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 Tuesday, March 04, 2008
Corded or Cordless, Which is More Green
We get a lot of woodworking-related questions from readers. Most deal with articles published in recent issues of Popular Woodworking and Woodworking Magazine. But often, we’ll be asked about projects from old issues – some from as far back as the early 1990s. And sometimes, we’ll receive ideas for future articles and other worthy matters.
This past month I received a question about power tools, specifically drills. It seems that new drills, whether it’s a drill driver, impact driver, compact driver or some other type of driver, are constantly being improved upon and released by manufacturers. The latest drill improvement is in battery power, moving from Nickel-cadmium and Nickel-Metal hydride to Lithium-ion power packs. Many drills feature 18-volt Lithium-ion batteries, but it’s not uncommon to see 24v or 36v batteries stoking hand tools.
With all the focus in today’s world on being "green," one reader wondered if a battery-powered drill or an old-fashioned corded drill was better for our planet – which power source uses less energy. Put another way, it takes a certain amount of energy to charge a battery. That battery can, for the sake of discussion, drive 100 screws. If you then drove 100 identical screws using a corded drill, would you use more or less energy than it took to charge the battery?
Interesting question – and something I couldn’t answer, but I knew where to turn. I contacted Bryan Wright of Strata-G Communications (the company represents Bosch Power Tools.) He sent the question to Edwin Bender at Bosch – he's the group product manager for cordless tools.
Bender says that every application or operation requires a certain amount of power, measured in watts. And if you could hold all other variables constant, corded and cordless drills use roughly the same power.
According to Bender, "If you dig deeper and want to split hairs, a corded tool should typically be a little more efficient and therefore use less energy because it works off a higher voltage (120v or 220v) than cordless (12v-36v)." He goes on to say, "If you hold the power constant (for one application) then a lower voltage means you draw more current."
Bottom line: It’s nearly impossible to hold the variables constant and any variations would be so small that a simple answer is that both cordless and corded tools consume almost the same amount power. So using Lithium-ion power sources does not hurt the earth any more than a corded tool – just dispose of any old batteries properly. That doesn’t mean in a landfill.
Now, here's my question for you. Do you prefer to use cordless or corded tools? Do you find situations where it's best to use both? Leave a comment to let us know.
– Glen D. Huey
Read other entries by Glen D. Huey
3/4/2008 12:59:22 PM (Eastern Standard Time, UTC-05:00) 
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Friday, February 29, 2008
Of Interest to Arts & Crafts Fans
The other day I was e-mailing back and forth with a Japanese guitarist who was kind enough to share some of his arrangements with my son. He mentioned how interesting it was that the internet has made it possible to make friends with people from different parts of the world and different walks of life-all that's needed is a common interest. It reminded me of how fortunate I feel to be part of a growing community. I thought I would share some of the work and websites of people I've met online who share an interest in Arts & Crafts furniture. Some of these I've met in person and the rest I look forward to meeting. A few of these will be familiar to our readers, because they've written articles for Popular Woodworking.
This dining room set, based on the Greene & Greene originals in the Gamble house was made by Darrell Peart. Darrell Peart wrote an article for our November 2007 issue about an unusual table he found while researching his book Greene & Greene: Design Elements for the Workshop. In addition to his writing and full-time furnituremaking, Darrell started a Yahoo! discussion group about Greene and Greene furniture. This group is an amazing resource, with an extremely knowledgeable membership. Darrel has just moved to a new shop, and you can take a 360-degree tour of it here.
I met David Mathias when he purchased a set of plans from my website and had some questions about building a bow arm Morris chair. I asked him to send some pictures when he was finished, and I was impressed with his work. David has had two articles published in Popular Woodworking, a Greene & Greene inspired chest in the April 2008 issue and Greene and Greene drawer construction in the February 2007 issue. David maintains a blog and we're in the planning stages of some future articles on Greene and Greene furniture that will appear later this year.
One of my favorite Arts & Crafts designers is Harvey Ellis and my book on Ellis Inlay designs resulted in my acquaintance with Ron Cossner. That's Ron's work in the picture above, and a visit to his website is well worth your time. Look over the furniture and don't forget the furniture polish. Ron works a stone's throw away from Gustav Stickley's original factory, and he is one of the unsung heroes in the revival of interest in Stickley's work. He rescued a lot of important material and made sure it landed in safe hands.
This is a reproduction of one of the Harvey Ellis inlays, made by Mitchell Andrus. Mitch is another accomplished furniture maker, and he was asked to reproduce the piano case at Craftsman Farms in New Jersey. These intricate inlays were originally introduced in 1903, and original versions are a rare and precious commodity as these versions of Craftsman furniture never made it beyond the prototype and sample stage. The addition of the inlays to Craftsman furniture really adds to the beauty and elegance of the work.
Mitch has used these in his own work, and has recently made many of the original patterns available online. These inlays are laser cut and preassembled and he also has matching stain stencils available for them. In the original Stickley pieces, the inlay work was done by an outside marquetry company and delivered to the Craftsman workshops in this same form. The inlay and background veneer are applied as a single piece of veneer, saving an incredible amount of time.
Guys like Darrell, David, Ron and Mitch are at the leading edge of Arts and Crafts reproduction work. My hat is off to them for successfully doing the work they do. Visit their sites and be inspired. I'll try to share more posts like this, and of course Popular Woodworking will continue to be the leader in presenting articles on building authentic Arts & Crafts furniture.
--Robert Lang
Read other entries by Robert W. Lang
2/29/2008 3:54:24 PM (Eastern Standard Time, UTC-05:00)
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Thursday, February 28, 2008
General International 10" Table Saw for Sale
 For the November 2007 Popular Woodworking (issue #165), we tested 10" Hybrid Table Saws. We usually sell the machines and tools we test to magazine staff members and other company employees. But in this case, we have one table saw still available — the General International 50-220C M1. We're selling it on a first-come, first-served basis for $650 (the retail price is $869). We'll also throw in a 10"-combination blade from Freud. The catch is, we're running out of shop space, so the buyer will need to come pick it up ASAP (we're in the Kenwood area in Cincinnati, Ohio).
If you'd like to read the review, it's available as a PDF download our web site's Tool Reviews page.
If you'd like to purchase the saw (and can pick it up by March 7), please e-mail megan.fitzpatrick@fwpubs.com or call Megan at 513-531-2690 x1348.
2/28/2008 12:21:10 PM (Eastern Standard Time, UTC-05:00)
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Flush Trim Router Bits
 Spread open the pages of most woodworking magazines, including Popular Woodworking, and you’ll find projects built using face frames. Woodworkers go about building face-frame projects in varying ways.
Contributing editor Troy Sexton constructs the face frame then builds and fits the cabinet to that frame (See American Cabinet, Popular Woodworking April 2008, issue #168). I tackle a face-frame cabinet from a completely opposite direction. I build the cabinet then design my face frame to fit that case.
The one technique we both have in common is that we build the face frame larger and wider than the cabinet. The frame overhangs the case by at least 1/8". That’s so we can trim the frame to exactly fit the case. And how do we trim the frame? With a router and a flush-trim router bit.
The next question is which flush-trim bit. Yesterday I received a new catalog from a router bit company. I begin thumbing through the pages and was intrigues by a newly designed flush-trim bit – at least this was the first time I had seen this design. This bit has a glue-reservoir area that bridges a glue line in order to eliminate glue buildup on the bearing. Do we need this feature?
Also, do we need spiral-upcut and downcut flush-trim bits. Router bit manufacturers have touted these bits for years. Spiral flush-trim bits are supposed to provide a cleaner cut. How about downshear flush-trim bits? This style bit has been available for a while. Is this design something we should have in our bit arsenal?
For years, I’ve used a basic, straight flush-trim bit and it’s served me fine. I guess I’m set in my ways because I don’t see the need for these somewhat specialized router bits. I’m not saying that the next time I need to replace my flush-trim bit I’ll stay with my old standby, but I'm perfectly satisfied with the job the basic bit is doing.
So, how do you trim face frames to the case? Do you have a favorite flush-trim router bit or technique for flushing the face frame to the cabinet? Leave a comment and let us know how you’re trimming frame-to-cabinet joinery.
Oh – and a tip I picked up from Troy was to always do my flush trimming using a climb cut. That technique keeps you from ripping out the wood as you trim. That’s what makes the results using an ordinary flush-trim router bit equal to the newer designs.
– Glen D. Huey
Read other entries by Glen D. Huey
2/28/2008 9:52:58 AM (Eastern Standard Time, UTC-05:00)
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Monday, February 25, 2008
The Trouble With Nails
When you take a close look at old furniture you can’t help but notice – and wonder about – the nails that are beaten into the piece with either great care, wacky abandon or both.
My grandmother owned an early 19th-century grandfather clock that I used to puzzle over. The clock was clearly made in a workshop, not a factory. There is evidence of toolmarks all over the piece, from the hand-sawn back boards to the clear toolmarks all over the moulding at the top of the case.
The puzzle is this: While the clock was made with a high level of skill, the casework and moulding are pocked with nails, and the nail holes aren’t filled. The nails have rectangular heads, the heads are black and the iron in the nails has even stained the surrounding wood just a bit.
Were the nails added later on by someone who refinished the clock? Or did the putty somehow come out if the piece was refinished? Or did the maker set the nails and walk away?
What about other antique pieces that have their nail holes filled? Were they filled by the maker? Were they filled by the grime of time or when the piece was refinished? And why is the putty usually as ugly as a booger on the lip of a supermodel? 
A nail hole filled with a commercial putty after five years. The wood is cherry that's finished with an aniline dye.
Anyone who has been working wood long enough has struggled with the problem of filling nail holes. You can fill nail holes with color-matched putty, but after a few years, the wood either fades or darkens and the putty starts to stand out like either freckles or pimples on your moulding.
Looking at old pieces offers no firm answers. And looking at old books isn’t especially helpful either. Peter Nicholson’s "The Mechanic's Companion" (1842) discusses filling nail holes during its explanation of brads: "The intention is to drive it within the surface of the wood, by means of a hammer and punch, and fill the cavity flush to the surface with putty."
Nicholson might just be discussing filling nail holes for painted work. In his section on painting, he says that putty is made of whiting (chalk or calcium carbonate) and linseed oil, beaten together. That putty would look a lot like plaster.
Several decades later, Paul Hasluck writes in “The Handyman's Book” that for painted work, you should use putty. For other finishes, “the holes are stopped with beeswax and shellac colored to match the wood.”
Also floating out there is the technique of "blind nailing" your moulding, which is where you use a small gouge to lift up a shaving, drive a headless brad below that and glue the nail back down. It's a clever solution and one we plan on investigating a bit to see how much trouble it is.
Senior editor Glen D. Huey and I have discussed the trouble with nails at great length. We have pored over hundreds of antique examples and photos from auction catalogs for clues. And we both leave our nail holes alone without putty or filler. Why? Because we think it looks better after the piece has seen years of service. I’d rather see an oxidized black dot than a splotch of off-colored putty.
But Glen and I also agree that we don’t have all the answers on this issue. If you’ve stumbled over a historical tidbit of information on filling nail holes, leave us a comment. Likewise, if you know of a putty recipe that darkens (or lightens) as the wood does the same thing, we’d like to hear that, as well. (By the way, I haven’t had much luck with putty made with sanding dust – it doesn’t seem to change color like I hoped.)
— Christopher Schwarz
Read other entries by Christopher Schwarz
2/25/2008 10:32:55 PM (Eastern Standard Time, UTC-05:00)
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Thursday, February 21, 2008
Cutting Corners-You Don't Need a Special Tool
I am planning to order a corner chisel, to use when I install hinges, and have
seen several styles. Which do you prefer?
That's a question I received from a reader, and the picture above shows the scenario he's asking about. The piece of wood has a routed mortise with rounded corners. The corners need to be square for a hinge to fit, and the chisel he asks about is supposed to make this easy. As much as I like tools, this is one that nobody really needs. It's a crutch that will actually keep you from developing a simple skill. A plain old chisel will remove the excess wood in the corner quickly and easily.
I routed the mortise deeper than normal to better show what happens with the chisel. The process works better if the layout lines are incised with a marking knife or gauge as well as a pencil. I recommend a mechanical pencil, but I don't recommend the girly color unless you have a teenage son who habitually picks up every pencil he sees.
The key to doing this is to use the back of the mortise cut by the router, or the incised layout lines as a guide to place and align the chisel. I line up the corner, then pivot the chisel back toward me so that it is against the back edge of the mortise.
Making the actual cut is as simple as pivoting the chisel back down into the corner. The fingers of my left hand hold it in place while I push down on the end with my right hand. This is a finesse move, not a forceful one, and depending on the hardness of the wood it may take a few swings to reach the desired depth.
Coming the other way, you often don't have enough of a straight edge to register the back of the chisel, but if the knife line is there, the edge of the chisel will fit. Again I start by putting the corner of the chisel on the corner of the mortise. When the back of the chisel is vertical, I plant my left hand to keep the chisel in line and push down with my right. This cut will offer more resistance, but a few seconds of pushing and wiggling make the cut.
A little bit of junk will be left in the corner, and it's easily removed with a paring cut or two. Working toward the end allows you to push harder with the bevel of the chisel down. The paring cut can also be made with the bevel up, working at a right angle to the direction shown in the picture. The caution with that method is to push gently. There isn't much wood behind the mortise, and an agressive cut can split out the back.
After you do this a few times it will become second nature, taking less time than it takes to describe the process. So save your money for the tools you really need.
--Bob Lang
Read other entries by Robert W. Lang
2/21/2008 3:29:57 PM (Eastern Standard Time, UTC-05:00)
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Wednesday, February 20, 2008
Egg on My Face
For the current issue of Popular Woodworking magazine, we tested
Lithium-ion, battery-operated drills. In the article, we write that the
Ryobi kit (P813) has only a single battery included, which we didn’t like.
In fact, the kit has two batteries. I had set the second battery aside to
make sure we had an unused battery when it came time for testing. And then I
forgot about it.
Several readers told us the kits do, in fact come with two batteries. Ryobi
confirmed it. And we apologize.
– Glen D. Huey
Read other entries by Glen D. Huey
2/20/2008 11:55:37 AM (Eastern Standard Time, UTC-05:00)
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Completely Floored
 It's a good thing my kitchen is capacious. In addition to the usual kitchen accoutrements and furniture, at the moment, it also contains a church pew (it usually resides in the front hall), a large cedar chest (which serves as my coffee table), a television and related electronics, a very heavy antique sideboard, a couch (off to the right side of the picture), the top of an old corner cupboard, two small bookshelves and the top of my dining room table (which, no doubt in violation of fire codes, blocks the back door). I've been eating out a lot.
The reason for this nightmare of a mess? When I bought my 1895 house seven years ago, I swore the first change I'd make was to remove the execrable kelly-green carpet in the living room and cheap, thoroughly worn parquet in the hall and dining room. I finally got around to it.
As I mentioned in my last entry on this little project, I had a fair amount of patching to do before the floors could be sanded and finished.
 As you can see in the picture at right, a former owner had cut a hole in the floor, dropped in some scrap wood, and left the ends of the floorboards unsupported (you can see the joists through the large gaps). There were several areas where similar "fixes" had been done, so I had to pull out the scrap wood and cut back to the joists to "tooth in" matching floorboards of alternating lengths. I borrowed Editor Chris Schwarz's Fein MultiMaster and went through several "E-Cut" blades as I made plunge cuts in the damaged boards at the middle of alternating joists. Then, using a cat's paw, I carefully removed the cut pieces. (The removal process was a great deal easier in the small hallway between the living room and kitchen. That entire area was severely water damaged, so everything had to come up – no need to be gentle.)
The living room floors are a mix of 3-1/4" and 4-1/4" boards. I was able to scavenge 3-1/4" boards from a large closet on my third floor, but I didn't have any 4-1/4" boards. I cut all the necessary 3-1/4" pieces to the correct lengths, and stacked them against the wall as I searched for 4-1/4" boards.
 I also had a number of knotholes to fill in, so Senior Editor Glen Huey taught me how to pattern rout, and kindly lent me his router inlay kit. It seemed fairly simple — you cut a pattern out of 1/4" ply just a bit larger than the area to patch. You secure the pattern around the hole, and with the collar and bushing attached to the router, use a 1/8" spiral upcut bit to cut what's basically a lip around the outside of the hole. Then, secure the pattern to your patch material, and with the bushing removed, rout out a matching plug, and use your table saw to slice off the plug. Smear glue around the lip of the hole and the back of the patch, and tap it in place.
Turns out, it's far easier on the workbench than on a dusty, splintery uneven floor. In situ, I had to secure the pattern with my feet (no tape would hold; my 120 pounds was, however, quite sufficient) and use the router while bending at the waist directly over it. Then, I had to do a little handwork with a chisel, as many of the holes were near the wall, and the router wouldn't reach. And who knew – 100-year-old pine smells vaguely like cat urine when you push it too slowly through the table saw blade.
I was done with all the inlay work and removal of damaged boards on Feb. 5. My "new" floorboards were scheduled to be delivered on Feb. 6. So I put plywood over massive holes, and waited. And fretted. And waited. You see, I'd found what I was told was 100-year-old salvaged white pine floorboards at an outfit in South Carolina. They shipped it to me via DHL (the shipping cost as much as the 60bf of floorboards), and DHL misplaced the shipment in Atlanta. Luckily, they found it again, but it didn't arrive until Feb. 8, and I was on a tight deadline. Al Lovell Hardwood Floors was coming early on Feb. 12 to sand, stain and finish. (Yeah, yeah – what can I say? I hate sanding.)
 I got about eight hours of sleep the entire weekend, but I got the replacement boards in place. As the entire floor is rather gappy, it wasn't particularly delicate or tight work. There were only a few boards from which I had to cut off the bottom of the groove side in order to lever the pieces in place. I used an 18-gauge nail gun to secure the "new" boards to the joist through the tongues and grooves, though I did have to face nail in a few places to keep them from creaking.
The cats and I moved to a neighbor's house for a week while Al and his crew took over. I had a bit of a scare when Al told me they were having trouble getting some old glue off the hallway floor, and I might want to think about installing tile there. But, they came back the next day well-stocked with #20-grit, and – thankfully – were able to sand through the gunk. Then, they sealed, stained (Minwax cherry) and put down several coats of polyurethane.
J.J., Cleo and I are back home now, and while the oil finish is still a bit redolent, I'm very happy with how the floors look – even with the gaps and a few pieces of yellow pine mixed in. And the cats are pleased to be reunited with their toys. Now, I just have to run 100 feet of baseboard....
– Megan Fitzpatrick
Read other entries by Megan Fitzpatrick
2/20/2008 11:02:03 AM (Eastern Standard Time, UTC-05:00)
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Friday, February 15, 2008
Finishing Seminar with Bob Flexner
Popular Woodworking contributing editor and finishing guru Bob Flexner is leading a two-day finishing seminar June 21 & 22 at the Marc Adams School of Woodworking in Franklin, Ind. A few seats are still available.
This seminar will give you a thorough understanding of wood finishing, and help you overcome any finishing trepidation you might have. Through a combination of lecture and demonstration, Bob will show you how to properly use brushes and spray equipment, how to prepare your projects for successful finishing and how to choose the best finish for your work. Then, you’ll learn the best applications methods for a wide variety of finishes, including pigment, dye stains, shellac, polyurethane and more – plus you’ll find out how to overcome specific finishing challenges, and discover how keep your finishes looking new for years to come.
To register ($250), click here. For more information, visit the school’s web site at marcadams.com, or call (317) 535-4013 . — Megan Fitzpatrick
Read other entries by Megan Fitzpatrick
2/15/2008 3:37:58 PM (Eastern Standard Time, UTC-05:00)
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Wednesday, February 13, 2008
Bikes of Wood
I’m not a big exerciser. I don’t like to lift weights, jog in the dark or ride bicycles for enjoyment. And, if you’ve had the opportunity to meet me at one of the woodworking shows in which I’ve participated, or if you’ve scrutinized the photos in my articles, you’re probably thinking, "it’s obvious he’s not into exercise." Maybe that’s why I’m on the larger side of average.
What’s all this have to do with a woodworking blog entry? In the past few days I had a web site brought to my attention – that of a builder who uses computer numerical control (CNC) machines to create bikes.
Normally, you would have to promise me a slice of homemade pie to get me to look at a site dealing with bikes. But this is a bit different. Founded by Ken Wheeler, Renovo Hardwood Bicycles of Portland, Ore., makes the frames out of wood.
Renovo’s information-rich web site mentions ash, Brazilian cherry and purpleheart as a few hardwoods that are great for bike frames. I also found a mention of vertical-grained fir being used. Why wood? The company expounds wood's ability to dampen vibrations and stand up to abuse better than more typical bike-building materials. And bikes built from wood are lightweight – weighing in at 16 – 19.5 pounds, depending on the size.
These bikes are so light due to the fact they’re hollow (you have to love CNC machining). The Renovo frame is computer designed and machined, then the frame components are assembled, waterproofed and finished with paint and environmentally responsible polyurethane.
This past weekend Renovo Hardwood Bicycles exhibited at the North American Handmade Bicycle Show (NAHBS). In perusing the many web sites connected with the show (I started at this archived blog at bikeportland.org), I haven’t found much mention of Renovo. Maybe the unveiling was less than stellar, but dig around and you’ll see the competition was tremendous.
One interesting tidbit I did find is that the fifth anniversary of the NAHBS (2009), is being held in Indianapolis. That’s a short drive from us here in Cincinnati. I’ll plan to make the show – but only to see where woodworking and bike building cohabit. Not because I’ll be into exercise.
If you were in attendance in Portland this year and you have further information on Renovo or the show, please add your comment below.
Since the posting of this entry, I received this message from Mr. Wheeler in response to a couple questions. Below is his message: "The Hand built show was our first public exposure, and the bikes were well received. We've been profiled on most bike web sites and are swamped with interest and orders. People like the wood concept, as well as the sustainability," writes Wheeler.
"Frame prices start at $2000 and depend on the type of rear end, wood, configuration, etc. We use select hardwoods whose mechanical properties meet our stiffness and hardness criteria.Typically Jatoba, Ash, Maple, Hickory, Black Walnut, Brazilian Walnut and others.We have used Douglas Fir which is stiff enough, but which also dents easily because it is so soft. The machining process is complex, requiring 6 separate operations, and the hand finishing and bonding is considerable. It takes up to a week to complete a frame."
– Glen D. Huey
Read other entries by Glen D. Huey
2/13/2008 2:25:23 PM (Eastern Standard Time, UTC-05:00)
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Monday, February 11, 2008
How Do You Hold a Drill?
 The other day, Senior Editor Glen D. Huey came over to my desk with a small cordless drill/driver from Milwaukee Tools. Glen asked if I would try it out and write a review of it for an upcoming issue. I've been using similar driver/drills from Bosch for several months, and I like the concept of a small driver with good power and the new Lithium-ion battery technology. When I built custom cabinets on a daily basis, drilling holes and driving screws was probably the most repeated task. After lifting a relatively heavy 12v drill and driving tens of thousands of screws, my wrists have sustained some wear and tear, so for me, lighter is better.
Glen mentioned that he had heard one complaint about the new Milwaukee driver – that the forward and reverse switch was easy to bump inadvertently while using the drill. He picked up the drill and with his index finger on the trigger, showed me how the switch was up against his finger. I took the drill back, and held it the way I would in using it, with my middle finger on the trigger and my index finger extended. In the picture to the left, the switch is in between my two fingers. Glen mentioned that he never held a drill that way, and I told him I always hold one that way. Becoming curious about the difference, we did what we normally do when we have a disagreement about techniques. We got everyone in the office involved, handing people the drill and trying to get them to take sides.  Those of us who held the drill with the index finger extended compared it to the way a handsaw is held. Most saw totes are designed so that three fingers will fit, but four won't. This method offers several advantages that aren't immediately obvious until you try it. The wrist is more relaxed and less prone to stain. This more comfortable position leads to better control.  Japanese saws aren't really designed this way, but I find myself extending my finger anyway. The extended finger is, I think, one of the key elements to good hand/eye coordination. It makes a connection between the brain and the hand that moves the tool where you want it to go, and provides better feedback.  I hold a plane in a similar way, even though I'm not trying to hold it to a specific line. Extending the finger changes the angle between my hand and wrist, allowing for more finesse with a lighter touch. This is really an ingrained habit in me, so much so that I tend to grab everything this way. In the picture above I also have the index finger of my left hand extended. My only complaint about some of the planes we have in our shop is that there isn't an obvious place to rest the extended finger.  A drill isn't the only power tool I hold this way. I knew I extended my finger when using a jigsaw, as does contributing editor Troy Sexton, who recommended this technique in an article on using jigsaws in the October 2006 issue. If you click on the link, you'll see Troy holding the saw in a similar fashion. I decided to check through our photo archives to see other situations where I stick my finger out.  Here I am with a biscuit joiner, and I would be hard pressed to come up with an argument justifying the index finger position, other than it might be more comfortable to my wrist. Generally it is thought that the extended finger helps in aiming, and with certain tools that is obvious. In this case I think it may be just my habit.  Here is another example that surprised me, but this one I can rationalize. I'm cutting curves in the photo, carefully following a pencil line. I'm steering the work with my right hand, and the way I'm holding the wood gives a great deal of control without forcing the work through the blade. It's also easier to change my hand position as I near the end of the cut to keep my fingers out of the blade. If I had a death grip on the wood, and were pushing harder, the chances of damaging my digits at the end of the cut would be greater. So I've discovered I have a habit of holding things a certain way. It surprised me some that this is so pervasive, and it also surprised me that I may have a habit that isn't bad (as most of my habits are). This is a basic thing, something that most of us never think about. But if you struggle with controlling tools, or you tense up and your wrists get sore when you work, give it a try. Let me know how it works for you by leaving a comment.  I also hardly ever miss my mouth and pour coffee down the front of my shirt. At least when I'm holding the mug this way. -- Bob Lang
Read other entries by Robert W. Lang
2/11/2008 11:25:37 AM (Eastern Standard Time, UTC-05:00)
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Wednesday, February 06, 2008
New Company Selling Kits to Build Infill Handplanes
Legacy Planeworks officially opened its doors on Tuesday and began selling kits that allow a home woodworker with no metalworking experience to build an English-style shoulder plane with naval brass sides, a steel sole and an exotic wood infill.
The company currently offers two sizes of shoulder planes – 1" wide and 3/4" wide – with prices starting at $425. And two more infill kits are on the drawing board: a chariot plane and a Norris-style A6 smoothing plane with a mechanical blade adjuster, says Marty Sivar, one of the owners of the company.
The kits have been in development for many months, Sivar says, and the parts are so finely machined that you can literally snap the metal dovetails in place when you take the parts out of the box.
"We wanted to offer a refined kit," Sivar said today in a phone interview, "not something you had to spend hours prepping the parts for assembly and cleaning them up."
The kits come with all the metal components you need (even the drill bits for boring the wood components). The home planemaker will need a ball pien hammer, a steel plate (or anvil) and a handful of files to complete the project, Sivar says. Legacy Planeworks also sells all the files required for planemaking on its web site: legacyplanes.com.
Some woodworkers might remember the kits that were sold by Shepherd Tool, a Canadian company run by two partners outside Toronto. After Shepherd's early success with its first Spiers-style smoothing plane kits, the company ran into some rocky times and shuttered its doors in early 2006 with a crowd of angry customers who were upset about a variety of problems, from not being able to get technical questions answered, kits that were missing parts, and credit cards that were charged with merchandise never shipped.
Sivar was one of those angry customers of Shepherd, and he said he and his partner, Ernie Barber, have set out to make sure that Legacy Planeworks is everything that Shepherd Tool was not.
Sivar says that the company's web site will not sell you a kit unless
there are more than two in stock, and that every order will be shipped
within two or three days of it being placed. Plus, Sivar says that
Legacy now has plenty of kits on hand to sell right away (one of them
is heading for our office for a full review, by the way). 
The kit components for a Legacy shoulder plane (both photos courtesy of Legacy Planeworks).
Every kit has a money-back guarantee and includes a 52-page instruction manual that includes many step photos that will walk the planemaker through the process. The manual, Sivar says, has taken a long time to develop and has been through many revisions to make the instructions as complete and foolproof as possible.
"I think our customers will be very satisfied from the minute they open the box," Sivar says.
Sivar has experience both as a woodworker and a metalworker. He started his career as a machinist and then went into the military. After a short stint as a corporate pilot, Sivar completed some marketing and management training and went to work for a petro-chemical company, where he is now an area manager and nearing retirement. Barber works in law enforcement and is an accomplished woodworker and carver who specializes in 18th-century furniture.
Sivar says all the plane components are going to be professionally made by other metalworking companies to Legacy's specifications; that will leave Sivar and Barber to focus on working with current customers and developing future products.
Personally, I'm quite pleased to see someone getting back into this business. I built several of the Shepherd kits, including a couple smoothing planes, a chariot plane, a shoulder plane and a panel plane. Despite the glitches (my kits were missing critical parts, too) the overall experience was fun and you learn a lot about plane mechanics by building one of the tools.
I think it's especially encouraging that Legacy has started out offering just the shoulder plane kit. Of all the kits I built, that one was the easiest to complete and will likely give would-be planemakers a good taste of the process.
In the coming weeks, I'll post photos of the new kit and my progress building it.
— Christopher Schwarz
Read other entries by Christopher Schwarz
2/6/2008 12:51:45 PM (Eastern Standard Time, UTC-05:00)
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