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 Friday, December 01, 2006
Hollow Mortise Chisel Tune-up
I've been away from the blog for a while. It's been a busy few weeks with Thanksgiving, filling book orders and the main job, publishing a woodworking magazine. Since putting the February issue to bed, I put on my Woodworking Magazine hat and set to work investigating chisels for hollow-chisel mortising machines. I've always been geeky about sharpening things, not in the sense of polishing chisel backs to 32,000 grit, but having a good edge before going to work. Before using a router bit, I dress the edge with a diamond file, and I usually touch up the chisel before machine cutting mortises. Sharp is good, but with tooling used in a machine like a mortiser, you hit a point where your efforts meet with diminishing returns. Here is a procedure that will take less than 15 minutes and will give you cleaner, cooler cuts.  This is a typical dull chisel. I found it in the cabinet in the base of our old mortiser, and don't know what brand it is, or how old it is. It wasn't completely trashed, but the end was discolored, and the grinding marks from the factory were still visible on the outer faces. If you look at the pile of chips, you can see that they are fairly large, and some of them are scorched. There's is a lot of friction between the chips and the metal as they work their way up the flutes of the auger bit. The chips rubbing against each other can get hot enough to burn, and once that happens, the smoke and resins in the wood start to get sticky. You can also see the chips in the flutes of the bit. If you can keep things cool, they won't be there.  Here is a close look at the dull chisel, just about to undergo the first stage of the tune-up. The discoloration is mainly smoke damage, the chisel hasn't been overheated to the point where the metal loses its temper. The sharpening cone came from Rockler as part of a 3-piece set that includes a coarse and fine diamond coated hone, and a handle to put them in for hand honing. The set costs a little over $20, and I think it's a good buy. The handle accepts hex-shanked screwdriver bits, and is comfortable to use for that purpose as well. This is chucked in our drill press, set at it's lowest speed, with the chisel held in a drill-press vise. It doesn't take long to grind a good edge on the inside of the chisel. It takes me more time to get it locked in the chuck than to sharpen one chisel. All you need to do is bring it down until you raise a burr on the outside of the chisel.  The
next step is to get rid of all the grinding marks on the outside of the
chisel. I stick a piece of 150 grit sandpaper to thecast iron bed of
one of the machines in the shop, and rub the faces of the chisel on it.
I start with the clearance slot facing up and give each face the same
number of strokes.
I do twenty-seven on each face because I like the number, but anywhere
from 20-30 will do. The idea is to take an equal amount off of each
side. Don't worry about making the chisel smaller than its nominal
size. You may have to go around 2 or 3 times, but this is a once in a
tool's lifetime operation.  After the sandpaper, switch to the finer cone at the drill press, and hit the inside again. Like the first round with the cone, you only need to grind for a couple seconds to raise a burr on the outside. Then work your way around the outside on a medium grit diamond (or any other) sharpening stone. I tried seeing what going to a finer grit would do, but measurable improvements in the working of the chisel stopped about #1000 grit. You can keep going to finer grits if you want, but you'll only have a shinier chisel, not a better working one. My grandfather used to call that "polishing the polishing"  The last step is to file a notch on each of the inside corners with a triangular file. I wish I could take credit for thinking of this, but it is a feature found on some chisels. I first saw it on the premium chisel set from Lee Valley. Depending on the hardness of the chisel, this filing may take a while, but I think the results are worth it. This provides some more clearance between the outside of the auger bit and the inside of the chisel. I also think it makes it easier to plunge the corners of the chisel into the wood to start the cut. The benefits of doing this aren't as great as the benefits of smoothing the outside of the chisel, but it doesn't hurt, and in some species of wood may really help. Once you've taken a chisel through this procedure, you shouldn't have to go through it again. You will need to dress the edges occassionally. This won't take more than a minute or two. Twirl the fine cone inside the end of the chisel by hand to raise a burr, then take a few strokes (I like 9 in this case) on each face with a sharpening stone.  Here's a picture of the sharpened chisel, along with the chips it made. The chips are a lot smaller, and the chisel is a little easier to plunge into the work. There isn't a tremendous difference in the amount of force you need to make the cut, but the bit and chisel will run considerably cooler. Heat is the real enemy, and in addition to dressing the outside of the bit, the other important consideration is leaving a big enough gap between the bit and chisel. Most bit manufacturers and published advice suggest a gap that is way too small-a credit card or dime sized gap will likely smoke and burn. Set the gap a bit bigger, and you'll enjoy much better results. Bob Lang
Friday, December 01, 2006 4:09:43 PM (Eastern Standard Time, UTC-05:00)
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Behind the Scenes: Joint Trickery!
 There are things that are very nice about working at a woodworking magazine. New tools arrive out of nowhere. New ideas are promoted for upcoming articles, which afford one the opportunity to feel like he or she, is on the inside directing a growing trend or, in some cases, seeing into the future (this is because we are working on the April 2007 issue) and all the while getting paid. And the best part, we get to laugh at things we see and about things that we do in house that you don’t get to see.
We are about to complete the spring issue of Woodworking Magazine, the sister publication of Popular Woodworking. Each publication of this magazine is tied around a common technique. In the issue we are about to complete, the exploration of the mortise and tenon joint is the featured topic.
Along with articles on the joint itself and on building a trivet to practice your techniques (and a few other articles), I have written an article on the proper pegging of the joint where we discuss the history of the joint, why it was pegged and if we should continue this practice today.
Each article has what is called and “Opener” – the picture that is at the beginning or opening of the piece, hence its nickname. For the pegging article I had to supply our photographer, Al Parrish, with the pieces to use in the shot. We needed three examples of the mortise and tenon joint.
No problem – except time, that is. I have previously written about my “just in time” inventory system that has carried into the articles for the magazine. I had to get the article complete and Al had to have the picture props. What’s a fellow to do?
Well here is the answer. I concocted three mock joints (two of which are in the photo). From the front, which is exactly what the readers get to see, the pieces appear to be the nicest fitting M&T joints ever made. But, flip them over and the back shows the trickery that I used to bring the piece together. The assembly, when viewed from the rear, is an example of a great pocket screw joint. Some might say this is the art of deception. I however feel that this is a fantastic way to show something that educates people without the entire process taking a huge amount of time to get ready, mine that is.
If I could have used this in my woodworking career or if you can find a way to incorporate this technique into your projects, just imagine how quickly we could build those antique reproductions – a museum quality High Chest of Drawers in a few days versus a few months. Museum Quality?? That’s the rub.
Sorry to have burst your bubble.
Glen D. Huey
Friday, December 01, 2006 8:10:24 AM (Eastern Standard Time, UTC-05:00)
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 Wednesday, November 29, 2006
A Preview of a Creole Table Project

Coming in the February 2007 issue (at the printer now) is a close copy of an 18th-century Creole-style table I built earlier this year. It looks like an ambitious and curvy project – but that assessment would be only half-correct. While curvy, this French number is surprisingly easy.
To whet your appetite for this spicy Creole dish, we're posting a SolidWorks drawing of the table for you to download (for free) and examine.
EDrawings is a free little program you can download (for both Mac and Windows machines), which allows you to open up the drawing file and examine the projects in extraordinary detail. And even if you have never used a CAD program, I think you'll find this program a cinch to use.
 When you open up the files you'll see the assembled project floating in space – this is called a "live model." And boy is it live! Using the tools at the top of the window, you can rotate this project in every direction to see all sides of it in its assembled form. You can pull individual parts off and rotate those around to look at all the joinery by zooming in and out. See how the web frame works. Make the legs transparent and zoom in on the tenons to see how they are offset from the aprons. Check out the tight dovetails (the only sure-fire way to get tight dovetails: draw them that way!)
These drawings are the next best thing to inviting you into our shop for you to examine the completed project. Heck, I think this is actually better. The projects are much easier to turn upside down and disassemble when they're digital.
Once you see how easily this piece is put together, you might want to do some more investigation of Creole furniture. Until recently, Creole-style furniture was a bit obscure, known mostly to a handful of furniture collectors who specialized in pieces made in the Mississippi valley. But that’s changing.
The original version of this 18th-century walnut table sold for $54,625 at a 2003 auction. And other Creole pieces, such as armoires, are commanding prices up to $140,000. So what is the Creole style? Essentially, Creole encompasses furniture made in the Mississippi valley by furniture makers who were usually French-Canadian. The pieces have lots of French touches, such as cabriole legs, but also have the unmistakable restraint of early American furniture that collectors seek.
 This table, for example, looks quite a bit like drawings of 18th-century French furniture from Denis Diderot’s “L’Encyclopedie ou Dictionnaire Raisonné” (1751-1780) – but without the banding, inlay, carving and marquetry.
I first saw this table in the magazine Early American Life and was completely enamored. Our project illustrator, John Hutchinson, took a photograph and produced the construction drawings. And 37 hours of shop-time later, this is the result.
Download the drawing here:
Creole Table Assembly1.zip (1.1 MB)
— Christopher Schwarz
Wednesday, November 29, 2006 10:41:46 AM (Eastern Standard Time, UTC-05:00)
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 Tuesday, November 28, 2006
Tool Test: Infinity Router Bit Set
 How do you accurately test a seven-piece professional set of Infinity router bits? Let’s face it, you could spend months in the shop trying to accomplish such a feat by using them day in and day out while building several projects and studying their performance along the way. I didn’t have that kind of time, so I applied some standard tests to check the precision of the manufacturing. I used micrometers to check the various steps in the rabbet combination bit, to check the diameter of the bearing in relation to the cut on the flush trim bit and to the cut of the 3⁄4" pattern bit. I moulded a piece of hardwood with the 1⁄2"-radius roundover bit in a hand-held router, and with the 1⁄2" cove bit in the router table in order to check for a matching fit and determine if they could be used for a drop-leaf profile. I found that they all worked superbly under shop conditions. But the true test of a packaged set is: Are these bits the ones most often used in a professional woodworking shop or that most woodworkers would use in their shops? Or, did they select a few usable bits and finish out the set with less-than-desirable contents? No, this is a useful set. Each of these bit profiles has been a workhorse in my shop during the past 12 years. I’ve used them all and I find myself using at least one during each of my woodworking projects. This is a nicely assembled selection of router bits for use in your shop and these bits also have 1⁄2" shanks for added strength and durability. The set is $149.90. For more information, call 877-872-2487 or visit infinitytools.com. — Glen D. Huey
Tuesday, November 28, 2006 3:06:46 PM (Eastern Standard Time, UTC-05:00)
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Router Bit Depth Gauge

Editor's note: Here is one of the coolest Tricks of the Trade from our December 2006 issue from reader Rick Wilson of Houston, Texas.
 Setting the projection of a router bit using a ruler can be problematic, and not terrifically accurate, especially if your eyes aren’t what they used to be. To solve the problem, I made this simple but very accurate router bit depth gauge from a scrap of wood and an inexpensive dial indicator ($15.50 from Lee Valley, 800-871-8158). It measures bit projection in thousandths of an inch up to 7⁄8", which is enough for most of my grooving and slotting tasks.
The dial indicator shaft fits snugly into a hole drilled in the top of the inverted U-shaped gauge block. A slot extending out from the hole is pinched together with a machine screw to lock the indicator in place. After unscrewing the stock tip, a small hardwood block is friction fit onto the end of the plunge rod to serve as a plunger pad.
To use the gauge, first zero it out with the plunge-rod block pressed against the router base or router tabletop. Then center the block over the bit, and raise the bit until the desired projection is reached.
Tuesday, November 28, 2006 2:55:23 PM (Eastern Standard Time, UTC-05:00)
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 Wednesday, November 22, 2006
Behind the Scenes: Ahead of the Game?
 Before coming to Popular Woodworking, I had many years of building furniture for customers and clients under my belt, and I found that I had developed a few habits that were hard to break – a few ruts that I fell into most willingly. Sure I liked to use a table saw to make all of my cove mouldings, I cut my tenons with my shop-made tenon jig and more often than not I would use aniline dyes to finish my work.
But I had one habit that was not one that the average person would want to develop. I guess that would make it a bad habit. We all know how hard it can be to break one of those.
This habit was my extraordinary ability to create furniture that was complete at the last possible minute; what I called my “Just in Time” inventory system. I used this system throughout the years of building for magazine articles with Popular Woodworking, as well as for my paying clientele.
When I joined the staff here at the magazine, I said goodbye to that nasty habit. Good riddance! See you later! Or so I thought.
We are headlong into the Spring 2007 issue of Woodworking Magazine. This is our newsstand only, no advertising, black-and-white woodworking magazine for which I am building an Arts & Crafts mirror for the cover.
The building process is a study of the mortise-and-tenon joint and the addition of the inlay pushed the piece to something that was more than fun – it was my first trip into Arts & Crafts furniture and working with white oak in some time.
I completed the building of the piece and was waiting for the finishing process to be developed by Bob Lang, senior editor and our specialist in all things Greene & Greene to Stickley and beyond (be sure to check out his finishing concoction in the same issue.) Once the finish was applied I installed the inlay and boom, project completed! Except for the mirror and back, that is. Let her sit, other things need my attention!
On Tuesday of the next week I was asked when I would have the mirror ready for pictures. I could have it on Thursday was my reply. Not good enough, Wednesday would be much better. The next morning I scuffled off to the mirror supplier, picked up the reflective slab and returned to the shop. The fit was right-on so I added a backboard of plywood and as I had just finished wiping the front of the piece, Al Parrish, our photographer extraordinaire, steps into the shop to gather the mirror for pictures.
Wow, even though the magazine is working four to six months ahead, deadlines are deadlines and my “Just in Time” inventory system is alive and well. Oh well as they say, some things change and ….
Glen D. Huey
Wednesday, November 22, 2006 12:30:50 PM (Eastern Standard Time, UTC-05:00)
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A New Job Within a New Job
 Everyone knows about Chris Schwarz’s affinity with hand tools and readers know that David Thiel was the power tool counterpart here at Popular Woodworking. With David’s move to the books division (thank you David – because that made way for me to join the staff), we had an area that needed to be filled. This past week it was decided that we fill that vacancy with a new contact for power tool information and questions – that contact would be me! Where else could a guy who enjoys building furniture, writing and talking about woodworking get a chance to converse with the company reps about their tools and bring in a selection of products to test in our shop so that we can pass along that information to you? I am the lucky dog! And, I get paid to do this! But, that is not the only place where this new responsibility will become such fun and interesting work. If you, the readers of the magazine, have any questions, comments or concerns about tools, you now know where to direct those messages. If you write, I will get back to you with an answer or comment as quick as I can. I will tell you that there will be a learning curve for me. I have spent a lot of time in my own woodworking world. I would read the magazines, but I also had my shop set for many years, especially for large tools. Not many reasons popped up that would compel me to delve into buying new tools. I now not only have the reason, I have the directive to do just that. I had a comment one night in our Woodcentral chat that the reviews are only as good as the guy that writes them. That got me wondering how Pop Wood conducted these test. Here at the magazine all the editors partake in the testing of the tools and that will continue in the future. But we are even going one better. We are have asked Contributing Editor Troy Sexton to take some of the tools into his shop to test them in the real world. What better evaluation can be done on tools? It is always better to get a number of informed opinions versus one opinion. However, I will be charged with the writing and the follow-up on the reviews. Glen D. Huey
Wednesday, November 22, 2006 11:52:51 AM (Eastern Standard Time, UTC-05:00)
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 Tuesday, November 14, 2006
Behind the Scenes: Reading a Final Binder
 Being somewhat new to the magazine business (I have been a contributing editor of nearly nine years) I was unsure what to expect when I moved into my new position at Popular Woodworking magazine. You may think that this is a job you would like to fill one day. You may also be wondering how a magazine gets published. This is going to be a continuing saga of what happens behind the scenes of Popular Woodworking magazine. Sit back and take a look. During the first week we reached what they call at Popwood - “Final Binder.” This is where all the members of the magazine staff go to a local coffee house and drink coffee while we read the magazine one last time before it is sent to print. Sounded great to me, but the others held their heads low as to suggest that this was not the fun times that I expected. I wondered why? Drink coffee and read about woodworking – how could this not be a great day? We settled in at the out-of-office location, read the next issue to be printed word-for-word and made any necessary changes. This time it was what we call an "SIP" – an issue that is sold only on the newsstands. We drank a couple of cups of Joe and had a good time laughing, reading and generally building camaraderie all while finalizing the issue for the last time. Still, on the way back to the office I wondered why this task was looked upon so drearily. I was soon to attain my answer. As we began working on the next issue, the February issue of Popular Woodworking, I found that reading is indeed a necessary and vital part of editing at a magazine. Imagine that! Each article written is brought into the Popwood office, run through a design program, printed and slid into a folder. That folder is circulated to each editor, from Chris on down, and read for content to make sure that it is understood and able to be built, as well as for design changes and correct spelling and punctuation (Megan’s specialty). That’s one time around. The corrections are made and the new pages are circulated a second time. Once again it is the editors’ job to peruse the pages to find any undiscovered corrections that may have slipped by undetected during the previous cycle. We open the folder, read the article, make any changes and slide it to the next name of the list. That’s two times around. Well guess what? We have reached another final binder. I am beginning to understand the anguish of this concept in the world of magazines. We will move to the coffee shop and read the copy for the third time around. Yeah, three times for each issue and every story. And this is only my second trip. The others in the editorial staff have experienced this phenomenon countless times. I can see their point, but, I can also fill you in on something that I have already discovered. I use to pass on the articles that were not grabbing me as I thumbed through the pages! As I read every article during this edition of final binder for the third and final time, including the ones that I might have bypassed before I joined the magazine staff, I am finding a fountain of excellent information that I was missing in the prior issues. I can’t help but wonder how much additional knowledge I would have regarding woodworking, all stages of woodworking, if I would have never allowed a written word to go unread. Try it - it might just surprise you as it has me. – Glen D. Huey
Tuesday, November 14, 2006 10:08:25 AM (Eastern Standard Time, UTC-05:00)
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 Monday, November 13, 2006
A February Preview (Shop Tested for Your Pleasure)

In the February issue (on newsstands Jan. 2, 2007), you’ll find complete plans for an 18th-century Creole Table. Below, you’ll find the perfect spicy dish to accompany it. And making the roux (the browned oil and flour mixture) may take longer to make than it does to make the table legs…but it's worth it!
Heart Healthy Chicken and Sausage Etouffee adapted from Ken Smith and the New York Times time: 55 minutes
1 Cup vegetable oil 1 Cup all-purpose flour 1 Cup finely chopped celery 1 Cup finely chopper onion 1 clove garlic, minced 1/2 Cup finely chopped red bell pepper 1/2 Cup finely chopped green bell pepper 2 Tablespoons chopped fresh Italian parsley 1/2 teaspoon fresh ground black pepper 2 teaspoons dried thyme 3 bay leaves 1 teaspoons salt 1/4 teaspoon cayenne pepper 6 Cups chicken stock or canned chicken broth 1-1/2 Tablespoons tomato paste 3 Cups chicken (or turkey) “andouille” sausage, cut into bite-sized pieces 4 Cups coarsely chopped roasted chicken meat (two rotisserie chickens will suffice)
1. In a large, heavy-duty casserole on medium-high heat, heat oil and whisk in a sprinkling of flour. Continue to sprinkle in the flour until it is all used, whisking vigorously so that the mixture is smooth and does not burn. Continue to whisk until mixture is a very dark brown color but is not burned; this may take 10 minutes or more.
2. Reduce heat to low and add celery, onion, garlic, bell peppers and parsley. Stir to mix well. Add black pepper, thyme, bay leaves, salt and cayenne pepper. Add stock one cup at a time, stirring well after each addition.
3. Add tomato paste and sausage, raise heat to medium high and simmer uncovered for 30 minutes, stirring occasionally. Add chopped chicken meat and stir well. Simmer until heated through, about 10 minutes. Serve over rice or with cornbread.
(Makes 8 servings)
Monday, November 13, 2006 7:59:43 AM (Eastern Standard Time, UTC-05:00)
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 Friday, November 10, 2006
Harrelson Stanley's Planing Contest and Sharpening Tour
 If you think that a .001"-thick shaving from a hand plane counts as a fine shaving, then please read on.
For the next four weeks, Japanese tool expert and merchant Harrelson
Stanley is trekking through the West and the South in his motor home to
teach his hand sharpening techniques and hold planing contests for the
students.

Planing contests are practically an organized sport in Japan, but they
are small scale and rare here in the United States. Harrelson is trying
to change that. He recently returned from Japan where he attended a
planing contest and yesterday shared a few details about the contests
that American woodworkers might find interesting.
These Japanese contests typically involve 250 to 400 contestants,
virtually all of them are professional carpenters, doormakers or
carvers, Harrelson says. The typical contestant will take the day off
work before the fall or spring contest to spend the entire day
sharpening the iron (or irons) they plan to use for the contest. Then
they pack their planes in a Styrofoam cooler to protect them from
changes in humidity, and head to the contest.
The contests are attended by thousands of spectators, Harrelson says.

Thousands?
Yup. Thousands. The contestants then unpack their planes from their
coolers, tune them up and try to take the thinnest, longest full-length
shaving they can. Resulting shavings are typically 1-3/4" wide, 7' long
and quite thin. The thinnest shaving on record, Harrelson says, is 3
microns thick. By way of comparison, a single strand of a spiderweb is
a hefty 7 microns thick. The contest is invariably affected by the
weather, Harrelson says. High humidity will vex the contestants,
causing a 3-micron shaving to swell up to 5 microns.
Harrelson has been impressed by many of the results from his stateside
planing contests. At the Nov. 8 class at the Woodcraft show in Dublin,
Calif., the contest was won by a woman who had never sharpened before
taking Harrelson's class.
So how thin are the shavings from the American students? Harrelson says
he's not measuring them with a micrometer. He's simply comparing the
results side-by-side. "It's usually pretty obvious which is the
thinnest," he says.
For the contest, the students are planing boards of 500-year-old
Alaskan yellow cedar that Harrelson has been carting around. He bought
it at a lumberyard that was selling it as decking material. "They
didn't know what they had," he says. "I bought it all."
If you're interested in attending one of Harrelson's workshops and
getting in on the contest, check out our previous entry on his
sharpening tour and his schedule of stops, which wrap up Dec. 6 in
Norwalk, Conn.
— Christopher Schwarz
Friday, November 10, 2006 1:12:10 PM (Eastern Standard Time, UTC-05:00)
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