With all the super-tuned, high-angle planes on the market today, you might think that scraper planes are a vestigial organ of the pre-bevel-up-plane era.

After all, once you get a handplane's pitch up above 60°, tear-out tends to be a non-issue, right?

Well, not in my experience. I've found that high-pitch planes are indeed a great weapon against tearing, but there are still times when nothing but a scraper will fix what ails you.

This weekend I'm finishing up construction of the first reproduction of a walnut Shaker sitting bench from the White Water community in Ohio. The bench is simple in form, but difficult in size. The original is more than 13' long and 12" wide. The seat itself is one solid piece of 1" walnut.

Thanks to the kindness of others, we managed to score enough walnut for two copies of the bench, which we'll be donating to the Friends of White Water Shaker Village, the caretakers of this historical treasure.

The walnut for this first bench came from a farm about 10 miles away from the Shaker village, which is a nice codicil to the project. While the wood itself dropped into our lap, working with it has been a challenge. This walnut tree must have had a difficult life. Along the 13' length, the grain reverses dramatically at least six times. There are knots to deal with, and I would guess that the tree must have grown at an angle – there is some definite tension stored up in the grain.

So getting the components roughed out to size has been arduous. The wood wanted to crook something fierce. The wider pieces also cupped. Today I started surfacing all the parts and found that the grain was too wild for even a freshly sharpened 62°-pitch plane with a tight mouth. And things got worse after I glued the aprons to the seat – leveling the seam between the aprons and the seat gave every handplane I own fits.

So I picked up my small scraper plane, which is based on the Stanley No. 212. I love this little bugger. I have no idea why the original Stanley plane is so rare. I have found the plane to be robust, easy to adjust, comfortable to use and ultimately effective against tearing.

And, true to form, the little scraper cleaned up all the messes that my handplanes had made. One of its biggest assets is its small size – it's like a smallish block plane. That means it will get into small hollows and scrape them with ease. But unlike a card scraper, it won't leave a dished surface that will look ugly once you put a film finish on it.

And, most importantly, the little scraper plane kept me from having to grab the pneumatic sander, which someone in our shop had left lying out in plain view. I felt the yellow DA sander mocking me while I was cursing the tear-out scattered like buckshot all over my work. But who's laughing now, windbag tool?

— Christopher Schwarz

On Friday afternoons, I always try to end the week with some work in the shop that improves my working condition. I do a lot of sharpening, fix a hammer or just put tools away.

This Friday was a day I have been looking forward to for seven years now.

My long-awaited-for hollows and rounds came from Clark & Williams. I'd ordered the half-set nearly two years ago, and had been saving up the money for them for many years before that. And 10 years ago, I'd built the tool chest to hold them.

My tool chest is a somewhat-crappy Kentucky copy of Benjamin Seaton's 18th-century chest. I'd built it in 1999 for publication in the magazine, but I needed to build it in a certain way to make it buildable for the power-tool woodworker. That meant finger joints instead of dovetails. And no interior plane tills.

But I did get to add a little bit of English flair. I veneered the main toolbox till and the saw till. And I used curly maple drawer fronts (though I really wanted to do the banded drawer fronts in the original). I always vowed to re-do the toolbox like David Nelson did.

But the toolbox works fine, and I already have a list of things to build that exceeds my 8-year-old's Christmas list.

So on Friday I fitted the interior with a rack for all my moulding planes, including the new hollows and rounds. It is the simplest sort of till I could manage that would allow me to see each plane's profile and keep them handy.

Essentially, it's just a piece of cherry that's 3/4" x 4-1/2" x 34" and is screwed to the sides of my toolbox and is wedged below the runners that my tool till slides on. I dressed the cherry by hand and put a 3/16" bead on the top edge.

The way it works is simple. The cherry board makes a compartment that is about 1/8" bigger than the toe section of the hollows and rounds. They simply drop between the toolbox's front wall and the cherry. And you can see the profile of the sole.

And because moulding planes are all about the same dimensions, the single board fits all the moulding planes (though not the joinery planes that have knobs and nickers that ram into this board).

After screwing the board in place, I felt better about the toolbox. Perhaps I've not totally redeemed myself, but installing this little rack ended my week on a nice note. When I return on Monday, all my hollows and round will be waiting patiently to get started on the next project at hand.

— Christopher Schwarz

Lost Art Press now has 300 copies of my new book "Handplane Essentials" in stock, signed and ready to ship. This 312-page book is a compilation of many of the things I've written about these fantastic tools during the last decade for Popular Woodworking, Woodworking Magazine, The Fine Tool Journal, Lee Valley Tools's newsletter, my blog at Woodworking Magazine and my blog at Lost Art Press.

To be honest, if you have followed my work closely for the last 10 years you won't find anything shockingly new in this book (not that there's anything "new" in woodworking anyway). But I have tidied up the text, organized it so it makes sense, added a bit here and snipped out a bit there. And it's collected all in one nice volume: hardbound, printed on nice paper with a full-color dust jacket. The book was produced entirely in the United States. All production occurred in our offices in Cincinnati. The book was printed at a plant in Ohio.

You can also purchase this book from my employer, F+W Media, and even get it for a discount from Lee Valley Tools starting in September. So why should you buy it from me?

A cool drawing of a sock monkey.

I have signed all of these 300 copies of "Handplane Essentials," and my 8-year-old daughter, Katy, helped. Katy is learning woodworking and helps me on many projects. She signed most of the books, each with a unique little drawing. There are chickens, some smiley faces, a couple turkeys and even one very nice rendition of her beloved sock monkey.

If for some reason you don't want a copy signed by Katy, just let us know on the order form. We have a box of books that are signed by me alone.

The book costs $35, plus $4 shipping anywhere in the United States. You can read more about the book or place an order by clicking here.

As always, thank you for your support. Lost Art Press wouldn't exist without you.

— Christopher Schwarz

Unsolicited Testimonials for 'Handplane Essentials'

"I have several books on hand tools, and the hand planes, written over the last 50 years. My woodworking library is bigger than any Barnes and Noble, Woodcraft, etc. I love books. I consider your book on Handplanes to be the definitive book on the topic."

— David Ragan

"I read your book for the second time this weekend and it was better that the first reading! You not only hone the tools, you hone the woodworker as well."
— Greg Barringer

"Sometimes woodworking books are just LAME and really repetitive. I am an advanced woodworker and I can't get enough info on handtools (planes), they are just so much fun. Since having my kids I have really appreciated hand tools because they can be in the shop with me without a respirator and earplugs! Your writings and videos are excellent because you have a great way of not expressing the common, 'experienced condescending arrogance,' that is sooo annoying in woodworking. Great work."
— Mike Berkshire

Lost Art Press will be offering signed copies of "Handplane Essentials" as soon as the book becomes available the first week in August.

The book, a 312-page hardback, is a compilation of all my writings on planes during the last decade from Popular Woodworking, Woodworking Magazine, The Fine Tool Journal, my blog at Woodworking Magazine, my blog here at Lost Art Press and the writing I have done for other web sites and the Lee Valley Tools newsletter.

Honestly, if you've kept up with all the publications and outlets above, you won't find much new in the book. In putting the text together I eliminated some redundancies, filled in some potholes and generally recast some of the articles so that everything made sense. I think it's a very good introduction to sharpening, bench planes and joinery planes. I didn't get into the moulding planes so much – I'm still not confident enough there to really write about it with any authority.

So I'm generally pleased with the result. The interior is going to feature sepia-toned photos like Woodworking Magazine (if you want a full-color version, we will sell you a box of crayons as well). The book's paper will be nice, as will the cloth-bound hardback cover and dust jacket. I'm also pleased to tell you that we negotiated hard to get this printed in the United States (in Ohio, actually).

Here's how the pricing and availability will work. Lost Art Press will lose some sales by telling you all this, but I'd rather just be honest with you.

Lost Art Press will be selling the book for the full retail price of $34.99 with free shipping. It will be signed by me (and by my daughter Katy as well if you please).

Right now my employer, F+W Media, is offering the book at a pre-sale discount until the end of July. It's $27.99 plus free shipping. Click here to get to their store.

Starting in August, F+W's price will return to $34.99 (plus free shipping) for six months. Lee Valley Tools will then be carrying it and will (almost certainly) sell it for less than full retail.

Amazon.com, Buy.com and other retail outlets will not be carrying the book until at least January 2010. Their websites might say they are going to carry it and discount it, but they are in error.

In any case, thanks for all your support. No matter where you buy the book it will help support the work we do and show there is a solid base of support for books on traditional tools.

As a way of saying thanks, you can download a copy of the introduction to the book, which will give you a flavor for its look.

HPE_FrontMatter.pdf (1.36 MB)

All the best,

— Christopher Schwarz

When I teach classes about handplanes, the climax is a contest where we see who can plane a 3/4” x 6” x 12” board to perfection – both to the try square and to the eye.

Last year at one of the classes, one of the young students in the front row took the contest to heart. When he brought his board up to me to evaluate he was out of breath and as wet as a Louisiana underarm.

I thought he had dunked his head in the toilet and was playing a joke on me. Or perhaps he was having a coronary event.

Neither turned out to be true. He was ragged out from planing. It’s a common complaint among readers: Planing is hard work. However, I can generally work all day in the shop without increasing my heart rate beyond what it is during a horror movie. You might think it’s my age (I’m 40), but I think it’s more than that. Over the years I’ve developed some habits that allow me to work steadily all day. Here are a few:

1. Make sure your bench is low enough. A high bench requires you to use the shorter muscles in your arms that tire rapidly. A lower bench allows you to use your legs and abdomen more. When I finally lowered my bench to 34" it made a huge difference in my work.

2. Step forward during your planing stroke. When planing a longer board (36" or more), I begin the stroke with one foot in the air and step forward. The act of dropping my foot begins the stroke. This puts gravity on your side. It looks funny (like a Monty Python Silly Walk). But boy does it work.

3. Traverse as much as possible. Planing across the grain allows you to remove more material with less effort. I'll traverse with my fore plane and my jointer plane. Then a few diagonal strokes with the jointer plane and I'm off to the smoother. The longer I can traverse, the longer I can work.

4. Plan your work around fatigue. One of the great things about hand-tool woodworking is that you can work in short bursts at different tasks and use different muscle groups. For example, I'm building web frames this week. I'll jointer plane the components. Then cut the tenons. Then the mortises. Then I might smooth plane them and assemble them. Then I'll move onto the next web frame.

5. Wax your tools. Paraffin wax on the sole of your tool (or a wipe with a non-drying vegetable oil such as jojoba oil) can do wonders. It reduces the effort to push the tool. And – if you apply it to your tools between each board you plane – you also get a short, breather.

6. Sharpen. I’m always amazed at how a sharp tool is easier to push than one that is approaching dull. Sharpening is also a break that can allow you to recover.

7. Pick different secondary woods. For the internal guts of your project, consider using Eastern white pine or basswood instead of using poplar or lower-grade boards of your project’s primary wood (i.e. don’t use rock maple for your drawer bottoms).

8. Don’t smooth plane the inside components. When I plane a carcase side or some internal components, I typically stop with the jointer plane. Sometimes I’ll stop with the fore plane (such as on the underside of a large tabletop). Only the surfaces that show will be smooth-planed. This can cut your planing time dramatically.

9. Always use the coarsest tool possible and take the thickest cut that does not cause tear-out. One 6-thou-thick shaving saves time and effort compared to 12 half-thou shavings. If your wood is mild, take a thick shaving.

So how about you? Any suggestions (besides indenturing an apprentice or buying crystal meth) for increasing your working time?

— Christopher Schwarz