Things have been busy at home and in the shop. I’m in the process of building a 24’x30′ timber framed garage/barn. Lots of good content coming from that build, and I promise a lot of it will *eventually* make it to the blog, but the pressure is on to get as much of it up and built before baby #2 arrives at the end of March and our lives change even more at home. We have a 17 month old son that keeps us very busy as it is. On my Facebook page I often post some more real time photos of what I’ve been up to.
Last weekend I taught a workshop at the North Bennet Street School on building a Window Sash that sold out and was a lot of fun. (Recap of that class to follow in the next post)
I believe there are still a couple of spots open in my up coming 1 day workshop on February 27th at the North Bennet Street School in Boston on making traditional molding by hand and making a picture frame from that molding. If you are interested, please make sure you sign up soon.
This course will be very similar to a course I taught out at Eastfield Village for the EAIA’s Historic Trades Sampler. You can see a recap of that course and some of the frames students built here.
For a full list of upcoming courses I am teaching, please check out the ‘Instruction’ page at the the menu bar for the blog or you can directly access it here.
Here is a quick recap of the next few workshops that are scheduled:
This workshop will focus on creating moldings using traditional hand planes. Each student will have the opportunity to setup and use some hollows and rounds, beading planes, rabbet planes and molders on a sticking board to make a short run of molding that will be mitered to form a small picture frame. Cutting/fitting glass will also be covered.
Beginners are welcome.
If you’d like to learn more about this workshop from a prior running, please check out this post. If you’d like to learn a bit more about this sort of work please check out this earlier post as well as this one.
Every family has its own unique holiday traditions. For my wife and I we seem to spend Thanksgiving replacing door hardware and adjusting doors. We did this several years ago in our condo when we lived in Kirkland, WA and again in our home here in New Hampshire. Both times I was swapping out builder grade brass Schlage hardware for nicer Schlage ‘Georgian’ style knobs and hinges with a satin nickel finish.
We’re lucky in that our house is from 1999 and has had a minimal amount of settling — especially compared to the 1910 Craftsman Bungalow we used to rent wherein virtually no door closed properly until I spent a Thanksgiving break adjusting all those doors as well.
With all that door tweaking I’ve refined my method for adjusting the doors and wanted to share a few tips on how I tune up a sagging door.
Evaluate the door:
* Does it close? (and stay closed)
* Do you feel the door rub against the jamb at all? (Are there visible wear marks from rubbing?)
* Is the hardware securely fastened? (Any stripped out or cammed out screws? Lift the door handle a bit and see how the hinges react — do you see slop in their movement? Are some of the screws loose?)
* Has the door been modified? (Anything removed to make room for a crooked or settled door frame? Has the hardware been modified?)
The above door is door to my upstairs hall closet. It rubs a little bit when you open or close it. Let’s take a look and see why.
Looking at the lower left side of the door I can see the door is pressing against the jamb. At the bottom you can see the spacing between the door and the frame tapers off into the place where they are touching.
As is no real surprise if we look at the top right of the door we can see where the door is touching and rubbing on the right jamb. If I pull up on the door handle I can see the door go back into the position it should be — looks like the top most hinge is a little loose.
How do we fix this problem?
In my case I want to examine the doors as they were and also swap out the hardware so anything brass is a ‘before’ photo and anything nickel is an ‘after’ photo.
The first thing I like to do is make sure the screws holding the hinges in place are nice and tight. The default screw most hinges come with are short ~3/4″ screws. After years of use or abuse (say something heavy like a shoe tree hanging from the inside of a door) the screws can come loose and/or strip the wood that once held them securely.
Better hinge sets will often include some longer screws — usually enough for 1 long screw in each hinge. I’ll start by installing 2 screws — one each in the top and bottom of each leaf. As I screw them in firmly — and by hand — I can feel how well the screw is gripping into the wood of the jamb and the wood of the door. If any of the screws just keep spinning then the screw has been stripped out and is now a candidate for one of the longer screws. If the screws are holding then I will use the longer screw in the center hole on the hinge leaf that is on the jamb. This longer screw should go through the jamb and into the heavier framing and provide a strong and longer lasting connection. If the center screw hole was sound but one of the others was stripped out I will put the longer screw into that hole.
Pro-Tip: The hinge leaf with three knuckles should be installed on the door jamb and the leaf with two knuckles should be installed on the door itself. (This will provide a better bearing surface for the door’s hinge leaf to ride on and make it easier to remove the door and put it back in the future). If the pin is removable you can drive it out with a transfer punch and install it the opposite way for a door that opens in the opposite direction.
What do to if the long screws won’t grip either?
Sounds like the screw hole has been damaged too much. If you don’t want to replace the door and/or jamb a reasonable fix can be made using a small diameter dowel. You’ll want to drill out a bigger hole, say 1/4″ diameter, through the stripped out screw hole. Then glue and hammer in a small length of 1/4″ dowel to fill the new hole. Allow the glue to dry and cut it flush with the hinge mortise. Then mark the hole using the hinge as a template and re-drill the hole with a bit that is narrower than the screw you are using. Ideally the bit should be the size of the shank (the solid core) of the screw, thus allowing the threads to get a nice grip into sound/solid wood.
Securely affixing the new hardware fixed the issue on that particular door, but other doors in the house still didn’t line up the way I wanted and/or the hinge was set too deep and needed something more — some shims — to get the door back into proper alignment.
Easy to make shims
I grabbed a manila folder and traced one of the hinge leaves onto the folder. I then cut out what I traced being sure to ‘take the line’ that way I could be sure the template would fit. Also by leaving the folder folded up I could get two shims from each cutting operation. I would test fit the shim and use one as the template for subsequent operations. Also make sure the shim only fills the area where wood would be under the hinge, you don’t want the shims going all the way out to the knuckle of the hinge where they would be visible. Once I had a small stack of these shims I could take a few test fittings and see how many I needed to pad out the hinge so it would be flush with the door jamb or door surface. I would then scotch tape the shims (if I needed to use more than 1) to each other and into the jamb using a small loop of tape. With the shim(s) in place the I’d use the same screw installation procedure described above.
What about the hinge pin door bumper?
A hinge pin door bumper is the little metal bracket with adjustable rubber pads on it used to stop a door from opening too wide and potentially damaging walls or furniture. Once you have your hinges installed you can use a transfer punch (or in a pinch a nail set, nail or another hinge pin) to drive the pin up and out of your hinge. You then put the pin through the bumper and gently tap it back down into the knuckles of the hinge. Once installed you’ll want to adjust the bumper so that the door only opens as far as you want — the bumper may have some spring to it so if you have some heavy handed folks in your house you may want to test it so folks are not over powering the bumper and denting your walls. I put the adjustable side of the bumper facing the trim and the fixed side against the door.
Pro-Tip: Oftentimes I see these hinge pin bumpers installed on the top most hinge. In my view the top and bottom most hinges are under the most stress and when the bumper is used its putting even more stress on the hinge and screws. I prefer to put the bumper on the middle hinge as feel that it is in the best position to deal with the additional stresses.
Mind the Gap
As you are making these adjustments to the door you’ll want to watch the gap between the door and the jamb. Ideally you want this to be even all around — see photo above.
What to do if the gaps aren’t perfect?
Your house may have settled a bit causing the jamb to go out of square or it may never have been installed perfectly in the first place. If that is the case, use your judgement to do the best that you can. Ideally you want at least some space around the door on all sides so that it can swing freely, but you don’t need to obsess over it as houses will often continue to settle over time and functionality should be your top objective.
What if all the gaps look good, but now the door knob won’t catch on the strike plate?
If the strike plate is now way off, say 1/4″ or more– double check to make sure you haven’t misaligned anything. If you are confident in your work and happy with your gaps you could remove the strike plate, use the doweling repair method above, cut a new mortise and re-install the strike plate. This can take a lot of time and work and gets ugly as you don’t want to chew up a lot of the wood in the door jamb, graft on wood dutchmen or shims to fill gaps left by the old mortise nor do you want a lot of putty to fill the gap left by the old location. If the strike plate is only off by say 1/8″ or so you may want to consider filing the strike plate. You can take the strike plate off, put it in a vise and file the opening a bit so that the latch now properly catches in the strike plate. Just be careful not to remove so much metal that you weaken the mounting screws’ ability to securely hold the strike plate in place.
Pro-Tip: Files only cut on the push stroke. After each push you should lift the file slightly and then pull back so that you don’t prematurely dull your file(s). Also be mindful that you don’t leave any burs and make sure you are cutting straight up and down in line with the existing opening in the strike plate.
By working through the above steps you should be able to fix most of the common problems you’ll encounter with interior doors. I know I am a lot happier to have all my doors properly closing and staying closed now. And the new hardware color also makes my OCD happy as the older brass hardware always bothered me as I have been slowly replacing/upgrading other hardware around the house to match that more modern design aesthetic and get rid of any remaining brass.
P.S. This post will be the first in an occasional series of Handyman 101 and/or Woodworking 101 posts to help folks new to this sort of work get acclimated to doing common projects.
If you have specific requests for topics you want to see covered, please let me know in the comments or via the form on the contact page.
Who doesn’t like a nice curve?
I recently had the honor of building an appropriate display case for my friend Lee Lemoine who is a Tae Kwon Do black belt. We talked a bit about what he was looking for, captured some dimensions for the coiled belt and looked at some sources for inspiration and then it was time to hit the drawing board.
I spent about a day and a half drafting and revising my design until I could find something that would work. The cabinet is wide but not too deep nor terribly tall so it was going to be a challenge to make the joinery work. I thought about making the back access panel hinged or sliding or secured in some other manner, but I really didn’t want to see any hardware on this piece. I bought some small brass hinges and a clasp and just didn’t like how it would look. After sleeping on it an idea hit me….to hide a magnet catch since this case will rarely be opened. I also had Jim Tolpin and George Walker’s writing (By Hand and By Eye) echoing around in my head as I worked out pleasing proportions for the overhang of the top, size of the curve etc.
After completing the plans, I planed all my stock and started working on the joinery.
For the magnet catch I made a template on the band saw and used a router with a template bit to cut out the recess.
The catch was captured and would not be seen from the front (shown below)
Next up was constructing the core of the box. The core box needed to capture the glass front in a series of dadoes. I also wanted the box to be serviceable if the glass was ever broken. I needed to keep the joinery simple and decided to go with pocket hole screws since that would allow someone in the future to take the top off of the box and remove the top of the core of the box as well. The overhanging box top is affixed to the core box via screws. The challenge with the screws was the interior of the box was only 2-1/4″ tall so I had to use a square drive bit in a set of vise grips in order to secure the screws through the core box and into the top. (I pre-drilled both to make sure everything lined up where I wanted it)
Next up was cutting the very long strip of glass for the front of the box. I used a stained glass ‘strip cutter’ which works much like a woodworking panel gauge with a fence. You score the glass in one even stroke and break it as you would any other piece of glass.
Next up was laying out the curve using a faring stick — which is a thin strip of even grained wood that you can bend to make the curve you want, then clamp it in place and draw your line with a pencil. If you thin out the strip you can adjust the rate of curvature.
I cut out the curves using the band saw and cleaned them up with some spoke shaves.
For the back of the case I needed it to fit tightly so it doesn’t let any light in and also created a rabbet to keep the bottom in the correct place. The magnet catch secures the top in place.
Shown above you can see the box opened and below you can see it closed.
A small turned knob allows someone to remove the back and is often hidden in the shadow from the top — so when the case is on a table or similar you generally cannot even see it.
The piece is made from a single piece of cherry, finished with a Tung Oil Varnish and wax.
As I was building this case I was reading up on Asian design aesthetics and Tae Kwon Do (TKD) and all that Lee had to go through and master. As he rose through various levels of black belt he had to demonstrate skills and self control and continually work to learn and improve himself.
In my research, a concept that really jumped out at me was Wabi-Sabi — which represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete”. TKD comes from Korea, but from what I could find also has a similar concept in that country as well.
With all the clean lines and symmetry on this piece I wanted to incorporate a tiny little something to try and capture a bit more of that Wabi-Sabi aesthetic or at least some of that spirit. So between the top of the core box and the overhanging box top I inlaid a tiny veneer strip of mahogany. It’s almost imperceptible as it hides in the shadows from the overhanging box top. As I worked on the piece I felt it was a reminder of imperfect beauty, self improvement and a reward for anyone really exploring the piece in detail in their hands.
Lee presented the case with his black belt to his parents during a touching speech and I hear it enjoys a sunny place in their living room.
It was great to see Master Lee Lemoine’s ceremony and I have a whole new respect for what Tae Kwon Do offers and what students can achieve through it. If you’d like to learn more about TKD and specifically the Tiger Claw NH school where Lee is now a Master you can visit their website here.
Working on historic homes and buildings often requires the application of techniques employed by several trades. In recent years I’ve been learning more about preservation masonry. For an upcoming project wherein I’ll have to precisely cut a lot of bricks out in the field I decided to invest in a 7″ angle grinder and a diamond masonry blade.
I’ve been a fan of Makita tools as I use many of them in my work. (From large portable power jointers, angle grinders, chop saws, circular saws etc. and they have all served me well). The 4″ angle grinder I had would not have the depth of cut I wanted to make fast work of brick and block cutting. I bought the Makita GA7021 15amp, 7″ angle grinder at my local Home Depot as it was the largest grinder they stocked, had the specs I was looking for and the Makita website showed this model using a diamond blade on masonry.
When I got it home, opened the box and read the manual I saw that it only included the domed inner flange and lock nut shown below. The instructions made no mention of using flat blades in the tool. I had concerns about support of the blade given my smaller grinders had a separate flat inner flange for use with flat cut off wheels.
I opened up the Avanti Pro segmented diamond blade and wanted to make sure the blade was dead flat, which it was.
When installing the blade given the included domed inner flange the pressure the lock nut applied was sufficient to deform the blade. I did not feel this was safe and would not use it in such a configuration.
I called Makita’s tech support and the gentleman I spoke with said the above configuration would be the approved way to use a 7″diamond blade with this grinder. I argued that this was unsafe and a deformed blade would likely bind in the kerf and asked repeatedly if there was a flat inner flange available for this unit. As far as he could tell, he said no, but as a follow up I offered to send photos so he could escalate as I could not believe that answer given all the smaller Makita grinders came with both types of flange and Makita itself sells 7″ diamond masonry blades which they show being used in this grinder. I sent the above three photos and a detailed description and never heard anything more back from them. I was ready to return the unit and get a Rigid or DeWalt but they all seem to come with the same default flange setup out of the box. For DeWalt the unit cost more and had a lower amperage motor but could special order a set of flat flanges for an additional fee.
In pricing out alternative units I stumbled across this link on Home Depot’s website which included a hard to find Q&A section wherein someone else asked the same question about an inner flange for flat blades and someone at Makita responded to his question with the following reply: “Yes, the correct flange you would want to use to install specialty blades on the Makita 15-Amp 7 in. Angle Grinder (GA7021) is the Makita Inner Flange (224378-9). To purchase this flange, please contact our Customer Service line at 1-800-4Makita (1-800-462-5482).” I looked up the part in more detail and it looks like the flat inner flange was made for other Makita units with the same size spindle and in all their official documents don’t show it being listed as a part for nor compatible with the GA7021 but looked like it would do the job and I figured it would be worth a try. It was annoying that the Makita Tech Support person I spoke to did not have access to the above information.
The fact that a part exists was good news and I tried calling Makita to order it, but it was 6pm and the person who answered said they could not take orders at that time. My frustration level was definitely high at this point so I ordered the flat inner flange from a 3rd party tool part vendor via Amazon.com and it arrived in a few days.
I installed the flat inner flange and the blade fit perfectly.
No deformation of the blade.
Great, now time to go use this new tool…
Unfortunately the heavy housing/guard and mechanism reduce this 7″ blade to a 1-3/4″ cutting depth, but I need 2-1/4″+ to clear cut a brick, so after all of this the grinder and blades will be going back to the store and I’ll have to special order a 9″ grinder and diamond blade online. The good news is the 9″ model is virtually the same machine, just with a bigger safety housing that can accommodate the 9″ blade so the flat inner flange should work with that unit as well. The Makita 9″ model grinder only seems to cost about $10 more, though the diamond blades are more expensive in the 9″ size. I’ll be sure to post about the actual cutting when I have the new machine in hand. :-)
I hope that this post saves someone else from the headaches I had. If so, please let me know in the comments below.
If you love old tools, the Nashua Tool Show is always the place to be. I used to get up at dawn and drive up from MA, but the past few years living in Merrimack, NH I’ve been lucky as the show is on my way to work so I can go extra early on Thursday and Friday morning before work.
We interrupt this blog post for a quick Public Service Announcement:
The lot looked pretty full with some different vendors I had not seen before, but a few of my old favorites were not around. Apparently the hotel — the Nashua Holiday Inn — decided they wanted to try and make more money off of the event and start charging to tool vendors out in the lot for spaces and by the table. Many of these vendors are retirees who drive from around the country to be at this event, buy from the auction and pay to stay in the hotel for several days — most doing it for fun as I doubt what these folks are making off the tools goes too much further than covering expenses. Some of the elders of the tool selling crowd apparently spoke with the Holiday Inn management and threatened to move the long running event and management capitulated, which is good news. Unfortunately several folks had already left when they heard about the fees, and since this event is not overly advertised, they may never come back. Given my posts about the show seem to get a lot of hits around the time of the show I am hoping some folks may read this and return to the show in April. So if you get this message and know of some other vendors you didn’t see, especially those who may not be on the internet, please reach out to them as I want to see this event continue to be a highlight of the tool year. :-)
This concludes our PSA, now back to the tools:
The first aisle closest to the hotel is where all the high end tools tend to live. The closer you get to the highway the more likely you’ll find a deal or a diamond in the rough. As a user more than a collector I do tend to buy from the vendors in the middle aisles.
Above is a great looking bench that had a vaguely Studley look to it. Apparently it also has vises with very similar hand wheels. The seller mentioned Don C. Williams book on Studley and said he was searching for a bench like this for the past 30+ years. Given the hunt I thought it was interesting that he already sold it to someone else for a pretty penny. I hope it gets cleaned up and back into service for the lucky person who picked it up.
Above are some old and still sealed gallon jugs of Johnson’s Wood Dye.
An interesting tool chest for sale with LOTs of round headed screws for decoration and as part of the construction of the chest.
The carcass was dovetailed and the screws seemed to be backup support and decoration.
Interior of the chest. The lower tills were open trays. The top till had a lid and a single divider inside. On the front wall was a nice tool rack carefully sized for the various chisels and tools that once inhabited the chest. The hinges for the lid were also nice.
The lid also made liberal use of the round headed screws in an interesting pattern and likely helped protect the wood top as wood and other things were inevitably put on the lid and slid across the chest. The wood on the top looked to be in remarkably good shape.
Above are some chests on display by Bill Garrett of Sparrowbush, NY. You may remember him from this earlier post.
And now on to what I bought. I happy to say I didn’t spent too much this year and got some interesting items. From left to right: Some interesting books (The Barn, The First American Finishers Manual, The American Craftsman, and the Little Book of Early American Crafts &Trades). A new in package Bahco scraper, New in package Stabilia Torpedo Level (I’ve had one for years that lives in my toolbelt so its nice to have a spare/one for the shop), Ulmia Jointer Plane, ECE Shoulder Plane (Being of German Descent, and the fact that Americans don’t seem to like these sorts of plane, it has been interesting to collect and test out German style tools in my shop), Inside/Outside Calipers similar to what you see in the Studley Tool Cabinet, Dixon wood marking crayons donated by a friend, Paring Chisel with modern handle crammed on, a nice box of small carvers slip stones, a nice big gouge for coping when timber framing, and a very neat brass stencil given to me by Cynthia and George Short that says “W.W. & C.R. NOYES, 2388, BOSTON” that was likely used to mark crates or similar objects. As I have been reading up on Civil War re-enactors who build their own furniture, crates etc it was something I wanted to try out. So if anyone out there knows who the Noyes were or what they sold I would be interested to hear from you. The prior owners contacted some historical societies and didn’t get a firm answer. I’m hoping to use it as a model as I eventually want to make my own similar stencil with my own name on it. I’ll be sure to post about it.
And last, but not least the photo above, on canvas, though a modern reprinting of an historic photo. It’s a great shot of carpenters and joiners in the mid-late 19th century. I’m making that date assumption based on the architecture in the background and the more modern lumber they are sitting on. Even though they are sitting on a fairly modern looking lumber, likely to be used in a balloon frame, the men are holding slicks, mallets, draw knives, chisels of the scale used for timber framing, an earlier pre-bailey bench plane, framing square, bits with wooden handles, an adze, boxwood rules, a hand saw, a two man crosscut saw etc. It looks to be an amazing image of the time when things were transitioning from the old ways and heavy timber work to lighter construction methods. Other things of note in this picture are the various hats, pipes, aprons and overalls the guys are wearing. The guy in the first row, third from the left who looks like he’s in pretty rough shape. The well dressed man in the front row, third from the right with no tools in his hand — was he the owner? Or the foreman? Often the man with the framing square in a photo like this is the master, but the young man to the right of the well dressed man does not look like he’s the most experienced out of this lot. There is also an unusual building behind the head of the bearded man holding the two man saw that might help identify where this photo was taken. The seller thought it might be from southern MA, in the New Bedford or Fall River area. So if anyone has any further insights to add, please add them to the comments below. The photo opens up as many questions as it answers and will look nice hanging up out in my workshop.
I hope to see you at the next Nashua tool show in April.
The Studley Tool-Cabinet and Workbench are the stuff of woodworking legend. I’ve seen the now famous poster of the cabinet in many woodworking shop, school and store. It’s the benchmark by which every other tool cabinet is compared. I know it ran through my head when I was researching the Chandler and Barber Sloyd tool cabinet.
To gaze upon this woodworking masterpiece in person is to be in awe…
Or so I’ve heard. The cabinet has been in private hands in recent years and other than a grainy New Yankee Workshop DVD and the FWW Poster and Article there were not a lot of places to see it or learn about it.
Earlier this year Donald C. Williams and others organized an exhibit to coincide with Handworks 2 wherein a limited number of folks could visit the cabinet and bench in person. I would have loved to have seen it in person but New Hampshire is a LONG way away from Amana, Iowa and with an infant son at home I could not make a trip of that distance.
I did pre-order Don’s book “Virtuoso: The Tool Cabinet and Workbench of Henry O. Studley” by the Lost Art Press which can be described as high class tool porn. :-) It provides lots of background, research and in depth photographic record of each tool in the cabinet along with vivid photographs by Narayan Nayar. The comprehensive book is well worth the read and can be inspirational to even non-woodworkers. There are several reviews of it on other well known websites.
But for those wanting more instant gratification or those of us who don’t have as much reading time as we used to — these days with the baby I’m lucky if I can get an exhausted hour or so in front of a screen to watch something enjoyable, so I figured I’d take a gamble and check out the companion DVD — “Virtuoso: The Tool Cabinet and Workbench of Henry O. Studley” also by Lost Art Press.
The DVD runs for about an hour and fifteen minutes and feels a bit like a PBS style documentary. (Which is something I often enjoy). It’s interesting to see how much emotion folks close to this project felt as they worked with the cabinet and its tools. Don Williams, Chris Schwarz and Narayan Nayar talk about what moved them, their favorite tools from the cabinet, their adventures in researching the cabinet and Studley and even some of the open questions they’d like to learn about if someone out there is sitting on a cache of Studley documents. The disc also has a section wherein Don removes all of the tools from the main compartments of the cabinet and shows each tool to you — basically everything except the drawers. It was very interesting to watch that happen in video as it gives an idea of how well the various trays, doors and holders held in their respective tools and how Studley layered the tools to make an incredible visual composition. Given how hard some were to locate and get in and out I don’t think Studley loaded up his tools each day and night as part of his regular work as I am in the camp that views this as something he did at the end of his career to make a statement/preserve some of the tools, but it was interesting to see some areas did have some wear from repeated use. The video reinforced the inspirational value the cabinet provides and helps to showcase the quiet beauty found in these high quality and time worn tools.
My criticisms about the DVD are all pretty minor: The disc comes in a cardboard sleeve — I’d rather have had a plastic case so it doesn’t get lost on my DVD shelf or a digital download option instead. The chapter transitions all use the same cover image with different text and were a bit slow to transition — and again that is likely just me being a tech nerd. Having attempted to edit a few videos for YouTube and for classes I have a lot of respect for anyone attempting to edit video as it is a VERY tedious process and everyone is a critic. :-)
So, if you missed the Studley Exhibit in Amana, Iowa this video is the next best thing to seeing the cabinet and workbench in person and I’d recommend watching it. Feel free to share your thoughts on the video in the comments section below.
P.S. I bought the caliper shown in the featured image at this year’s Nashua Tool Show thinking of the Studley Tool Cabinet.
P.P.S. I bought the now famous poster from Robin Lee as part of the EAIA Annual Meeting Auction — now I just have to find some time to make a proper frame for it, so I can proudly hang it up out in the shop.
P.P.P.S I don’t have a direct association with the Lost Art Press other than Chris being a friend of mine and having bought a ton of stuff from LAP over the years. The links above generate no income for me and are provided for your ease in finding the book and DVD.
On Saturday I taught a workshop on the use of traditional molding planes to make a picture frame. In this post I’ll cover some of the highlights of the course and share some details for folks who might want to give it a try at home.
One of the joys of an event at Eastfield Village is to work by natural light in a beautiful and immersive setting — in this case Don Carpentier’s village of carefully moved and restored historic buildings — taverns, trade shops, homes and outbuildings.
After an orientation to the tools and classroom setup I demonstrated how to evaluate a molding plane and how to tune up an iron. We also talked about the wide variety of profiles that can be created from even a very modest set of molding planes. The profiles below can be created using a beading plane, a pair of hollows and rounds (say #8) and a rabbet plane.
And with hollows and rounds the profiles are only limited by your imagination.
Students tuned up their planes, squared up their stock, and tested their plane setup on some scrap and set about making the stepped rabbet needed to hold the glass in place and the plywood back. The plywood back is carefully screwed in place and helps created a very solid/rigid frame compared to the floating backs held in by stamped metal retainers we see on many modern store bought frames. The long piece of plywood with an MDF fence and screws at the end to secure the stock is called a ‘sticking board’ and can be as long or as short as your project stock requires.
Next up students started molding their chosen profile(s). We talked about how to work backwards withe the molding planes building on the work of an earlier swipe, how to adjust irons as needed and how to get a nice finish on the profile.
With a fully molded piece of stock now it was time to layout your cuts and cut the miters. In this case students left the line knowing that we could creep up on it by using my Lion Mitre-Master (large metal frame-makers guillotine) or a shooting board with 45 degree insert to clean up the corners and ensure we have a nice tight miter at each corner.
With the woodworking complete, next up was a test fit in the band clamps and then final gluing of the frame. While the frames baked in the clamps it was time to cut the glass to size and test fit it. We did this with a self-oiling glass cutter and a layout I made on the bench. Once the glass was fit it was time to layout and countersink the plywood back which was made if 1/4″ thick Baltic birch plywood and secured with #6 1/2″ waxed screws. We used bit braces and egg-beater drills to make quick work of this step.
Hanging hardware came in the form of a self leveling hanger (Think saw-tooth that hangs on single nail) which is affixed with two tiny brads. An appropriate finish would be stain and shellac or a nice bright milk-paint.
I’m happy to report that everyone in the class was able to complete their frame, and I had a great time working with Tom, Don, Carol and Brian. (Carol I’m sorry that I didn’t have any photos of you working to add to this post, but I did make use of some of those photos of me you share with me — thanks again) .
If you’d like to make a frame of your own the plans I put together for this workshop can be seen and downloaded from the link below. The seemingly odd size of this frame was dictated by two factors — the smallest size glass I can get at my local home center is 10×12″ so if you cut it in half you wind up with two 6×10″ pieces which allows each student to have a spare in case their glass cutting didn’t go well and they need a spare or they find time to make a second frame. The size is also dictated by the sticking board and stock. I wanted something that would fit on the 8′ sticking boards I had and allow some extra space in layout and for cutting and to have a bit for testing/trial. The plans below could be scaled up or down to fit whatever size frame you desire.
If you make a frame of your own and take some photos of it, please share it in the comments below. It’s a great project that can add some unique personality to your pictures and add valuable skills to your woodworking repertoire.
The ax is a noble tool. One of, if not the earliest tools used by man it has been by our side since time immemorial. Different cultures mythologize different axes as part of their cultural heritage, from prehistoric cave drawings, to vikings to Native Americans to western pioneers but at their core the ax and its purpose is the same. All of these cultures had similar needs– to provide food, shelter, and protection for its citizens.
Over time this commonality seemed to fade away, relegated to a cob-webbed corner of the barn or missing from the home altogether as many people live in a world where providing for food, shelter, protection etc is derived from modern trade and conveniences. For those that remember their father or grandfather using an ax and want to re-capture that piece of their heritage, even finding a decent ax in a modern store will often only turn up cheap caricatures of what an ax used to be.
Rather than lament this loss I fell down the hand-tool rabbet hole many years ago and I have no intention of returning to ignorant life I led when I thought power tools and jigs were the best way forward. Sure I still have plenty of power tools for some mundane tasks like thicknessing wood in volume, but more often than not I reach for a hand tool — to enjoy the relative quiet (always good as their is a baby in the house), the energy efficiency (I can stand to lose more weight so burning calories is better than burning kilowatts), the speed, the accuracy and connection to the past.
Nothing I wax on about in this post is new or novel in the woodworking community, but it strikes a nerve for me that can at times be hard to articulate. A quote from early in Roy’s first book aptly summarizes a core bit of his philosophy that is near and dear to my own heart:
“I teach traditional hand-tool woodworking — how to start with a tree and an axe and make one thing after another until you have a house and everything in it. The satisfactions of this work are immediate and personal. You find the tree, fell it, shape the wood, and join it together. The mistakes and successes, the accidents and discoveries are between you and the tree.” — Roy Underhill ‘The Woodwright’s Shop: A Practical Guide to Traditional Woodcraft’
I owe a big debt of gratitude to Roy Underhill for helping me get in touch with my inner Carpenter/Joyner via his show, his books and in person classes. At NBSS I got real familiar with a felling ax and a hewing ax for hewing timbers, but I never took down a tree by hand using an ax. Even though I had the axes on hand I always used my trusty chainsaw. On a recent weekend of clearing trees in the yard I decided to get an item off my bucket list, grab my trusty Gransfors Bruks felling ax (sharpened/maintained so that I could shave with it if need be), and fell a tree by hand.
I wandered out in the woods and trimmed some dead branches to clear a bit of a path. Whack — nice clean cut and a lot less work compared to my tree saw on a pole. Let’s go bigger. I took down a small pine tree about 8′ tall. In a few minutes the tree was down. Still too easy. Let’s go bigger. A standing dead remnant of a tree. Now the blood is flowing and adrenaline is kicking in, but apparently there was no fear of death by crushing. Let’s go for something bigger still. I found a medium sized (~40′ tall) eastern white pine that was between me and where I wanted to dump some stumps in the back acreage. I notched in where I wanted the tree to fall. Each strike with the ax severed fibers or popped out chunks as I worked my way into the tree. I then notched in from the opposite side, though higher, so the tree would hinge over where I wanted. Timber! Down it went. Time to de-limb it and buck it into a movable log size. Bucking the tree into logs was a similar process of working through the tree as I did when felling it, though this time I was going completely through rather than creating notches to pivot on. Once I got the logs down to about 8′ sections I was able to drag them out of the way, put them up on some rocks to keep them off the ground and make use of this newly created path. The logs will start to season over the dry winter and we’ll see if they become firewood or maybe some other use around the house or yard.
It was a great workout and came with a sense of accomplishment that stayed with me along with the realization that there are some muscles in my back and shoulders that clearly are not getting enough use. ;-) I felt more a part of a continuum dating back to those earlier generations who started at the tree and made all the items they needed to survive and eventually thrive. It also gave me a new appreciation for the amount of human energy invested in a lot of those earlier buildings.
If you have the opportunity to take down a tree by hand, I encourage you to learn how to do it safely and then give it a try and make something from some of that wood once it is seasoned. It’s good for the mind, the body and the environment.
If you’d like to learn more about the proper use of the ax or see the more eloquent and entertaining philosophizing of Roy Underhill you may want to check out some of these videos:
Great Video Clip of Roy Underhill in Philosopher Mode talking about historic Axes. (I agree with Chris that Roy should have decimated that podium here.)
Roy’s Ted talk — ‘Have Broad Ax, Will Travel’ here.
What have I been up to when I haven’t been swinging an ax?
I apologize that I have not been blogging as much this summer as I have in the past, but with work, teaching, a < 1 year old baby and a big project in the works I’ve been spread thin. My free time has been spent on a different sort of project — one that will have been worth the wait. Since April I’ve been spending most of my free time, nights and weekends clearing land out in the back yard to make room for a timber framed shed/barn and I am finally in the home stretch. I’ve removed about 50 stumps, some of them as heavy as the tractor I used to dig them out with and I have cleared about a quarter of an acre of dense woods. It was a LOT more work than I thought, but similar to tree felling experience has been good exercise and a personal accomplishment I am proud of. A little more grading/leveling and blending the transition from yard to woods and I’ll be ready to break ground on a barn/outbuilding.
I’ll be documenting the process from beginning to end in video, in photos on the blog and with some content partners so I hope you will stay tuned for that along with the regular stream of blog posts.
The name ‘Eastfield Historic Trades Sampler’ reflects what is being offered –a sampler of various trades- with an opportunity to learn about them while completing a small project related to the craft.
There are two different workshops each day from which to choose. The classes start at 9 a.m. and there is a lunch provided in Eastfield‘s historic tavern from noon until 1 p.m., at which time the afternoon session of the workshops resume. The workshops end around 5 p.m.
I’ll be teaching a lesson on running traditional moldings using traditional hand planes. Each student will have the opportunity to setup and use some hollows and rounds, beading planes, rabbet planes and molders on a sticking board to make a short run of molding that will be mitered to form a small picture frame.
If you’d like to learn a bit more about this sort of work please check out this earlier post as well as this one.
About Eastfield Village:
Eastfield is a village of historic buildings that Don Carpentier brought to the eastfield of his farm in East Nassau, New York, over a period of forty years. The village is used as a hands on preservation lab and students can explore the village, handle period objects and learn a lot in a short period of time.
Students are welcome to stay in several of these buildings which have been restored to their 18th and 19th century appearance; however there are hotels and other accommodations nearby. Learn more about Eastfield Village here.
Accommodations at the Village:
Accommodations in Eastfield‘s taverns are available free of charge for those wishing to stay as guests in early 19th century accommodations. The only requirement is that each person supply their own bedding, plus 10 ten-inch white candles.
Students who take classes at the Village are encouraged to stay here during the Historic Trades Sampler. Meals may be cooked or served in the late 18th century kitchens. Accommodations are rope beds with straw and feather ticks. Facilities are located in period out houses (and there is a modern porta-john, and a running hose should you need those slightly more modern comforts ). There are evening gatherings in the Briggs Tavern and lively conversations and games of dominoes by candlelight. This immersive experience offers an unforgettable opportunity to be with others – students and teachers – of similar interests, to gain an appreciation for the work and daily life of early 19th century America.
Don’t forget to Register Today!
This is an great opportunity to learn and practice historics trade using traditional tools!
Dates: Thursday July 30-Sunday August 2, 2015
Location: Historic Eastfield Village, East Naussau, NY 12062 (Directions)
Cost: $485 for this 4 day event
I hope to see some of you at Eastfield this year. You can register for the event on the EAIA website here. If you have questions, feel free to ask me in the comments or via the contact page for my blog.
I love buying and using hand tools. The tool in this post I hope I never have to use. In fact, I bought two of them and hope I never have to use either of them.
Why would someone buy a tool they never want to use?
Is it a collector’s item? Nope.
Was it a bargain? Nope. I paid about $43 each for them on Amazon.
I bought them because I am a parent now. (And I do love a good tool with a solid purpose).
Why would someone want this tool?
This tool was designed for fire and rescue professionals and is a versatile multi-tool. The hardened cutter is designed to cut through a car battery cable, wiring harness or seat-belt with ease. The curved end can be used as a spanner wrench to open water fittings. The more rectilinear arm can be used to shut off a natural gas valve and the tapered end of that arm can be used to pry a door or window. The hardened arms also have some semi-pointed ends that can be used to break safety glass. If you get into a car accident or help someone on the side of the road this is the tool you want to have by your side.
The tool is made in the USA by ChannelLock and is called the #89 ‘Rescue Tool’. They also make a slightly smaller/lighter version (The #87) if you drive a miata or have this tool on your person as part of how you make a living. They also make the #88 version which has linesman pliers instead of the cutter.
A few years ago I saw this in my local Home Depot and wanted to buy it, but we put it off as it was kind of expensive for a seemingly simple tool. As a new parent with a 10 month old baby and surrounded by terrible drivers and winter road conditions up here in New England I figured I’d bite the bullet and finally go buy one for each of our vehicles. They no longer seem to stock it in the store, but thankfully it’s still in production and readily available from Amazon and similar sources.
The tool fits nicely into the door pocket on both of our vehicles. If it rattles around too much for you liking you can wrap it in a towel or similar to keep it quiet. It also has a nice thick clear-coat on it which should keep it from rusting in the door which likely gets some rain on it on occasion.
It’s a great addition to any vehicle. If you’d like to learn more about this tool ChannelLock has a dedicated website for it here.
P.S. I don’t have any relationship to ChannelLock, but have many of their Made in the USA tools that have served me well for years of hard work and I wholeheartedly endorse this tool.
P.P.S. Curiosity and necessity drove me to use it the other day and the tool did a great job cutting through some 3/4″ braided nylon rope with ease and made a nice clean cut.
A Joiner's Guide To Traditional Woodworking and Preservation