Category: Handplanes

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

During the last 12 months I’ve taken on a lot of extra freelance work. The money probably should be going into my children’s college fund, but instead I decided to spend a chunk of it on a traditional beech plow plane from D.L. Barrett & Sons in Barrie, Ontario.

Dan Barrett is a 25-year veteran of the trades and has been teaching woodworking and making handplanes for a long time. His sons, Kyle and Jeremy, are both involved in the business. Kyle has been building planes while Jeremy has been doing some machining.

I first stumbled on this family business while judging the toolmaking contest run by WoodCentral and sponsored by Lee Valley Tools. Kyle, who was 18 at the time, built a Mathieson bridle plow plane to enter in the contest. In my opinion, the plane stole the show.

Not only was it stunning to look at, it worked extraordinarily well. Some tools have a break-in period where the user and the tool circle each other like sharks. The results are inconsistent. The adjustments are difficult. The tool feels out of place in your hands.

Not so with this plane. When I picked it up during the contest, it was like I had owned it my entire life. With two taps of a mallet I set the iron and began making a beautiful groove in a maple board in the Lee Valley boardroom where we were judging the contest.

We awarded the plane first place in the craftsmanship division, but in my comments I declared the plane to be the “first among equals.”

After the contest I was stunned to learn that the maker was just 18 years old. I sent him an e-mail and asked him to make me a bridle plow. I didn’t ask the price because I didn’t really care.

A couple weeks ago the Barrett family dropped the finished plane off at my office while they were on their way down to Florida for a vacation. The plane they delivered – my plane – is somehow even better than the one in the contest.

Here you can see the iron, skate and depth stop of the plow plane.

The plane comes with a full set of eight A2 irons (1/8″ up to 5/8″) and they are gorgeous pieces of work in and of themselves. Perfectly tapered. The faces are all flat.

The plane’s stock is a single hunk of quartersawn beech with an exquisitely shaped tote. The fence is also beech with a piece of boxwood attached via a sliding dovetail. The fence slides on two ebony stems and locks down with the metal bridle. This bridle mechanism is, in my opinion, superior to a screw-arm plow. With screw-arm plows it’s difficult to get the fence parallel to the skate.

This week I finally got an opportunity to sharpen up the irons and start using the plane. And once again, it’s like I’ve owned this tool forever.

I’ll be writing about this plane (and its maker) for the next issue of The Fine Tool Journal, so I don’t want to spoil all the surprises. But if you’re looking for another maker of fine traditional hand planes, I definitely recommend you consider D.L. Barrett & Sons.

— Christopher Schwarz

Here’s a shot of the exquisite bead and astragal on the plane’s fence.

The bridle locks the fence squarely to the ebony stems every time.

One of the most common errors when planing is to create a gentle banana shape on one face – where the ends of the board end up thinner than the middle.

The cause of this problem resides both in you and in your tool. First off, divide the sole of your plane into two regions: The infeed side of the sole before the blade (the toe). And the outfeed side of the sole behind the blade (the heel). And remember this: The blade of your plane isn’t co-planar with the outfeed side of your handplane.

This feature makes it different than your power jointer. As a result, a handplane has more of a tendency to make bananas. (By the way, you can make bananas – and wedges – with a power jointer as well).

But I think the tool’s role in banana-making is a minor problem. The bigger problem is you and where you are putting pressure on the tool as you plane. Here’s how it’s supposed to work:

At the beginning of the cut, plant the toe of your tool firmly against the work. With the hand on the front knob, put all of your downward pressure right there. Your other hand (on the tote) should only push the tool forward.

As soon as the entire sole is on the work, you should shift your pressure: Use equal and forceful downward pressure with both of your hands.

As soon as the toe runs off the end of the board, release the pressure there but continue to exert downward and forward pressure at the tote.

This work, but it can be a trick to remember for beginning planers. It’s hard to get all your muscles lined up. So I tell them this simple mental trick: Just try your darndest to plane a big old hollow valley in each board by scooping out the middle.

Planing a hollow in this manner is almost impossible to do with a handplane that has a flat sole. So what you wind up with is a board that is fairly consistent in its thickness.

I cannot take credit for this mental trick, but I can’t remember who told it to me years ago. But works like crazy. And with that aspect of planing under control, you can then turn your attention to removing cupping and twisting in your boards.

— Christopher Schwarz

Somehow, during the course of about five years, I became a math dolt. When I left high school, my SAT scores for math were near perfect – far higher than my verbal score.

But after four years of studying intransitive verbs, subjunctive mood and zeugmas, my math skills withered to the point where – no lie – I couldn’t figure out the formula for the perimeter of a pentagon during a college class we all called “Math for Trees.” My wife still mocks me for this.

So I’ve always been at a loss to explain to readers the different curve required on the blade of a bevel-up smoothing plane vs. the curve required for a bevel-down smoothing plane.

The brain-dolt answer was always: The bevel-up planes require more curve to take the same shaving as a bevel-down smoothing plane. But that was about as good as my explanation got.

A couple weekends ago, David Powell explained the math to me during a presentation at the Northeastern Woodworkers Association’s Woodworkers Showcase. I retained the explanation and formula only until the next morning. (Honest: I had only one beer that night. Perhaps is was the lamb korma.)

In any case, I took notes during the presentation that are useful for the shop. If anyone wants the formulas, you can probably ask Powell himself. Powell was the founder of Diamond Machining Technology (DMT) and is now the maker of the Odate Crowning Plates. The plates are diamond stones with a curve built into them so you don’t have to use finger pressure to create the curve on the blade.

Powell’s numbers assume that the iron has a curve created by one of his diamond crowning plates. The plates are dished to mimic a 37-1/2’-radius circle. Powell’s numbers also assume you are using 90 percent of the iron of the tool during the cut.

So here goes: A bevel-down No. 4 handplane with a 2”-wide iron that is bedded at 45° will take a .002”-thick shaving if it has an iron that is sharpened with the Odate crowning plate.

Now let’s take a bevel-up low-angle block plane with its 1-3/8”-wide iron bedded at 12° and the iron sharpened at 25° (the angle of attack is therefore 37°). Powell says this plane will take a .0005”-thick shaving if you use 90 percent of the iron in the cut.

How about the very popular bevel-up jack plane? It has a 2-1/8”-wide iron and also is bedded bevel-up at 12°. If you have a 25° bevel sharpened on the iron, it will take a .0008”-thick cut. If you have a 38° bevel sharpened on the iron, the plane will take a .0006”-thick cut. And if you have a 50° bevel sharpened on the iron, the plane will take a .0004”-thick cut.

While these numbers don’t tell you how much extra pressure to put at the corners of your iron to make that extra curve, there is a good piece of data here. And here it is: Use the same curve for all your smoothing planes.

A plane bedded at 45° is best suited for mild woods. So its .002”-thick shaving is about right.

Planes bedded at higher angles are used for curly, exotic or just grumpy woods. So the best strategy is to take a thinner shaving (thinner shavings help reduce tear-out in my experience). So a shaving thinner than .001” is an excellent choice. And that’s exactly what you’ll get with a high pitch.

So all that math boiled down to this: Don’t bother with the math. Just stick with the same curve for bevel-up or bevel-down and you’ll be OK.

— Christopher Schwarz