Woodworking Magazine Weblog

Now that we’re publishing Woodworking Magazine four times a year (you can always subscribe via this link), we have an even greater demand for quotations related to woodworking, craft or (on occasion) even artistic expression.

We ran a contest last year to solicit quotations (with great success), and I’d like to run it again to deepen our well of material in reserve. If your quote is picked as the best of all the entries by our editorial staff, we’ll send you a miter plane from Philly Planes. (You can read a review of the plane here, but trust me, it’s an awesome piece of kit).

All the runners-up in this contest (meaning that we publish your quote in the magazine) will receive the hardbound edition of Issues 8 through 12, which will be released at the end of 2008.

Here are the rules:

1. Contest ends on midnight on Friday, May 16, 2008.
2. One entry and one quotation per person.
3. Your entry must be submitted via e-mail to chris.schwarz@fwpubs.com, along with your full name, street address, phone number and valid e-mail.
4. The quotation can be from any source (even yourself). However, it needs to be attributed – where you found it and who said it. Here’s an example: "It's not just about making beautiful furniture, but how do you get rid of it?" — Tage Frid, quoted in an article by Jonathan Binzen in Fine Woodworking.

Here are some tips: Short quotes are better than long quotes. Original or unusual quotes are better than common ones (“Measure twice, cut once.”). Quotes that are funny, make you think or challenge conventional wisdom are always appreciated.

Good luck, and thanks in advance for entering.

— Christopher Schwarz

As woodworkers dive into handwork, they usually start with a block plane, then the bench planes, the saws and the joinery planes.

Joinery planes – such as plow planes, router planes, shoulder planes and rabbeting planes – are some of the easiest planes to set up and use. Their irons are straighforward to sharpen (no curves needed), and because the tool doesn’t produce a show surface, you don’t need to be a maniac about the keenness of your cutting edges.

One of the most essential joinery planes is the moving fillister. It cuts a rabbet either across the grain or with the grain. And it can make a rabbet of almost any size thanks to its adjustable fence.

Moving fillisters are different than other planes in the rabbeting family in that its fence is adjustable (planes with a fixed fence are called standing fillisters), plus it can work across the grain because it has retractable nickers (planes without the nickers are just plain old rabbet planes).

The iron Stanley No. 78 is the most common vintage version of this tool, however I’m not fond of the form. The fence wobbles because of the way it is attached to the body, so the plane does a poor job in hard woods (in my experience). Record, by the way, fixed this problem with its metal version of this plane, though it’s a tough tool to find in North America.

This really is a case where the wooden versions of a plane are superior. Wooden-stock moving fillisters are fairly common in the secondary market, though they usually require some rehabbing to be usable. So what do you do?

You could ask Clark & Williams to make you one – they showed me an excellent moving fillister they make a couple years ago. You could buy an ECE from toolsforworkingwood.com. Or you could buy a new traditional one from Philip Edwards at Philly Planes in England.

Philip’s planes are excellent. I recently reviewed his miter plane plus a plane designed for raising panels for drawer bottoms. They both work like a charm. So it’s very exciting to me (and a good sign for hand work in general) that there is a new moving fillister on the market from Philip’s shop.

We’ve ordered one for our shop here, and I will offer a full report once it arrives. Until then, however, if you need a moving fillister, I can recommend Philip’s planes highly.  

— Christopher Schwarz

P.S. Want to learn more about joinery planes? Then definitely pick up a copy of “The Wooden Plane” by John M. Whelan.

After three more hours of CAD work last night, I finished up the preliminary drawings for the next cover project for Woodworking Magazine. We're calling this project "An American Wall Cabinet." But right now a more apt name would be "An R-5 Wall Cabinet."

This morning I spent about 45 minutes building the face frame, tombstone door and drawer front of the cabinet using the pink ½"-thick Foamular insulation board. I taped up the joints with packing tape. Then I printed out the hardware from the Horton Brasses web site, cut it out (Horton scaled it full-size!) and taped it in place.

If you ever wonder how woodworking magazines get away with coverlines like "Build a Bench in a Weekend," this is it. It's our trade secret. We just build it out of Foamular.

After a dry-fit of all the parts (no tape), I determined that the mediary rail in the door was too wide. So I shaved off ½" with a ruler and a knife and it looked much better. Then Senior Editor Glen Huey and I placed the rattail hinges on the stiles so they would work well and look good.

This short exercise also drove me to plan on adding some stopped chamfers on the stiles of the face frame when I build it out of walnut. So all in all, it was worth the $10.

If you've never worked with Foamular, it's a cinch to cut with a knife and a ruler. I used my Tite-Mark gauge to first score the foam's plastic film. Then I followed up with the knife. To make the curve in the tombstone door, I drew it with a compass. The pencil lead didn't cut the foam; it made a furrow in the film. Then my knife could easily follow that furrow to complete the cut.

And what are we going to do with the leftover foam? Easy. I use it for slicing up plywood with a circular saw. I lay the foam down on the driveway, put the plywood on top, and set the sawblade to cut through the plywood and slightly into the foam (and not the concrete). Works every time.

— Christopher Schwarz

So today I get a copy of the WoodWorker's Book Club bulletin and it lists the "Top 50 Member Favorites." I eagerly flipped through to see if my book on workbenches made the list.

It did. It was No. 30.

I was quite pleased by this bit of news. It was good to be on the same list as Taunton's "Complete Illustrated Guides" (at No. 1), Kerry Pierce's "Pleasant Hill Shaker Furniture" (No. 2) and Jim Tolpin's "Measure Twice, Cut Once" (No. 3, and one of my favorite woodworking books).

But my moment of glee was quickly flung into the dirty litterbox when I saw what aced me out at No 28: "Black & Decker's 24 Weekend Projects for Pets."  

That put my tail between my legs. Time to go home and start writing that birdhouse book I've had on the back burner.

— Christopher Schwarz

When a young Thomas Lie-Nielsen set out to start making premium handplanes in the early 1980s, he launched his business with an adaptation of the Stanley No. 95 edge-trimming plane.

But Lie-Nielsen wasn't the first person to make this tool in bronze. That footnote goes to machinist Ken Wisner, who made the planes in small batches and sold them through the Garrett Wade catalog. When Wisner decided to get out of that business, he turned over his patterns to Lie-Nielsen, who took them to Maine and set up shop in a shack on his farm.

I've always wanted to own one of these Wisner planes – partly out of curiosity and partly out of my desire to own a piece of recent history. But they're hard to come by. And they're expensive when they do come up on eBay.

So this weekend, I got a little schoolgirl thrill when Jeff Skiver pulled a Wisner out of his bags of tools during a class on handplanes at the Marc Adams School of Woodworking. He wasn't looking to sell it, and I won't tell you what he paid for it. Suffice it to say that Skiver practically stole it from a starving widow who had substantial medical bills.

The Wisner is an interesting piece of work. On the one hand, the main casting was nicely polished and the machined areas were crisp and clean. But the thumbscrew on the lever cap was black plastic (the screw itself was metal, however). And the main screw that joined the lever cap, iron and body casting was an off-the-shelf hex-head screw.

Wisner signed his name on the plane with some sort of rotary tool (perhaps a Dremel). And the blade was thinner than the Lie-Nielsen version.

Of course, when you are blazing a trail like Wisner was, you have to overlook details like this and appreciate the sheer fact that this plane exists. Plus, look at what this little plane led to in Warren, Me.

And if anyone has a Wisner plane they'd like to part with (for the sake of history, natch) please drop me a line.

— Christopher Schwarz

This fall, our magazine is sponsoring the first-ever weekend conference devoted to hand tools and learning to use them.

We're calling it the Woodworking in America conference, and we'll be bringing together the country's best hand-tool woodworkers and manufacturers for a symposium in Berea, Ky., on Nov. 14-16.

There will be more than 40 short classes on tools and techniques during the long weekend, plus a marketplace where toolmakers can display (and sell) their wares, social events with the demonstrators and toolmakers and more.

So who is going to be there? Here's the list of people who have agreed to teach seminars during Woodworking in America as of this date (with more to come):

Roy Underhill: Known as "St. Roy" to the legion of fans who watch "The Woodwright's Shop" on PBS, Roy worked at Colonial Williamsburg and then launched his show about traditional hand tools.

Frank Klausz: One of the country's consummate craftsmen, Frank is a professional New Jersey cabinetmaker who trained in Hungary and has a lifetime of experience with the full range of handwork.

Michael Dunbar: Founder of The Windsor Institute, Michael has single handedly revived the craft of building Windsor chairs, has trained thousands of woodworkers and is a passionate student of the art and history of handcraft.

Adam Cherubini: The author of Popular Woodworking's popular "Arts & Mysteries" column, Adam is a devoted 18th-century woodworker who builds period pieces using period tools.

James Blauvelt: A Connecticut cabinetmaker, joiner and carpenter, James owns Bluefield Joiners and is a student and teacher of Japanese tools and traditions.

Robin Lee: The president of Lee Valley Tools in Ottawa, Ontario, Robin has been a driving force behind the expansion of the Veritas line of premium handplanes and a caretaker of the company's immense tool collection.

Thomas Lie-Nielsen: The founder of Lie-Nielsen Toolworks in Warren, Me., Thomas has been making and selling premium traditional hand tools for 27 years. Thomas's company was the trailblazer in reviving many traditional forms of tools that had been lost.

Larry Williams and Don McConnell: Two of the principals behind Clark & Williams in Eureka Springs, Ark., Larry and Don are bottomless wells of information about traditional tools and their workings. Both are accomplished woodworkers, planemakers and tool historians.

John Economaki: The founder of Bridge City Tool Works in Portland, Ore., John has long been a pioneer in developing new (and very beautiful) forms of hand tools for woodworkers.

Konrad Sauer: The owner of Sauer & Steiner Toolworks in Ontario, Konrad is one of the leading makers of custom infill handplanes.

Wayne Anderson: Wayne specializes in designing and building custom infill handplanes that are deeply rooted in the past but are each a completely original work of art.

Ron Hock: One of the earliest and most important players in the revival of handtools, Ron makes high-quality replacement plane irons, chipbreakers and marking knives in Ft. Bragg, Calif.

Mike Wenzloff: The founder of Wenzloff & Sons sawmakers in Forest Grove, Ore., Mike is a long-time woodworker and expert in saws and saw sharpening. His premium saw business has exploded in the last two years.

Joel Moskowitz: The founder of Tools for Working Wood and an expert on woodworking history, Joel has recently been making many traditional hand tools, as well as selling them through his catalog and web site.

Clarence Blanchard: The publisher of "The Fine Tool Journal" and the president of Brown Auction Services, Clarence sees more old tools in a week than most of us see in a lifetime.

If you are interested in attending, please visit the web site that is dedicated to this conference at WoodworkinginAmerica.com and sign up for the conference's newsletter (the sign-up box is on the top right of the page). You'll then be the first to be notified of when registration will open (it will be before July 1) and the pricing for this event.

Attendance will be limited to a few hundred people (we want to keep the event intimate and manageable), so be sure to register as soon as slots become available. We are expecting the conference to sell out.

There are more announcements and surprises ahead that I cannot share with you right now, so please stay tuned to the blog and the conference's newsletter.

— Christopher Schwarz

For me, finger joints have always been the nerdy, square cousin to the dovetail.

Finger joints are immensely strong when glued properly. But they are usually used by beginning woodworkers in places where a dovetail would be more appropriate, such as on a piece of 18th-century casework.

Add to that the fact that finger joints are tricky or dangerous to make on wide boards (without a commercial jig) plus the fact that gluing them with yellow glue is stressful, and it's a wonder that anyone uses them at all.

And so we decided to tackle finger joints for the Summer 2008 issue of Woodworking Magazine, which will be shipping to subscribers next month. It took us a few months to really pin them down (pun intended), but I think we nailed it (and no, cut nails are not involved).

Here's a small taste of some of the problems of the joint we solved after three months of testing in our shop:

Appearance: Finger joints are a product of the machine age. Using them in styles before circa 1900 is just wrong to the eye. So consider the joint for more contemporary pieces only.

Cutting them Accurately: Right now there are basically two different ways to cut the joint: A shop-made jig for the table saw for narrow boards, and using a router jig that costs several hundred dollars for wide boards. We set out to develop a simple and safe shop-made jig that could handle both wide and narrow boards. Senior Editor Robert W. Lang had a stroke of genius on this and solved the problem forever (in my opinion).

Gluing Them Easily: You can assemble small boxes with finger joints fairly easily when using yellow glue. But at a certain point, you hit the wall because the glue sets up before you can close all the joints. So the solution would seem to be a slow-setting glue. Well, that's one way to go about it. But we found an easier and faster way that is super-strong (see the photo of Managing Editor Megan Fitzpatrick's boot on a sample joint). In the end, it took an anvil to bust up our sample joints.

Also in the Summer 2008 Issue
The finger joint is just one of the major themes running through the issue. Here are some of the other stories you can look for in the coming issue:

Building a Better Chest: Most woodworkers build chests using the most convoluted and fussy assembly imaginable. After reviewing hundreds of historical models, we settle on a method for building a chest that looks more complex at first glance, but actually saves an immense amount of shop time, requires less fussing around and allows more design flexibility.

Crackle Finishing: Many woodworkers who try a crackle finish have inconsistent results. Sometimes it works; sometimes it doesn't. And predicting how much it's going to crackle is almost impossible. Senior Editor Glen D. Huey cracks the code of crackle finish and finds out that the easiest and most predictable way to do it is also the simplest.

Trimming End Grain: When you have to cut back some end grain so it's flush with some face grain, it's always an opportunity to mess up the project. We show you two (actually three) methods for doing it right every time with a block plane, sander and pencil eraser.

And one more thing about the Summer 2008 issue: This issue is going to be mailed out to subscribers in a protective plastic bag, which will reduce the chances that the postal service will mangle it. If the plastic bag works for you, let us know so we can encourage our manufacturing division to continue using it.

And if you're not a subscriber, you can easily remedy that here.

— Christopher Schwarz

About a decade ago, my boss Steve Shanesy told me something about design that knocked me flat. When he was a struggling custom furniture maker, he took some time off to do something that few people do.

Create a new style of furniture.

That is one of the most ambitious personal projects I could imagine. I wonder if there has there been a new style of furniture created in my lifetime. Does James Krenov’s work constitute a new style? Sam Maloof? George Nakashima? I don’t know the answer to this question, but I do know how one mouth-breather of a woodworker (me) goes about it.

And because I never tire of hearing how other people design pieces, I thought I’d share with you the convoluted path I’m taking this week to make a simple thing for our fall 2008 issue.

I like old furniture – anything from Ancient Egypt to World War II interests me greatly. So when I set out to build something I hit the books to look at as many examples of furniture and decorative objects from that period as I can. In this case, we decided to build an 18th-century wall cabinet for the fall issue, so I cracked open all my books from Wallace Nutting, particularly “A Furniture Treasury.” This out-of-print book is available in many forms and is fairly inexpensive. I paid $20 for my two-volume set at Half-Price Books.

I might not look at wall cabinets when I scan these books. I look at lots of casework pieces and their proportions, mouldings and the arrangement of the components, such rails and stiles from doors.

When I’m saturated (a few trips through the treasury will do that), I’ll start sketching. It’s not formal. I just draw without regard to perfectly straight lines or dimensions. I sketch in the car while waiting for the kids to finish track practice. Or in the few minutes of peace I get between the bedtimes of the two kids. I sketch things that I’m sure won’t work just to give them their day in ink.

The more examples I draw, the better the chance I’ll hit something I really like. I don’t use the Golden Section or any other mathematical formula. It’s all gut.

Then I fire up a CAD program on my laptop and try to turn the sketches into something that can be built and has some dimensions that make sense – a dining table that’s 30” high, for example.

While In CAD I’ll make a few variations that take advantage of the cut-and-paste power of the program. I’ll move the drawers and doors around. Add a cupholder. With this wall cabinet I tried it with two doors (like the Nutting original), one door, then a door with a drawer.

Then I show the CAD drawings to others and ask them which ones they like. Why they like it isn’t as important – though I always ask. Maddy, my 12-year-old, liked the two-door version of this cabinet because of the symmetry and that you could display two contrasting pieces of pottery behind the glass panes. Katy, the 8-year-old, liked the drawer because it could be used to “hold little things.” Lucy, my wife, declined to put a dog in that fight.

Next stop: If I have time, I’ll knock together a prototype in poplar to see if it looks awkward. Prototyping always pays off in two ways: I make small adjustments that improve the design, and I’ll typically keep the prototype for our family.

— Christopher Schwarz

Editor's note: Because it's "Workbench Week Internazionale" I decided to tie up a loose end from my book: "Workbenches: from Blah, blah blah to Yadda yadda yadda." On page 57 I discuss Thomas Stangeland's bench and point out how the best woodworking I've seen has been built on the most minimal of workbenches.

Helpful reader Tom Moore visited Stangeland's shop recently and snapped the above photo of the bench. Below is the story that goes with that workbench.


In 2006 I taught a class in handwork at a school where Thomas Stangeland, a maestro at Greene & Greene-inspired work, was also teaching a class. Though we both strive for the same result in craftsmanship, the process we each use couldn’t be more different. He builds furniture for a living, and he enjoys it. I build furniture because I enjoy it, and I sell an occasional piece.

One evening we each gave a presentation to the students about our work. One of the pieces I showed was an image of my French workbench. I discussed its unusual workholding devices and how the bench was a bit of a Thor Heyerdahl experience.

Thomas then got up and said he wished he had a picture to show of his workbench for the last decade: a door on a couple horses. He said that a commercial shop had no time to waste on building a traditional bench. And with his power-tool approach, he just needed a flat surface and some clamps to work.

It’s hard to argue with the end result. His furniture is beautiful.

But what’s important to note here is that you can get by with the door-off-the-floor approach, but there are many commercial woodworkers who still see the utility of a traditional workbench. Chairmaker and furnituremaker Brian Boggs uses more newfangled routers and shop-made devices with aluminum extrusions than I have ever seen in a shop. And he still has two enormous traditional workbenches that see constant use.

The point here is that a good bench won’t make you a better woodworker. And a not-quite-a-bench won’t doom you to failure. But a good bench in any shop will make many power-tool operations easier and open the door to permit you to try many hand-tool operations. The bench is simply another tool. It’s the biggest wooden clamp in the shop.

As Thomas was wrapping up his part of the show he showed an interesting slide of an enormous and thick slab of an exotic wood he had been stashing for years and years in his shop.

“I just need to find the right project for it,” he said.

“Hey Thomas,” I heckled, “that slab sure would make a great benchtop.”

He laughed. Next slide, please.

— Christopher Schwarz

Matt Vanderlist has just posted a podcast of a conversation he and I had last week. I hesitate to call it an interview because it sounds a lot like us just goofing around and joking about woodworking.

So I guess, it actually just sounds a lot like a day at the office.

In any case, we discuss handsawing, premium tools and how we generate story ideas here at Woodworking Magazine and Popular Woodworking. Plus Matt and I brainstorm an idea for a shop garment that ensures you never have to take a break while woodworking – and it composts the yard. (If anyone has a good name for this product, post it here.)

It was a fun conversation and if you have some time at your desk and want to look like you're working… I highly recommend it.

— Christopher Schwarz