of the job was precision boring and fitting. Use a drill press to install the vise screw. The templates and the hardware are made to tolerances that are too tight to hit with a brace and bit.
And use a router to install the runners. The runners guide the sliding dog. If the runners are out of line, the vise will bind up. Precision is paramount.
Then it's just a matter of fitting the sliding wooden dog and lining the interior faces of the jaws with leather (I used some scraps I found at Michael's craft store and yellow glue).
How does it work? Like a dream. The dog moves quickly and smoothly back and forth. And the wheel on the end doesn't interfere with the soles of my planes (like on the Cletacious vise). It is, without a doubt, completely worth the $350.
And though my co-workers laugh when I say it, I think this is the last end vise for the Roubo.
— Christopher Schwarz
Though the new Stanley premium handplanes won't hit stores for a month or more, the company has released these photos of the planes that are going to be used on some packaging. These photos were taken by the company's United Kingdom employees.
Up until now, we've only seen computer renderings of the planes. Though the resolution of the photos here don't really allow you to see all the detail, the tools look quite good under Photoshop's magnifying glass.
In case you've actually been woodworking (instead of reading or writing about it on the Internet), you can read all the details about the new line of planes here.
— Christopher Schwarz
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This week my pesky highly rewarding day job has been interfering with the installation of my new Benchcrafted wagon vise. Our February 2009 issue of Popular Woodworking is riddled with typos (or it is written in Pig Latin). So Managing Editor Megan Fitzpatrick and I have been cleaning up our poor verbiage this week while the real work has sat dormant in the shop.
Here’s a quick update: On Monday I did nothing in the shop. On Tuesday I got my Ashley Iles 1/2" mortising chisel off the rack and hacked out the rest of the cavity on the underside. This was the biggest “mortise” I’ve ever chopped: 3" deep, 4" wide and 4" long. Then I used a jigsaw to remove the rest of the waste topside, which lengthened the slot for the vise’s sliding dog block.
Finally, I took my chisel plane (Yea! Another use for the chisel plane!) and trued up the slot. The chisel plane worked brilliantly. I pressed its sole against the existing slot and it trimmed the newly cut areas flush.
Today I worked on the bench’s new end cap. This was boring. A lot of boring. About 12 holes that all had to be spot-on to accommodate the Benchcrafted vise, plus the four enormous lag bolts that attach the end cap. Luckily, it was a snap.
Right as I was about to leave work today, I installed the vise screw and bolted it to the end cap. Then I turned the bench over to start the installation of the last metal bits. I couldn’t help it. I gave the wagon wheel a spin. Whizzzz. The vise moved like a water moccasin through the bog.
I belted out an uncharacteristic “Yee-haw” and headed home.
— Christopher Schwarz
The new line of premium Stanley planes should be available in January or February 2009, according to Stanley officials. The planes were originally planned for a November 2008 release, but a company official said they needed to fine-tune the finished appearance of the tools – plus Stanley ran into a couple mechanical snags.
The premium line of planes – two block planes, a smoothing plane, shoulder plane and low-angle jack – are aimed to compete with premium planemakers such as Veritas, Lie-Nielsen Toolworks and Clifton. You can read a detailed write-up of the specifications of the new Stanley tools in this earlier article.
Stanley's premium chisels are still being fine-tuned, and no release date has been set, according to the official.
Meanwhile, Stanley officials are working on the packaging and released the updated renderings shown here. You can see how these new planes incorporate the famous Stanley "Sweetheart" logo into the tools. As soon as we have photos of the tools, we'll post those as well.
— Christopher Schwarz
This weekend I'm installing the Benchcrafted.com wagon vise hardware on my Roubo-style workbench. But before I could pull my old prototype wagon vise hardware off the bench, I had one more task for it to perform: Making the new end cap for the new wagon vise.
The new end cap on my benchtop has to be beefier than my original end cap, so I had to glue up some 8/4 maple into a slab about 3" thick. I planed it all flat using my old wagon vise, glued up the slab and then decommissioned the vise.
The new Benchcrafted wagon vise requires you to cut a curved cavity on the underside of the bench to accommodate the vise's guts. I hogged out most of the waste with a plunge router and a long straight bit. Then I cut off some of the excess waste with my tenon saw and shaped the cavity's curve with an outcannel gouge used bevel-down.
Of course, the new vise's guide rails are going to have to go right where I have a big void in one board thanks to a waney edge. I'm going to have to cut out the wane and patch it with some solid yellow pine for two reasons: One, it will make for a neater job all-in-all. And two, after seeing dozens of people climb underneath my bench at the Woodworking in America conference, I now know that there is no such thing as a secondary surface on this bench.
— Christopher Schwarz
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Barring some tryptophan- or ale-induced trypanosomiasis, I'm going to start modifying my Roubo workbench this weekend to add some new vise hardware.
I'm replacing the metal leg-vise screw with a beautiful wooden-vise screw from Joe Comunale at BigWoodVise.com. And I'm replacing my hillbilly-style wagon vise with the stunningly machined wagon vise hardware from Jameel Abraham at Benchcrafted.com.
Both of these gentlemen are putting their hardware on sale temporarily. So if you're on the fence, get off. The Benchcrafted.com sale is for one day only: Friday, Nov. 28, 2008. The terms of the sale will be announced that day. So check the site that day for details.
I paid full retail for the Benchcrafted hardware, and I'd do it again. The stuff is beautiful. Even my co-workers (who had no idea what it was for) oohed and ahhed when I pulled it out of the box like some prize-winning poultry.
The sale at BigWoodVise.com runs until Dec. 31, 2008 (so you can conceal these charges on two credit card statements).
The vise screw for the Roubo leg vise is on sale for $130 (and that price includes shipping). The regular price is $165. That's a good deal.
— Christopher Schwarz
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Truth is, I barely remember our Woodworking in America conference in Berea, Ky. The whole thing is a blur. And that has nothing – nothing – to do with all the beverages that people thoughtfully brought to me (one bottle of whisky, two cases of Canadian beer and very special bottle of Belgian ale – thanks Blaine).
All of us were working hard to keep the conference running smoothly that we had little time to sit down and listen to all the fantastic instructors we'd assembled there. Thank goodness for all the bloggers who brought their video cameras. I've been watching every filmed seminar (except mine, ugh) during the evenings.
If you want a list of links to people who are blogging about their experience in Berea, jump on over to our special page for that event. We're updating it regularly.
Today I actually got a chance to review the 500 or so photos we took during the conference. Associate editor Drew DePenning has whittled them down (how many photos do you really need to see of Managing Editor Megan Fitzpatrick with a drink in her hand?) and assembled them into a slideshow on Flickr. Jump here to take a look.
It's an interesting tour of the events of that long weekend, and it made me wish I had been an attendee instead of a staff member. Oh well; maybe next year. At least I have my St. Bernardus as a souvenir.
— Christopher Schwarz
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The unveiling of two new Veritas block planes this week has thrilled some customers with their sleek design, and confused others. Is Veritas – a company historically focused on function more than form – changing
its course with these new planes?
"It's not a direction change at all," says Robin Lee, the president of Lee Valley Tools and Veritas (the company's tool-making arm). "We have four planes coming out soon that are all under 100 bucks."
Instead, the new more-expensive planes are a way to provide a full range of choices for the customer, from Lee Valley's less-expensive Utilitas line of planes in a maroon finish, to the standard line of black planes that the company has been building since 1999, and to this new line of shinier planes that are designed for the customer who demands better materials, more features and a more refined design
aesthetic.
"Some people want something that looks better," Lee says. "It's definitely a different aesthetic. But we have never meant for this to be a high-volume product. If it is a high-volume product, we'll go broke."
So why did Veritas produce it?
Check the jump for the full story.
— Christopher Schwarz
If you are among those who are put off by the modern look of the new Veritas dovetail saw, take a look at the photo above. Using the power of Photoshop, Art Director Linda Watts made the bubinga handle look like ebony.
I think that perhaps some of the aesthetic objection to the tool comes from the transition from handle to spine. It is in an unexpected place. Replacing the handle with ebony (or a black-dyed equivalent) makes the saw look more traditional to my eye.
And the good news is that this would be an easy thing to do: Veritas supplies instructions on making a replacement handle with the saw.
— Christopher Schwarz
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This weekend I spent some time working with the new Veritas dovetail saw, which I first picked up at our Woodworking in America conference. The saw has a radical love-it-or-leave-it look that is whipping up the proletariat on the messageboards. No matter how it looks, wouldn't you like to know how it cuts? I thought so. Check out this short review that I've just published on our web site.
— Christopher Schwarz, who is now going to write about planes for a while.
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Several readers have asked what the differences are among the Kenyon saw that showed up at Woodworking in America, the Gramercy dovetail saw and the Lie-Nielsen dovetail saw. In what I promise is my last post about saws this week, here are some observations.
1. Weight. The Kenyon saw (the bottom saw in the photo) weighs 7.8 ounces. The Gramercy (the top saw in the photo) weighs 6.2 oz. The Lie-Nielsen comes in at 11 oz. Can you feel the difference? You bet. Does it matter? That's your call. I can cut good joints with a lightweight saw and a heavy one. And so can you.
2. Handle. This difference is important to me. All three saw handles are about the same thickness (Gramercy: .88". Kenyon: .86". Lie-Nielsen: .89"). But they definitely feel different. To my hand, the Gramercy feels the smallest and has the most open space. It is .9" at its narrowest point on the handle. The Kenyon saw fits my hand extraordinarily well, like a driving glove. It is 1.13" at its narrowest point. The Lie-Nielsen is between the two. It's not as open as the Gramercy, but it is a tad more open than the Kenyon. It is 1.23" at its narrowest point.
3. The brass back. The Gramercy's is the smallest at ½" wide. The Kenyon is a bit wider at 5/8". The Lie-Nielsen is widest at ¾". The back adds weight, so these statistics should come as no surprise.
4. Blade thickness. The Gramercy is .018". The Kenyon is .017". The Lie-Nielsen is .02". These are all workable thicknesses for a dovetail saw.
5. Point per inch. The Gramercy is 18 ppi. The Kenyon is 20 or 21 ppi (the teeth are fairly boogered up). The stock Lie-Nielsen is 15 ppi. In my book, that means the Gramercy and Kenyon saws are tuned for thinner stock, such as drawers. The Lie-Nielsen is tuned more for carcase work. But you can use either kind of saw for either operation.
What does all this mean? The Kenyon saw is a little different than these two other commercial saws. And so when Mike Wenzloff starts making them, it will be another good choice for your short list.
— Christopher Schwarz
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Good news for those of you who went wild with lust over liked the early Kenyon dovetail saw featured earlier this week. Saw maker Mike Wenzloff says he will manufacture very close copies of this valuable and rare saw for sale during the next few weeks.
The saw surfaced at our Woodworking in America conference in Berea, Ky., when an attendee brought it in and asked Wenzloff if he could sharpen it or replace the blade. People went nuts.
Tool historians in the crowd estimated the saw, which the attendee purchased for $35, was circa 1770. Saws from the 18th century are rare. And dovetail saws from this period are even less common. So Wenzloff took a bunch of measurements off the saw and is about to start making the tool at the same time he makes a batch of sash and tenons saws from the same era.
The dovetail saw will be available directly from Wenzloff & Sons for $140. You can order one by e-mailing Wenzloff directly.
Wenzloff says he's going to make his saw as close as possible to the original. I measured the thickness of the sawplate of the original at .017" thick; Wenzloff's will be .018" thick. The brass back will be essentially the same thickness. Wenzloff said he's going to alter the usable depth at the toe a bit because the blade in the original had shifted a bit. The saw will be 20 ppi, which is just about the pitch of the original (which was hard to measure).
The saw is even going to be stamped like the original with "Kenyon," "Spring" and London" stamped into the spine. On the original saw, the word "Kenyon" is upside down.
"(I) wonder how many I will produce with an upside down portion," Wenzloff wrote in an e-mail.
I hope he'll stamp all of them wrong. It seems the right thing to do.
— Christopher Schwarz
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 During the Woodworking in America conference, I moderated a discussion on saws between toolmakers Mike Wenzloff, from Wenzloff & Sons, and Joel Moskowitz, from Tools for Working Wood.
Both men are knowledgeable and have firm opinions about the topic of saws. The discussion was spirited and at some points contentious, though no blood was drawn. It took a long time for the three of us to navigate the technical details of the shape of sawteeth, and so we didn't get to spend much time discussing what saws you need to build furniture. Several attendees approached me after the session for guidance, and so I decided to share it with everyone here on the blog.
Earlier this year I wrote an entry that explains my personal set of saws (check it out here) and their configurations. This is a good place to start.
Number of Teeth
In general, when I choose a saw I try to match the number of teeth on the saw (called the pitch) to the thickness of my work. With backless saws, such as handsaws and rip saws, I aim to keep six or seven teeth buried in the wood at all times. With backsaws (such as dovetail and carcase saws) I aim to keep 10 teeth buried in the wood at all times.
Here's an example of how this works. If I have a 3/4"-thick carcase to dovetail, I'm going to pick a 15-points-per-inch (ppi) saw. But if I am dovetailing a 1/2"-thick drawer side, I'm going to reach for something finer, such as an 18-point or 20-point saw.
Either saw will work for carcasses or drawers, it's more a matter of what will work better. You don't have to own two dovetail saws. Just pick the one that suits the style of work you do. (Note that these rules don't apply to Japanese saws because they have deeper gullets that don't fill with sawdust.)
And note that there are practical limits. Few tenon saws come coarser than 10 ppi, but sometimes you have to saw a 2"-wide tenon cheek. A 5-point tenon saw would be a bear to start. So be flexible.
Kinds of Saws and What Order to Buy Them In
If you build typical furniture – cabinets, chairs, tables and chests – the following list of saws is meaningful. If you build smaller stuff (jewelry boxes) or bigger stuff (huge armoires), you are going to have to adjust. But I think this is a good list.
Carcase Saw
Typical blade length: 10" to 14"
Points: 12 to 14 ppi
Type of filing: Crosscut
I think this is a great saw to purchase first. It is easy to start and control, and it is useful for all sorts of crosscuts with a bench hook. Practicing with this saw will prepare you for the more challenging backsaws. What length should you choose? As with all saws, I think longer saws make straighter cuts, but they can be harder for beginners to control. My favorite is 14" long. I'm not worked up about the ppi. I see little difference between 12 ppi and 14 ppi.
Dovetail Saw
Length: 6" to 10"
Points: 14 ppi to 21 ppi
Type of filing: Rip
No matter what I write you'll buy a dovetail saw as soon as possible. We all want to cut dovetails. So go ahead. The smaller dovetail saws generally have finer teeth so the length isn't as issue as much as the ppi. Choose a ppi that matches what you like to do. Do you build lots of drawers? Get a finer saw (18 to 20 ppi). Like blanket chests? Get something in the 15 ppi neighborhood. What about the "progressive-pitch" saws, where the teeth are finer at the toe and coarser at the heel? I like them, but it took me a bit of time to acquire a taste for them. If you can try one before you buy it, that's ideal.
Tenon Saw
Length: 16" to 20"
Points: 10 ppi to 11 ppi
Type of filing: Rip
I'm using the specifications for an old-style tenon saw. Usually they don't come this big anymore, except for one made by Wenzloff & Sons. I like a big tenon saw (19"), but I seem to like bigger saws in general. When I teach sawing, my students are split: Half like the bigger saw for cutting tenon cheeks; the other half like a smaller sash saw instead.
Sash Saw (aka a Modern Tenon Saw)
Length: 14" to 16"
Points: 10 ppi is typical
Type of filing: Rip or Crosscut is available
The name "sash saw" has disappeared from most catalogs, but the form lives on as a "tenon saw" or a "crosscut tenon saw." I like a rip-filed tenon/sash saw because cutting the cheeks is a rip operation. Some people choose a crosscut sash saw in place of a crosscut carcase saw because they like big saws or have larger-scale work to do. As you can see, this is where it gets complex. You don't need both a rip tenon saw and a rip sash saw (though you are free to get both). Choose one that suits you. I like a 14" sash saw no matter what the filing. Go figure.
Handsaw
Length: 22" to 26"
Points: 5 ppi to 12 ppi
Type of filing: Crosscut
These backless saws are used to break down rough stock before you process it and to cut larger components to size before you shoot them to their final lengths. I like a 7 ppi saw (they're as common as dirt). Choose a shorter saw if it matches your stature or if you work on top of a workbench. Choose a longer saw if you are taller (I like 26") or if you work on a sawbench (an 18"-high platform designed for sawing). I think these saws are great because they give you lots of sawing practice, which pays off big when you cut dovetails. Usually the saws shorter than 26" are called panel saws.
Ripsaw
Length: 22" to 26"
Points: 3-1/2" ppi to 5 ppi
Type of filing: Rip
I don't use a ripsaw all that much (see the dust on the sawplate?). Honestly, I prefer a powered band saw. Long rip cuts are a lot like work. I'd get a ripsaw only if you are deep into the purity of hand work or you have kids sleeping upstairs.
I hope this has helped some of you at the conference. If you didn't like the session, I apologize. We'll do better next time.
— Christopher Schwarz
As the Woodworking in America conference wound down on Sunday, I dashed out the door with Louis Bois to fetch a six pack of beer he had chilling in his rental car. As my hand touched the exit I heard a voice call my name.
I waved back to the guy. The reply was not what I expected.
“I have something that you have to see.”
I stopped for a second and then plunged into the cold with Louis, who draws the technical illustrations for Woodworking Magazine. Louis had brought me a box of lager from Canada, and after he put the beer in my hands I returned to the conference to investigate.
The guy was standing at the front desk, empty-handed.
“It’s on the copier,” he said. “Just a minute.”
What came off the copier left me speechless: An early English dovetail saw that looks much like the 18th-century dovetail saw from the famous tool chest of Benjamin Seaton.
The saw had a brass back stamped both “Kenyon Spring” and “London” – just like the Seaton saw. A close inspection revealed some differences between this saw and the one featured in “The Tool Chest of Benjamin Seaton.” The Seaton saw is listed as 9” long. This saw has a blade that is 8-3/16” long. The brass back is 7-3/4” long.
The blade is 1” wide under the toe and 1-3/8” wide where the tote begins. The saw is filed at 21 points per inch (the Seaton saw is listed as 19 points). The teeth are filed for ripping. I measured the sawplate at several places and almost every spot was at .017" thick -- very similar to the Seaton saw. That's thinner than modern dovetail saws
The handle is a little different than the Seaton saw. On the section of the tote that overlaps the blade, the wood comes to a point on the Seaton saw. On this saw that area is more rounded.
But all in all, the saws are strikingly familiar.
However, what’s more striking is the story of how the saw arrived at the conference. Its owner is an auctioneer who likes to collect vintage tools. One day he and his wife were in an antique store just browsing around when he spied this Kenyon saw.
He liked the look of it, but he didn’t like the price. The blade was warped a little at the toothline. He figured that if he could get the saw for a little less he could find someone like saw sharpening savant Tom Law to replace the rusty blade with a new one so he could use it.
He hemmed and hawed but his wife finally encouraged him to take it up to the counter to negotiate.
“I tried and tried,” he said. “But they just wouldn’t come off their price of $35.”
He bought the saw anyway and put it aside. He had no idea the saw was anything special until he brought it to the Woodworking in America conference in Berea, Ky. When he took the saw out to show it to someone, the attendees went nuts. People began photographing the thing, taking measurements, and generally just gaping at it in awe.
Sawmaker Mike Wenzloff vowed to make a copy. So they stuck the thing on a photocopier to make images of the saw’s shape. And that’s when I walked in.
After staring at the saw for a while I looked up at the auctioneer and just grinned. And that’s when he pulled out a tool that was even more rare fr | |