We now have back in stock all sizes (S to XXXL) of the Lost Art Press “skep” T-shirt. And I don’t know the weather in your corner of the world, but here it’s hoodie season (which fills me with glee – I despise hot weather); we have our heavyweight “Nothing Without Labour” zip-up hoodies available in sizes M-XXL.
FIG. 5. EXAMPLES OF WAYS IN WHICH GLUE BLOCKS ARE USEFUL
The following is excerpted from “The Woodworker: The Charles H. Hayward Years,” Vol. II – Techniques. This article was first published when “glue” was understood to be hot hide glue (or, as it’s called in The Woodworker, Scotch glue). Rub joints work with other glues, but in my experience, not nearly as quickly – hot hide glue has incredibly fast tack. I’ve used glue blocks on several pieces, and for them, I always heat up a little hot hide glue. It’s well worth the (minor) trouble.
– Fitz
Like most other things, glue blocking has its abuses as well as its uses. A typical example is when it is used to replace a properly cut joint in cheap work. If confined to its correct function, however, that of strengthening a joint, it can add very materially to the strength, and is a perfectly legitimate practice.
From the outset we should be clear that the glue block is a rather ugly thing to look upon. It is therefore suitable only for positions where it is not seen, for it does its work chiefly by virtue of its bulk and the extra gluing surface which it provides, and it necessarily leaves a smear of glue at each side (we shall see the reason for this presently). In concealed positions, however, it can increase the strength of a joint very considerably.
FIG. 1. HOW GLUE BLOCK STRENGTHENS A JOINT This shows how the blocks help to resist lateral movement by acting as angle struts. They also considerably increase the gluing area
As a simple example of its use take the T joint at A, Fig. 1. If the vertical member is subjected to much side pressure it is clear that, apart from the glue with which it is assembled, it has only the resistance of the wood in the joint to prevent movement. If the wood crushes or breaks, the member will give. At B, however, the glue blocks by their bulk offer considerable resistance, and in addition they have mechanical strength in that increased leverage is required to shift the joint. They are virtually like a short stay inserted at each side.
FIG. 2. WHY SHORT BLOCKS ARE PREFERABLE
To be fully effective, a glue block should be comparatively short—say an average of about 3 in. One reason is shown at A and B, Fig. 2. At A there is one long block running the whole length of the joint, and its grain runs across that of the pieces that it joins. Consequently the block resists movement in the event of shrinkage, and a split is almost inevitable. If, however, there are several short blocks close together, as at B, the wood is free to contract without resistance from the blocks.
Of course, when the grain of all the parts runs in the same direction there is not so great an objection to the use of long blocks, but, even then, short blocks are generally stronger for another reason. If the wood that is being joined undulates slightly, as at C, Fig. 2, it is inevitable that there will be gaps in places with loss of strength. Clearly, short blocks would conform much more closely to the uneven surface.
FIG. 3. STAGES IN MAKING GLUE BLOCKS
Preparation of blocks. The wood should be prepared in a length and cross-cut. Plane the first edge straight, and then make the other square with it, as at A, Fig. 3. Plane the remaining two surfaces (it does not matter if these are not exactly square), chamfer the outer corner, as at B, and take a single shaving from off the inner corner. There are two reasons for the large bevel. It lightens the block and takes off what is otherwise a heavy appearance; and it makes it obvious to the man who uses the block which is the square corner. The purpose of the single shaving from the latter is that sometimes a bead of glue is left in the corner into which the block is rubbed, and the removal of the corner enables the block to clear this.
FIG. 4. HOW BLOCK IS RUBBED IN THE ANGLE
When cross-cutting the blocks keep the square corner pointing toward you, as at C, Fig. 3. In this way the saw always cuts into both square surfaces. Any rag occurs at the outer surfaces where it does no harm.
Gluing the Blocks. When gluing a block, glue the two square surfaces and rub the block back and forth in the angle a few times, as in Fig. 4. A few examples of the positions in which glue blocks are useful are given in Fig. 5 [at top].
Many of the visitors to our shop spend more time checking out the books in the back than the books in the front. In front are all the books Lost Art Press publishes (along with our Crucible Tool offerings). In back is what we call the Covington Mechanical Library – the very large and overfull floor to ceiling bookcase that holds most of the furniture reference books we use, along with a few backup tools, a very few collectibles and Mr. Chirpy (a mechanical bird that chirps when you walk by the embedded motion sensor). Most of the books are grouped together in a loose conglomeration of like subjects. There are, for example, sections on chairmaking and chairs, Shaker furniture, campaign furniture, etc. (And there are many books that could go in more than one section – and sometimes they change section – or whole sections move – without me knowing it’s happened. I blame the cats.)
And because not everyone can visit us (which is probably for the best, as we’d never get anything done if they could!), I’m going to go through the various bays in our bookcase and share with you what’s there (and I might divide some of the larger bays into smaller sections). There is no set schedule – but it will always be on Sundays.
To ease us in, I’ll start with The History of C. Schwarz in Woodworking Publishing section. In it are bound volumes of Popular Woodworking Magazine from 1997 when Chris started at the magazine through the year F+W Media stopped offering bound volumes, 2007. But Chris, who is the most hyper-organized person I know, also clipped every article he wrote and kept them in binders – those are alongside the bound volumes. (“Those are clips for when I got fired,” he says. Ever the optimist.)
“Ultimate” was almost an ultimatum for the covers.
There is also a copy of “The Anarchist’s Tool Chest” from the first press run (it’s the book that let him quit as editor of PWM before he got fired), and a leather-bound volume from that same printing. Alongside that are three copies of his “Anarchist’s Design Book,” one from the first press run, one from the first press run of the revised edition (with the red ribbon)…and one that’s been lopped off at the front edge and bottom, for those who complain that the three Anarchist’s titles are different sizes. Tucked amongst them is a black-cloth-clad ATC (it’s the 11th printing…which may or may not be the first black cover. We’re old and can’t remember). Then two copies of “The Anarchist’s Workbench” – one with black debossed type and cover art, one with white (the first and second printings.) There is also a copy of Nancy R. Hiller’s “Making Things Work” from our first press run of her book – because it belongs in this super-special-to-us section.
Today is the last day to get a free PDF with your print order of “Sharpen This” by Christopher Schwarz and/or “Euclid’s Door” by George Walker and Jim Tolpin. After midnight tonight (Sept. 30, 2022), the combo of the hardcover books and pdf will cost more.
“Euclid’s Door” is Jim and George’s latest exploration of artisan geometry. In this new book they show you how to build a set of highly accurate and beautiful wooden layout tools using simple geometry and common bench tools. This practical application of geometry will train your hands and mind to use this ancient wisdom. And you’ll end up with a fantastic set of useful tools.
“Sharpen This,” Chris’s latest book, is one he wished he’d had when learning woodworking. It would have saved him money (no buying unnecessary sharpening equipment) and time in learning how to grind, hone and polish. It’s a short and blunt treatise about sharpening common bench tools: chisels and planes mostly. Chris explains how sharpening really works and what you need to do the job well – and no more.
If you were planning to order either (or both) and have not yet gotten around to it, today would be a good day.
The unused edges of a sharpening stone are a great place to do the dirty work of rounding the corners of the iron.
The following is excerpted from “Sharpen This,” by Christopher Schwarz. I chose this section because I get asked more about smoothing planes – specifically why they leave plane tracks – than anything else sharpening-related in my classes. I’d say that 80 percent of the time, the “problem” is a blade that has no camber. Here’s how to put one on the blades for a smoothing plane and jointer plane (a shallow curve).
– Fitz
The blades for my smoothing plane, jointer plane and block plane have slightly curved edges so that the corners of the iron do not dig into the wood and create “plane tracks.” Plane tracks are the ugly ridges left behind by the cutter’s corners.
To create a slight curve, begin with a blade that has been ground straight across. The curve is generated on the honing and polishing stones.
The first step is to round over the corners of your blade. I do this on the edges of my honing stone. Why the edges? Because this process cuts a deep gouge in the stone, so the stone’s edges are a good place for it.
For most plane irons, I divide them into five stations. Narrow blades (such as block plane blades) have three stations.
The result is that the corners are rounded over with a small radius – about 1/16″ radius. Now install the blade in your honing guide. To create the curve for the first time on a straight edge, mentally divide the edge into five “stations” along the tool’s edge. One station is in the middle of the edge. One at each corner. And two more between those points.
With the tool on your honing stone, put firm finger pressure on one of the corner stations and take 12 strokes. Then put firm finger pressure on the opposite corner station and take 12 strokes. Now put your finger pressure on one of the intermediate stations and take six strokes. Switch to the other intermediate station and take six more. Finally, put your finger pressure on the center station and take two strokes.
Remove the tool from the honing stone and check for a burr. If you have a burr, hold the tool up in front of your face with a strong backlight. Place a small straightedge on the tip of the edge to see if the edge is curved. If you cannot see a curve, there’s a fair chance your stone isn’t flat; it’s convex across its width. Flatten the stone (see Chapter 9) and try again.
The curve on a No. 3 smoothing plane. In short order you will get a feel for how much curve each tool requires.
How much of a curve should there be? It depends on the width of the iron and the angle at which the iron is bedded. If you see a curve, continue onto polishing.
Put the tool to use and see if the curve is working (meaning there are no ugly plane tracks). If the curve is too shallow (plane tracks, argh), hone the iron with more pressure at the corners to increase the curve. If the curve is too pronounced (where the iron will take only a narrow, thick shaving in the middle) then hone again with more pressure at the center station.
The curve on a No. 8 jointer plane. Aggressive handplanes require more curve.
For freehand sharpening of curved blades, I press one corner of the bevel to the stone. Then I raise the back end of the tool 1/8″. As I pull the tool toward me, I also shift the pressure on the bevel to the center of the edge and then to the other corner.