With the release of our 1:4 Dovetail Template, which is now in the shop alongside our slightly older 1:6 & 1:8 combo Dovetail Template, I’ve received a few emails from folks lamenting there’s no way on our site to tell the difference both in how they look and how the resulting dovetails perform.
The second is easily answered: they perform the same – or close enough. Each of those three angles – and just about anything in that general vicinity, will outlast you – even if relatively poorly cut. Just look at pre-industrial drawers if you don’t believe me; on drawers that are still working just fine after more than a century, some of the dovetails look as if they were gnawed out by a beaver.
The first is fairly easily – if not particularly elegantly – answered, too. Above is a corner of joints, two each per angle, that I hurriedly cut using some scraps from the burn bin. Note that there isn’t a whole lot of difference between the look of the 1:6 (9.5°) and 1:8 (around 7°) joints. I prefer the 1:6, simply because it’s what I first cut, and have done so pretty much ever since; my wrist now has that angle ingrained. So while it felt weird to cut the 1:4 (around 14°) and 1:8, it’s certainly doable. If you can mark the line, you can saw a line.
But I also think it’s kinda funny that we sometimes fret over those angles. Do you always cut exactly on your lines? I don’t – not for the first half of the joint (in my world, that’s usually tails). The second half of the joint must (ideally) perfectly match the first half, no matter what the angle. So if my wrist tilts to, say 10° or 8° instead of 9.5° on one side of a tail, oh well. (That said, to me, the 1:4 looks a bit hefty…’cause I’m such a delicate flower.)
Anyway, above, you can see the difference in the template angles we offer. Both templates are in stock as of the moment I published this (and if we run out, I’ll order more!). Click here for the 1:6/1:8 (my favorite), and here for the 1:4 (Chris’s favorite).
– Fitz
p.s. Why doesn’t the 1:4 offer, say, 1:5 on the other end? The square end of the tool allows you to also use it as a saddle square (and to not get turned around by two similar-looking angles).
Here I’m using a zig-zag rule and a carpenter’s pencil to lay out the cuts on the pine stock for the Packing Box. I dislike zig-zags for this work because they don’t lay flat. They have the precision of a hand grenade.
The following is excerpted from “The Joiner and Cabinet Maker,” by Anonymous, Christopher Schwarz and Joel Moskowitz.
It begins in 1839. In that year, an English publisher issued a small book on woodworking that has – until now – escaped detection by scholars, historians and woodworkers.Titled “The Joiner and Cabinet Maker,” this short book was written by an anonymous tradesman and tells the fictional tale of Thomas, a lad of 13 or 14 who is apprenticed to a rural shop that builds everything from built-ins to more elaborate veneered casework. The book was written to guide young people who might be considering a life in the joinery or cabinetmaking trades, and every page is filled with surprises.
Unlike other woodworking books of the time, “The Joiner and Cabinet Maker” focuses on how apprentices can obtain the basic skills needed to work in a hand-tool shop. It begins with Thomas tending the fire to keep the hide glue warm, and it details how he learns stock preparation, many forms of joinery and casework construction. It ends with Thomas building a veneered mahogany chest of drawers that is French polished. However, this is not a book for children. It is a book for anyone exploring hand-tool woodworking.
Thanks to this book, we can stop guessing at how some operations were performed by hand and read first-hand how joints were cut and casework was assembled in one rural England shop.
Here’s what you’ll find in our expanded edition of this book:
• A historical snapshot of early 19th-century England. Moskowitz, a book collector and avid history buff, explains what England was like at the time this book was written, including the state of the labor force and woodworking technology. This dip into the historical record will expand your enjoyment of Thomas’s tale.
• The complete text of “The Joiner and Cabinet Maker,” unabridged and unaltered. We present every word of the 1839 original (plus a chapter on so-called “modern tools” added in a later edition), with footnotes from Moskowitz that will help you understand the significance of the story.
• Chapters on the construction of the three projects from “The Joiner and Cabinet Maker.” Schwarz built all three projects – a Packing Box, a dovetailed Schoolbox and a Chest of Drawers – using hand tools. The construction chapters in this new edition of “The Joiner and Cabinet Maker” show the operations in the book, explain details on construction and discuss the hand-tool methods that have arisen since this book was originally published.
• Complete construction drawings. Lost Art Press drafted all three projects in SketchUp to create detailed drawings and cutting lists for the modern woodworker.
The two-foot rule was the standard measuring device for woodworking for hundreds of years. The steel tape was likely invented in the 19th century. Its invention is sometimes credited to Alvin J. Fellows of New Haven, Conn., who patented his device in 1868, though the patent states that several kinds of tape measures were already on the market.
Tape measures didn’t become ubiquitous, however, until the 1930s or so. The tool production of Stanley Works points this out nicely. The company had made folding rules almost since the company’s inception in 1843. The company’s production of tape measures appears to have cranked up in the late 1920s, according to John Walter’s book “Stanley Tools” (Tool Merchant).
The disadvantage of steel tapes is also their prime advantage: They are flexible. So they sag and can be wildly inaccurate thanks to the sliding tab at the end, which is easily bent out of calibration.
What’s worse, steel tapes don’t lay flat on your work. They curl across their width enough to function a bit like a gutter. So you’re always pressing the tape flat to the work to make an accurate mark.
Folding two-foot rules are ideal for most cabinet-scale work. They are stiff. They lay flat. They fold up to take up little space. When you place them on edge on your work you can make an accurate mark.
They do have disadvantages. You have to switch to a different tool after you get to lengths that exceed 24″, which is a common occurrence in woodworking. Or you have to switch techniques. When I lay out joinery on a 30″-long leg with a 24″-long rule I’ll tick off most of the dimensions by aligning the rule to the top of the leg. Then – if I have to – I’ll shift the rule to the bottom of the leg and align off that. This technique allows me to work with stock 48″ long – which covers about 95 percent of the work.
Other disadvantages: The good folding rules are vintage and typically need some restoration. When I fixed up my grandfather’s folding rule, two of the rule’s three joints were loose – they flopped around like when my youngest sister broke her arm. To fix this, I put the rule on my shop’s concrete floor and tapped the pins in the ruler’s hinges using a nail set and a hammer. About six taps peened the steel pins a bit, spreading them out to tighten up the hinge.
Another problem with vintage folding rules is that the scales have become grimy or dark after years of use. You can clean the rules with a lanolin-based cleaner such as Boraxo. This helps. Or you can go whole hog and lighten the boxwood using oxalic acid (a mild acidic solution sold as “wood bleach” at every hardware store).
One leg of this scale has been cleaned with lanolin. The other has been wiped with wood bleach, which lightened the boxwood but didn’t affect the markings.
Vintage folding rules are so common that there is no reason to purchase a bad one. Look for a folding rule where the wooden scales are entirely bound in brass. These, I have found, are less likely to have warped. A common version of this vintage rule is the Stanley No. 62, which shows up on eBay just about every day and typically sells for $20 or less.
The folding rule was Thomas’s first tool purchase as soon as Mr. Jackson started paying him. I think that says a lot about how important these tools were to hand work.
When marking out his stock, Thomas uses chalk in conjunction with the rule. The author also notes that Thomas always has chalk in his pocket. What gives?
Chalk is ideal for marking out coarse measurements on boards because it won’t snap like a pencil lead on a rough-sawn wooden surface. It’s also far easier to see than pencil lead. In my shop, I’ve always used chalk at every stage in construction. You can make very bold (but easily removed) marks on your parts to keep them organized. I also use chalk to mark all the areas of tear-out that need to be addressed on a nearly finished piece of work. (Does chalk dull your edge tools? I haven’t had a problem.)
I also like how the chalk dust in my pocket absorbs excess moisture on my hands, which is a trick from the rock climbing and billiards set.
The third unfamiliar thing at this stage of the book is the way the author throws around the word “deal.” It’s easy to get the impression that deal is merely an English word for dimensional pine. But if you dig around, it can become confusing. “The Joiner and Cabinet Maker” instructs you to build one project using either “pine or deal.”
Huh? Let’s hit the books.
In my library, the accounts I dug up all agree that a “deal” is a plank of pine or spruce that is 9″ wide. But they disagree on the thickness. According to Bernard E. Jones’s “Practical Woodworker” (10 Speed Press), deal is 9″ wide and no more than 4″ thick. Charles H. Hayward’s “Carpentry for Beginners” (Drake) agrees that deal is 9″ wide, but says the thickness is between 2″ and 4″. And Paul N. Hasluck’s “The Handyman’s Book” (Senate) states that deal is 9″ wide and 2-1/2″ thick.
What is also helpful to know is that deal is just one word that English books use to describe standard sizes of wood. According to Hayward, a 20th-century author, here are some others:
Plank: A piece of wood that is 11″ wide or wider and 2″ to 4″ thick.
Batten: A piece of wood that is 5″ to 8″ wide and 2″ to 4″ thick.
Board: Anything that is more than 4″ wide and less than 2″ thick. This term is usually used with floorboards and tongued-and-grooved boards.
Scantling: Small bits that are 2″ to 4-1/2″ wide and 2″ to 4″ thick. Strip: Pieces that are less than 4″ wide and less than 2″ thick.
But that’s not all. There are different kinds of deal. Deal that is Northern pine (Pinus sylvestris) can be called Baltic red deal, Dantzic deal or yellow deal. And Spruce (Picea excelsa) shows up as white deal. And Canadian spruce (Picea nigra) can be called New Brunswick spruce deal.
It will come as no surprise to those who know me that I got distracted by other work…and that I forgot it takes me five times longer (at least) to do things with a camera pointed at me than when no one is watching. And that is why the video I promised a few weeks back on kitting out the interior of an “Anarchist’s Tool Chest” is taking a bit longer than expected. But with Wally’s help, we’re nearing the finish line. (A special thanks to its soon-to-be owner for bearing with the delays.)
The video will feature: • installing the till runners • a brief look at dovetailing the three tills (goodness knows if you’ve built this chest, you know how to cut dovetails!) • fitting the till bottoms to the runners • installing a moulding plane till at the back • making and installing a hanging hole-y rack with slots behind it for backsaws • making and installing a saw till for larger handsaws • notes on finishing the interior • tips on fitting the lid • hardware installation, including hinges, chest lifts, ring pulls and a “crab lock” • caster installation • surprisingly few cats (unless we add then in post production).
Chris plans to start editing at the end of next week, and he’s fast – so it should be available soon thereafter. Below are a few pictures I snapped during the process.
Always a good idea to make sure the saws fit before you install the rack in the chest.
The owner chose Horton Brasses forged hardware (good stuff).
Never use your hair as a glue brush. But if you do, make sure you’re using hide glue (it washes out easily).
Tills before “make pretty” and finish.
Bean and Wally know that I keep treats in my tool chest. Could there be some in this chest, too? (Nope – sorry boys.)
FIG. 56. All-purpose woodwork bench. Karja. After a drawing by A. Toomessalu., KV 78, 64.
The following is excerpted from “Woodworking in Estonia,” by Ants Viires; translation by Mart Aru.
It’s one of Roy Underhill’s three favorite woodworking books, but you can’t buy a copy of it for love or money. Translated into English without the author’s permission in the late 1960s, “Woodworking in Estonia” has been a cult classic ever since it first surfaced.
It is, according to Underhill, “one of the best books on folk woodworking ever” and covers the entire woodworking history of this small Northern European nation from pre-historical times through occupation by the Germans and Soviets up through Estonian independence.
The author, Ants Viires, devoted his life to recording the hand-tool folkways of his country without a shred of romanticism. Viires combined personal interviews and direct observation of work habits with archaeological evidence and a thorough scouring of the literature in his country and surrounding nations.
If all this sounds like a dry treatise, it’s not. “Woodworking in Estonia” is an important piece of evidence in understanding how our ancestors worked wood and understood it more intimately than we do. Viires records in great detail everything from the superstitions surrounding the harvesting of wood (should you whistle in the forest?) to detailed descriptions of how the Estonians dried the wood, bent it, steamed it and even buried it in horse dung to shape it for their needs.
Lost Art Press spent more than two years bringing this book back to life. We contacted the author before his death in 2015 to secure rights for the first authorized English translation. Using the 1996 Estonian edition of the Estonian book, we commissioned a new English translation.
We also obtained the rights to the original photos and drawings. The 1969 unauthorized translation used poorly reproduced images, likely mimeographs, which were murky and dark. This edition contains more than 240 crisp, original photos and line drawings.
The use of the plane presumes a base on which the item being planed is fastened. For a long time a simple low working bench, in Avinurme, “tööjärg” (Fig. 56) served for this and on which also other woodwork was done. In places such benches are still used, particularly in Avinurme or elsewhere where home industry has persevered. The older generation throughout the country still remembers planing on the simple bench. The typical Avinurme workbench has two holes at one of its ends, and the board to be planed is fastened either against or between pegs driven in these holes, so that the person planing sits astride on the bench (Fig. 57). In other places there is often only one stick at the end of the bench. Mostly there are two holes next to each other near the middle of the bench and the board is fastened on the bench so it is possible to plane the edge of the board (Fig. 58). Sometimes there is a square hole in the center for the inverted wedge when holding the plane steady and jointing the edge of a board (see Fig. 94).
FIGS 57 & 58. Such simple workbenches were still usual for Russian home-industry workers at the beginning of the past century. It also appears from representations of Nuremberg cabinetmakers from 1398 and 1444 that they, too, have used identical benches. Only in German drawings of the 16th century do we see higher and wider benches, although still simpler and more primitive than the benches known today. But in the 18th century, benches as represented in drawings and lithographs bear resemblance to the present-day bench.
So the carpenter’s bench (“höövlipink,” also “kruupink, tisleripink, puusepa pink”) as we know it today is no older that two or three centuries. It became known in the village later still, and its actual appearance can be placed within living memory of the older generation, i.e. at the end of the 19th century. Of course, there may have been estate carpenters who had acquired benches somewhat earlier, even a century or more. The rapid development of village cabinetmaking in the second half of the 19th century brought the bench into the village. The story of carpenter Juhan Kaseoks (born 1866) of Keila is characteristic:
“I didn’t have a carpenter’s bench earlier. About 30 years later [1910] there was a little more. Ikmelt Jaan’s father, whose name was Prits, he made the first one. His father was as a very good carpenter. He even started to sell them. Masters bought them from him. I was working at the manor, I naturally had one too. My father-in-law, Maerus, did that work, and he had one too. But households didn’t have them. There was a bench instead of it.”
FIG. 59. Carpenter’s bench. Püha. After drawing by J. Võerahansu. EJ 61:70.
FIG. 60. Carpenter’s bench, Original unknown. ERM A 386:236.
After the example of carpenter’s benches people from villages started to build at first simpler benches. So, for example, people remember how they provided an end screw to an ordinary low bench. An old-style carpentry product, a planing bench now preserved at the Estonian National Museum (Fig. 60), uses natural branches of the tree skillfully applied in critical functions. Also a bench with screws represented a certain stage of development. Kusta Sinijärv (born 1866) of Karja remembers: “In my childhood we already had a real carpenter’s bench with a screw. At first it had one screw, with one screw at one end. But now the bench has two screws, with one screw also at the side. The side screw came there about 50 years ago [ca. 1900]. An older planing bench (with a side screw) but without a lower drawer has been shown in Fig. 59.
So the carpenter’s bench developed into a generally obligatory carpentry tool. Only the Avinurme woodworkers who make wooden containers still use the old benches. Chairmaking joiners in Avinurme, however, use the up-to-date joiner’s bench.
I am delighted to report that, late on Monday, I sent Jögge Sundqvist’s latest book, “Karvsnitt: Carving, Pattern & Color in the Slöjd Tradition,” off for pre-press and proofing. (It should be available in around 7-8 weeks, and will likely be less than $50.)
Below is a sneak peek at just a few of my favorite spreads (the whole book is a gorgeous riot of color and pattern). We’ll post an excerpt when we get closer to having the book available.
– Fitz
“To me, contemplating what pattern to cut on an object — on a box, spoon or knife handle — feels like I’m being served dessert. I want to enjoy the process, allow the sketching the time it needs to create a unique and ideal pattern: a decoration that I can cut at my leisure, safe in the knowledge that it will stand the test of time for many years to come. This is the feeling and experience I want to share with you.” – from the Introduction
“The ideal is when the color catches the light and, in an almost magical way, lends a resonance to both the carved surface and the decoration. For me, that’s argument enough.” – from the chapter on Painting
“A slöjd object with a consistent expression and a purpose connected to the context in which it is used tends to last longer in terms of design. When patterns and symbols align with function, the different parts are bound together into a whole by the subtext — a certain unity to which they all contribute.” – from the chapter on Pattern Construction
“The desire to communicate through signs and symbols goes back eons. In 2018, the earliest known artistic creation by a prehistoric people was discovered in South Africa’s Blombos Cave. A flat stone with nine lines of chalk is believed to be the world’s oldest work of visual art made by humans. About 73,000 years ago, this chalk drawing with an abstract motif could be understood by others. Even then, humans were able to use symbols and store information outside our brains.” – from the chapter on Symbols & Magical Signs
