Category: Charles H. Hayward at The Woodworker

The following is excerpted from Vol. I of “The Woodworker: The Charles H. Hayward Years: Tools.” As editor of The Woodworker magazine from 1939 to 1967, Hayward oversaw the transformation of the craft from one that was almost entirely hand-tool based to a time where machines were common, inexpensive and had displaced the handplanes, chisels and backsaws of Hayward’s training and youth.

This massive project – five books in total – seeks to reprint a small part of the information Hayward published in The Woodworker during his time as editor in chief. This is information that hasn’t been seen or read in decades. No matter where you are in the craft, from a complete novice to a professional, you will find information here you cannot get anywhere else.

We have culled, organized, scanned, edited and re-edited these articles to create these hardbound volumes. This is not simply a quick reprint of old magazines. We have reset all of the type. We have scanned and cleaned every image (there are more than 2,000 drawings and photos). The entire project took hundreds of hours and a dozen people all over the country.

The first volume is on tools, and includes: Sharpening; Setting Out Tools & Chisels; Planes; Saws; Boring Tools; Carving; Turning; Veneering & Inlay.

There are three general classes of saws; hand-saws, back-saws, and those for cutting curves. The first, with the use of which we are concerned here, are for the preliminary cutting up of timber and for the larger joints, and at least one is essential in the kit.

Features of the Handsaw. A saw which will cut fairly rapidly without badly tearing out the grain, and one which can be used for cutting both across and with the grain, is desirable because it can be used for so many purposes. Choose one about 22 in. long (that is the blade length measured along the teeth) and having, say, 10 points to the inch. The latter detail refers to the size of the teeth and means the number of tooth points in an inch including those at both ends. In Fig. 2, for instance, there are 10 points to the inch. Many saws have the number stamped on the blade near the handle. If you propose to do mostly carpentry as distinct from furniture making you can gain a little in cutting speed at the sacrifice of fine cutting by choosing a saw with larger teeth, say 8 points.

Make sure that it is a cross-cut saw you get, not a rip-saw. There is an important difference between the sharpening of the two which affects the cutting. The cross-cut can be used for any sort of cutting, whereas the rip-saw is confined to sawing with the grain. It is a good plan too to choose a taper-ground-saw. It means that the blade has a natural clearance in the kerf it makes since it is slightly thinner at the back than at the toothed edge. Even with this refinement, however, a saw would jam in its kerf unless the teeth were given what is known as set. This is the slight bending over of the teeth in alternate directions so that, as the saw cuts through the wood, it makes a cut (kerf it is usually called) slightly wider than the thickness of its blade. Of course, this means that the resistance is slightly greater in that the saw has had to remove more wood in sawdust, but this is mostly offset by the reduced friction of the blade in the kerf. It does mean, however, that the taper-ground-saw has a definite advantage in that the set can be less owing to the natural clearance of the blade.

Using the Saw. Sawing is done on trestles, on the bench, or in the vice. In the first the wood is usually steadied by pressure from the knee, whilst for bench sawing the usual plan is to cramp down the wood. This is really important because it is impossible to saw properly if the wood is jumping about. Here then is a first essential. If you cannot hold the wood steady, fix it down with a cramp.

Square Sawing. Perhaps the chief difficulty that besets the beginner is that of square sawing, and this is entirely a matter of knowing when the saw is upright and of keeping it so throughout its stroke. If the cut is not square it means that at best there will be a lot of wood to trim away, and at worst the wood may be too small owing to its have been undercut. For a start place a trysquare on the bench against the blade and endeavour to keep the blade in line with it as at A, Fig. 3. We have known a case of a man, determined to cure a fault of sawing out of square, who stood a large mirror in front of himself and glanced at it occasionally to see whether the saw was upright. This is not usually practicable, but whatever method you use endeavour to get the feel of when the saw is upright. Put the square on the wood and hold the saw against it perfectly upright. Note and try to register your position. Move the saw into various positions in its stroke and again note your attitude. After a time you will no longer need to use the square as a guide, but even so, test the sawn edge afterwards to see whether you have any special bias, and endeavour to correct the fault.

Straight Sawing. A common experience for a beginner is to find that the saw is either drifting away from or bearing towards the line along which he is sawing. He tries to put things right by twisting the handle (C, Fig. 3), and, after a few strokes finds that the saw is bearing the opposite way, and so it goes on until the end of the cut, the resulting edge being a long and wavy line as in Fig. 4. Clearly the important thing is to start right with the saw blade parallel with the line.

Now in normal sawing the blade is held so that the line of the teeth makes about 45 degrees with the wood, as at A, Fig. 5. This makes it a little difficult to judge whether the blade is in alignment with the line, because when the saw is low the handle does not extend far enough along the line to enable you to judge the matter, and when it is high the handle is so far above the line that it is just as difficult. The best plan is to start the cut with the saw held at a very low angle as at B, Fig. 5. Then, if the toe of the saw is used to start the cut the handle will extend a long way along the line and it will be low. Once a reasonable start has been made the saw can assume the normal 45 degrees. If you start right there is no reason why you should not keep right—assuming that the saw is in order.
Bad sharpening can cause drifting, but the drift will always be in the same direction. It may be due to unequal setting, to the saw having been sharpened from the same side throughout, to one side having been caught on a nail, or to the blade being buckled. Do not try to cure it yourself. Take it to a proper sharpener and explain what happens. He will know what to do. Sharpening and the correction of faults is a skilled operation calling for experience.

General Sawing. Assume that you are going to saw along a board, the latter held on trestles or boxes. Start the saw at a low angle as already suggested and give a few short strokes, the blade bearing against the thumb of the left hand to steady it as shown in Fig. 1. This enables the saw to make a start in the right place. As the blade cuts more deeply into the wood you can gradually change the position of the handle so that the blade makes about 45 degrees with the wood, and the short starting strokes can be changed to long ones embracing nearly the whole length of the saw. Note from Fig. 1 how the index finger of the right hand points along the blade. This is a great aid to control and applies to almost every saw. Keep the left hand with either the thumb or side of the finger bearing against the blade until the saw has cut a fair way into the wood—say about the width of its blade. Apart from steadying it at the start it helps to prevent an injury in the event of the blade jumping from the kerf. If the left hand is merely held at the edge away from the saw the latter might jump out and jar the hand.

Don’t force the blade. Keep it moving steadily in long, even strokes with light or moderate pressure. It used to be taught to apprentices that a saw should cut merely by its own weight, and the underlying idea that forcing must be avoided is sound; but you need something rather more positive than this. Give just enough pressure to ensure firm control and you will find that the saw will cut freely. If it doesn’t, it needs sharpening.

In practically every case the saw is used to the side of the line rather than on it. The point is that the line represents the finished size, and the saw cut is made on the waste side to allow for final trimming with the plane. Many men tend to saw well away from the line for fear of making the wood too small. This is natural enough, but it exemplifies the lack of confidence of a man not sure of himself. Learn to cut accurately therefore, and you can then cut close to the line, leaving just enough for trimming.

The following is excerpted from “The Woodworker: The Charles H. Hayward Years: 1939-1967” Volume 4, The Shop & Furniture.

Although a back may not call for the high finish that is necessary for, say, a cabinet door, it needs to be strongly made and of a type to suit the particular job. “Craftsman” discusses here some of the points to be considered when deciding just what kind of back a job is to have. —Ed.

I AM afraid that many of us are inclined to let the backs of our cabinets take pot luck, as the saying goes. We make a job, say, in oak, possibly putting in oak drawer sides, and backs, but hesitate before going to the expense of oak for the back. The reason (or excuse, however you happen to look at it) is that it is seldom seen, has little or no wear to withstand, and that, since the cheap back answers the purpose just as well, it is clearly a waste to spend money on an expensive one.

Well, it is logical enough up to a point, and, providing that it is merely the material that is cheapened and not the method that is worsened, no great harm is done. In fact, there are many pieces of quite light woodwork in which a heavily built back seems almost out of place. Still, it is nice to have a piece of work in which nothing has been skimped, and the argument that a cheap back answers the purpose as well as a better one may not necessarily hold good, as we shall see later. The safe plan is to consider each piece on its merits, and give it the best back that it is worth.

BACKS OF OLD FURNITURE
If one goes back into the past one comes across some curious anomalies. Many of the antiques of the Queen Anne and mahogany periods of which we think so highly had wretched backs. I myself spent a good many years in a repair shop, and I can speak feelingly of the hours I devoted to gluing strips of canvas across gaping splits in panels and across open knot holes. I have seen a mahogany chest of drawers of the Chippendale period with magnificent show work—serpentine shaped drawers, fine carving, and so on—with a back consisting of pieces of 1/4 in. pine nailed across. An extraordinary inconsistency. Apart from its having no strength, the whole thing was bound to shrink and split.

Yet when we come to that much abused period of Victoria, we find exactly the reverse. Probably no finer cabinet backs have ever been fitted into furniture. Open the door of one of those huge Victorian wardrobes (there are plenty of them knocking about in seaside boarding houses). You will find the mirror back more strongly made than many a modern wardrobe door, and the carcase back a finely panelled framework often with moulded stiles or flush panels.

Perhaps one reason why there has been a tendency to fit lighter backs since Victorian times (apart from the all-round cheapening of materials and construction) is the introduction of plywood. It seems such an obvious use for ply, a material which is free from shrinkage and obtainable in such large sizes. Undoubtedly it is perfectly suitable for the purpose, providing the carcase is strong in itself, and does not rely upon the back to make it rigid.

TYPES OF BACKS
There are various considerations that affect the choice of a cabinet back. There is, for instance, the question of size. A single sheet of 3/16 in. plywood might make an excellent back for a little cupboard, say, 15 ins. high, but would obviously be absurd for a wardrobe. Apart from this, however, the first consideration should be: does the job rely upon the back for strength, or will the back serve merely to enclose a space? Fig. 1 shows the idea. At A the back is needed to prevent racketing and to stiffen the carcase generally. At B, however, the carcase is already strong, and only a light back is needed.

In the latter connection, of course, it is sometimes an advantage to build in the back with the carcase. Items such as sideboards are often made in this way. As a general rule, however, it is better to make the back separately, because it simplifies the subsequent fitting-up.

THE PANELLED BACK
For a thoroughly strong back the panelled type is undoubtedly the most satisfactory. It is perfectly rigid and is free from all shrinkage complications. It should always be used for pieces such as cupboards with large, heavy doors, which are particularly liable to distortion unless provided with a stiff back.
Fig 2 shows the usual form. The whole thing is put together with mortise and tenon joints, and the panels are grooved in. One point to note is that if there is a shelf in the cupboard, the middle cross rail should be arranged opposite to it if possible. It may not always be practicable, of course, but the advantage is that it gives a level surface against which the back of the shelf can face (see B, Fig 3). If this is not done there will be gaps opposite the panels as shown at A.

The same difficulty sometimes occurs in a bookcase or similar item, but owing

to the large number of shelves it is not practicable to arrange for many horizontal rails. The better plan is that in Fig 4, in which the panels are flush with the framework at the inside. It necessitates fairly thick panels, of course, but it gives a far neater result than cutting out the back edge of the shelf to fit.

MUNTIN BACKS
A somewhat distant relative of the panelled back is the muntin type. It is nowhere near as strong, and is rather a doubtful member of the family. Like some relations, you can’t deny them (and they are useful sometimes), but you are a little shy about mentioning them in the best circles. It consists of a series of uprights, say 3/4 in. or 7/8 in. thick grooved at the edges to take thinner panels, as shown in Fig. 5. The ends of the muntins are cut away as shown inset, so that the panels can be fixed directly to the back of the carcase.

Now, as the panels are generally about 9—10 ins. wide, and of deal, it is inevitable that a certain amount of shrinkage will take place. Consequently it is a mistake to drive in nails right across the width because the wood would split in the event of shrinkage. The better plan is that in Fig. 6 in which nails are driven in near the centre only. The edges extending into the muntin grooves are free so that they can draw out. Note that the heart side is outwards so that the free ends are pressed tightly against the carcase by the natural twisting tendency of the wood.

If, owing to the presence of a number of shelves, it is desirable for the back to be entirely flush on the inside, the muntins can be rebated instead of grooved as shown in Fig. 7. The beads along the rebates are not entirely decorative, but they serve to render the gaps less noticeable in the event of the panels shrinking. All these details about shrinkage apply only when solid wood is used, of course. In the case of plywood it does not matter.

Speaking of plywood brings us to another variation of the muntin back. In its simplest form the plywood back is nothing more than a sheet of plywood nailed or screwed in a rebate. For quite light jobs this is satisfactory enough, but to give a neat finish the back in Fig. 8 is better. A series of grooved and rounded horizontals is screwed on. They can be arranged level with the shelves as shown. The plywood panels fit between them in the grooves. For a flush effect the rails can be rebated instead of being grooved (see D).

DRESSER BACKS
These are really in a class by themselves, for although they could be applied to pieces such as wardrobes, they are not so strong as a panelled back. One of two methods can be followed. That shown in Fig. 9 has the advantage of simplicity. The back is really a series of matched boards, tongued one into the other, with either a bead or a V worked at the joints. The boards are screwed or nailed directly to the top and shelves, and at the bottom to a rail specially fitted for the purpose. In the second method, Fig. 10, wide grooved rails are screwed at top and bottom and the matching fitted in the grooves. The wide rails give rigidity, the matching merely filling the space, so to speak. It can be either very thin as at A, or it can be stouter, the ends being tongued as at B.

Incidentally, a detail applying to all backs of any thickness is that the rebates in the ends should slope as shown at A, Fig. 11. If this is not done the projecting portion is liable to curl as shown at B.

The following is excerpted from “The Woodworker: The Charles H. Hayward Years: 1939-1967” Volume 4, The Shop & Furniture.

This is a problem that faces every man who does woodwork. Provision has to be made for keeping tools so that they are out of harm’s way, for nothing is worse than a bench littered with tools piled one on top of the other. At the same time they must be easily to hand when needed. At the outset it should be realised that a distinction has to be made between tools in everyday use and those used only occasionally. It is of no use to keep, say, a hammer in a drawer or cupboard which has to be opened every time the tool is needed. The usual way is to keep it in the well or trough of the bench where it is always to hand yet does not interfere with items placed on the bench top. Much the same thing applies to pincers, chisels, screwdrivers, etc., though these are not normally kept in the trough but rather in a simple rack.

It is interesting to see what used to happen in professional workshops. A nail in the wall was invariably all that was used for such items as saws, and chisels, pincers, and so on were held in the simplest of racks fixed to the wall with a screw at each end; cramps were hung over a batten projecting from the wall or fixed to a convenient beam. Altogether a primitive yet effective method. On the other hand his more delicate tools such as the shoulder plane, compass plane, plough, etc. he usually kept in his tool chest in a special drawer or compartment. The everyday, more robust items he put in a drawer beneath the bench.

The reason for this rather crude arrangement for tools was twofold. First, there was frequently nothing permanent about a man’s job. He might be taken on and put off again in quite a short time. Secondly, he would certainly not be allowed to spend time in making any special tool rack arrangement. Hence nothing more pretentious than the homely nail was used, and even these might already be in the wall, an inheritance from the previous incumbent.

For the man working at home a somewhat more elegant system can be devised because he is more or less permanent in his workshop and can spend as much time as he likes in making fitments. Another point is that his workshop may be just a garden shed, and nothing rusts tools quicker than hanging them on a damp wall. The nail itself will bear witness to this in a short time.

The simplest form of rack is shown at (A), Fig. 2, and is the sort widely used in a workshop. It is simply a plain batten fixed to the wall with distance pieces at the ends. If there is a convenient wood window frame to screw to this simplifies matters, but in the case of a brick wall there is an advantage in fitting a plywood or hardboard backing held on uprights as at (B). It avoids damage to chisel edges against the brickwork and it lifts the tools away from the wall. A quite good idea is to make one distance piece thicker than the other so that tools of varying size can be gripped. A 1-1/2 in. chisel has a larger handle than one of 1/4 in. size and in an equidistant rack either the big one will not go in or a small one will drop through. The tapering gap will hold both.

A fitting that has become popular is the tool clip. It is made in various forms, the simplest being fixed with a centre screw. This however needs either a wood wall or a batten screwed to the wall as at (C). It is far better to fix a batten to the wall with plugs and screw the clips to this than to attempt to plug the clips individually. The value of peg board as a means of display has also caused a new form of clip to be devised which can be entered from the front. This has a cranked centre rod which is passed through the hole and held by tightening a nut as at (D). Clips can therefore be fixed through any convenient holes to suit the shape of the tool to be gripped.

To hold a saw to the wall the simple nail is effective enough, but the handle is liable to become damaged with continued use. The better fixing is that at (E) in which the front thin piece (ply or hardboard) will pass easily through the hole in the handle. At the back the distance piece (slightly thicker than the handle) is narrower so that the handle drops down after being passed over. In some cases it is an advantage to have a front piece pivoted on a screw (F). This has only to be turned when the saw is slipped over.

Planes can be stored in various ways. When there is space for the plane to be in a horizontal position it can rest on a pad of cotton wool kept lightly oiled, or a thin crosspiece can be fitted to one end of the shelf to raise the cutter from the floor as at (G). It is generally recommended that the plane does not lie flat, though the writer has never found any harm in it providing the wood on which it rests is not damp.

Sometimes there is room at the end of the bench for a plane rack to be made as at (H). Alternatively the rack could be fixed to a wall or cupboard side. Another system is that at (I) in which the plane is pushed up at the top, passed inwards, and lowered. There must be clearance at the top for this, but the front lip must be wide enough to prevent the plane from falling outwards.

Those who do wood turning will find the rack at (J) useful. The tools face opposite ways alternately as in this way they occupy less space. The notched uprights are shaped accordingly. At the bottom can be a trough in which other items can be kept, spanners, tommy bar, chucks, centres, odd scraping tools, etc.

Various racks can be made as at (K) to hold small tools; bradawls, punches, marking awl, files, and so on. The rack can either stand on a shelf as shown, or be made with end brackets (L) if to be fixed to a wall. The same idea is useful to hold boring bits as at (M), or for router cutters.

Cramps can be conveniently kept on a narrow shelf with brackets as at (N), being lightly tightened to hold them in position.

All of these suggestions can be separate items fixed to the wall and left open—at any rate in a dry workshop. For those who have the space, however, there is an advantage in having fitments with enclosing doors providing that there is space for these to remain open when work is in progress. In fact an excellent idea is to have a cabinet in which the upper part at least has built-out doors which can be fitted with shelves, racks, etc. The entire thing is then exposed and no time is lost in seeking tools and (equally important) putting them away when finished with.

The following is excerpted from “The Woodworker: The Charles H. Hayward Years: 1939-1967” Volume 4, The Shop & Furniture.

Centre hinges are generally used to hang heavy doors and in positions where ordinary butts would be impracticable. In some cases they have the advantage of being entirely invisible. There are, however, one or two complications in their use with which the inexperienced reader should make himself familiar, otherwise the results may be surprising.

DIFFERING from ordinary butts, these hinges are fixed at top and bottom of the door as in Fig. 1. There are two main kinds, the straight pattern (A), and the cranked type (B). In both the top plate is free to be lifted from the bottom one.

A washer is fitted between them to prevent them from scraping. A third kind (C) is used only rarely for antique work. The two parts are not free to be separated.

It should be realised at the outset that as a general rule centre hinges can be used only when there is a loose cornice, otherwise it would be impossible to fit the door into the carcase.

There are exceptions as will be seen later, but the reader is advised to draw a section of the door in full size, plot out the hinge centre, and try the effect of pivoting by tracing the door, sticking a pin through the centre, and seeing that it works.

Door Between Ends (Fig. 2) shows the best method of hingeing when the door is between the ends. The hinges are invisible and the edge is dust-proof. The cornice (or plinth) must be loose, however. Fig. 3 shows the setting out. Draw in the door and end, and mark a line at 45 degrees from the corner. Put in another line parallel with the door a third of its thickness in from the front. The centre is slightly in from the intersection, this to allow a clearance when the door is opened. Mark the curve by putting the point on the centre and using a radius equal to the distance from the centre to the back of the door. The practical method of fitting is given in Fig. 4. Before the edge of the door is rounded

gauge in the centre (A) and bore a hole the diameter of which equals that of the hinge pin. Drop in the hinge upside down, and mark round. The exact slope of the plate does not matter; it is only the centre which counts. Chop out the recess and screw in the hinge (C). A similar method is followed on the carcase. Another plan is to make a template of the hinge plate in tin plate, making a small hole at the centre of the pin, and using this to mark out. The hollow in the end is partly ploughed out and finished off with the scratch tool.

Cranked Hinges. In Fig. 5 the cranked hinge is used. Its advantage is that there is no need to hollow out the ends because the pin is immediately in line with the corner. On the other hand the hinges are partly visible. The application of the same hinge is given in Fig. 6 in which there is a projecting pilaster or moulding. The centre is in line with the front edge of the door and is a trifle farther in than the corner of the pilaster. A loose cornice is needed in both these cases.

The door is in front of the ends in Fig. 7, and as centred no hollowing-out is necessary in the carcase end. It is not essential that cornice is loose. The fittings are cut in and the parts screwed in before the door is in position. The plate at the top of the door is next unscrewed and its pin put in its hole in the plate fixed to the carcase. Then, by dropping the bottom pin into its hole, it is possible to slide in the top of the door so that the hinge plate goes into its slot. The screw holes are naturally revealed when the door is open, enabling the screws to be put in.

Simple Method. Fig. 8 shows how the hinges can be invisible when the carcase end is not hollowed out (the door is between the ends). It means that the door must be slightly rounded, and the appearance is naturally not so good as that in Fig. 2. It is, however, simple. If the cornice and plinth are fixed the recess for the plate at the top must be continued through to the end as shown by the dotted lines. This enables the door to be passed into position in the way described for Fig. 7.

The special hinge in which the parts cannot be separated (C, Fig. 1) is shown in Fig. 9. Queen Anne furniture usually had centre hinges of this kind. The centre stands clear of the door. A loose cornice is not necessary because the hinge can be slid in afterwards. It is always as well to obtain the hinges before setting out the opening of the door. It saves mistakes.