Lost Art Press

Category: Saws

Tenon Saws: Learning About Leaning

Posted on by Lost Art Press

Though I liked high school as much as a three-year-long colonoscopy, there are sometimes when it takes a high school teacher to teach you something.

In this case, it was a high school physics teacher who taught me an important lesson about tenon saws. Here’s the story.

For the last few years, I’ve been trying to explain to people how a freakishly huge tenon saw is actually easier to balance on your work (no matter what the size of your work) than a smaller tenon saw or sash saw.

“It’s the higher center of gravity,” I implored to a room full of blank stares. “It’s higher – that gravity thing – so it’s… easier. You know?”

This is a truth I know in my gut. The Wenzloff & Sons Kenyon-style tenon saw I’ve been using for the last couple years is a breeze to balance. This is despite the fact that the blade is 19” long and it feels like there is almost 6” of blade under the huge and heavy brass back. When you see this saw, your first instinct is to think: That saw is going to tip and stagger like Gunsmoke’s “Festus.”

But once you try this saw, you think differently.

But try explaining that to people. After my feeble attempt, a high school physics teacher jumped into the conversation. He said this is easy to explain: Try balancing a broom up in the air on a few fingers. If you have the bristles on your hand, it’s harder to balance the broom than if you have the bristles in the air.

This, he explained, is why the big tenon saw is easier to balance in the air. Having the weight up in the air makes it easier for you to sense if the saw is out of balance and to make corrections. This, I concluded, is a brilliant explanation.

Back in our shop in Cincinnati I tried this experiment with our shop broom. It really was easier to balance it with the bristles in the air.

So I used this analogy last weekend to explain the tenon saw to a group of 40 or so woodworkers. To demonstrate, I looked around for a broom. No luck. So I picked up my Warrington hammer to show them how this works.

First I put the hammer head in my palm and showed how shaky it was. Then I balanced it with the head in the air. And my precious and very early Warrington hammer plunged to the concrete floor.

Dang. I still dislike school.

— Christopher Schwarz

First Class Practice

Posted on by Lost Art Press

Editor’s note: The following blog entry was penned by John Hoffman, my business partner here at Lost Art Press. He wrote this after assisting me during my sawing class up in Sterling Heights, Mich.

— Christopher Schwarz

I am in the process of sawing out large notches for the Trestle Table from Woodworking Magazine. I have been experimenting making first-class saw cuts. I have used the chisel with the bevel toward the waste and away from the waste as suggested by Chris. The key for me is to not tap the chisel to hard. I am using Southern Yellow Pine, (an exotic wood to Canadians) so it is not hard, however, I have been able to cross the baseline with either bevel approach if I hit the chisel too hard. The other experiment I have been doing is to see how much of a notch I need to make with the chisel for the saw to ride in.

In this pic you can see a deeper notch and a shallow notch. I have tried to keep the shallow notch deep enough to cover the saw set. Noctice the somewhat crocked lines made from my dull marking knife.

The next pic is the result. Again the lines seemed to work out well and it seems that the smaller notch worked fine. Notice the notch in each corner to guide the saw. It was a bit tricky because the work is only 1-1/4″ inches thick which put the sawing close to the bench top.

Yes I did run the toe of the saw into the top of the bench, but only once. Really! I then continued to practice sawing to the line to waste out the rest of the material. This is the result.

If you look closely some of the saw cuts are definitely better than others. I tend to wander off line at the far end of the cut. I have been focusing on watching the reflection of the work on the saw plate to help me stay true. Another trick from Chris, who told me the best thing to do is keep on sawing.

— John Hoffman

Free Construction Drawings for the 2008 Sawbench

Posted on by Lost Art Press

Thanks to expert mousing and clicking of two readers, you can download free construction drawings of the 2008 version of the sawbench featured here last week.

Louis Bois, the draughtsman who prepared the construction drawings for the “Workbenches” book, and woodworker Mike Lingenfelter have both submitted electronic files that will allow you to easily build this sawbench. Plus, Louis’s file also has plans for a mate for the sawbench – I call it “Little Buddy” – that will nest under the “Skipper.”

Louis’s file is a pdf and can be printed out by a wide variety of free programs, most notably Adobe Reader. Mike’s version is a SketchUp drawing that is actually a 3D model, which allows you to take the sawbench apart and see how it goes together. SketchUp is a free program from Google and well worth the download.

SawBench2008.zip (11.85 KB)

2008-Sawbench.pdf (121.53 KB)

Today I put a couple coats of finish on the sawbench while I was finishing a blanket chest for the summer 2008 issue of Woodworking Magazine. When I cannot spray lacquer (I use an HVLP and solvent-based lacquer), I like to finish projects with a custom mix that is difficult to mess up.

I don’t know where I got the recipe for this finish. Several years ago finishing expert Bob Flexner mentioned in one of his columns that he makes his own oil/varnish blends and his own wiping varnishes – instead of paying extra for some finishing company to do it.

I tried this finish years ago and is has yet to let me down. I wouldn’t use this on a piece of furniture that requires a lot of moisture protection (such as a bathroom cabinet), but it’s great for most things.

Here it is: One-third satin varnish (any brand, just don’t use polyurethane varnish), one-third boiled linseed oil and one-third low-odor mineral spirits. Just pour them all into a mason jar and you are ready to go.

I rag it on and then wipe off the excess. Thin coats work best. If I want to make the surface really tactile, I apply it with a 3M gray pad. Either way, it takes only three or four coats to create a nice warm-colored finish that has a nice sheen. The linseed oil helps bring out the figure in the wood. The varnish gives the wood a little protection. And the mineral spirits makes it easy to apply with a rag.

I sand the finish between the second and third coats with lubricated sandpaper or a sanding sponge – something around #300 grit. Sure, it takes longer than lacquer. But in February, it sure is faster than waiting for a warm, sunny day in Northern Kentucky.

Speaking of warm days, next weekend I’ll be at the Lie-Nielsen Toolworks show in Oakland, Calif. If you want to stop by, I’ll be there only on Saturday (my flight leaves Sunday morning). I’ll be selling books and will give a lecture at 2 p.m. Saturday on workbench design.

As a bonus, you can meet my wife, Lucy, who will be helping me at the booth and offering counseling to any members of the “Wives Against Schwarz” who happen to attend the free (repeat free) event.

— Christopher Schwarz

This Year’s Model: The 2008 Sawbench

Posted on by Lost Art Press

I end up giving away all of the sawbenches I build to woodworkers who give me those wet, doe-eye looks that say, “I don’t think I can build one.” That’s ridiculous, of course, because these things are as easy to make as a box of brownies. But I’m soft, I suppose, like the resulting brownies (always undercooked, natch).

The downside to my sawbench charity is that sometimes I end up without any sawbenches in my shops, which makes me nuttier than squirrel poo. The upside, is that I get to make more sawbenches, and each generation gets a little better.

This weekend I built the sawbench that me and my students will be building during my handsawing classes in 2008. This example can be built from one 2 x 8 x 10’, and it took me about four hours to do – I machined all the stock flat and cut all the joints by hand.

This sawbench is a little different than the others because it’s designed to be a hand-sawing exercise. All the joints are entirely saw-cut. No boring. No mortising. No chopping.

Now if you’ve gotten to this point in the blog entry and are wondering “What in Moxon’s name is a sawbench?” then check out this old entry on my blog at Woodworking Magazine. Sawbenches are magical devices that make full-size handsaws really work (handsaws stink at bench-height, except for overhand ripping). Plus, I assemble carcases on them, use them as stepstools, plane table bases against the sawbench’s bird’s mouth, and eat my lunch while sitting on one.

I don’t have construction drawings drafted for this bench yet, but you don’t really need them. Here are the basics: Make the bench about knee-high. This one is 19-3/4” high. The legs are angled 10° off 90°. The legs are notched at the top at 10° to fit into mating notches in the top. All the stretchers are attached to the legs with half-lap joints. Glue and screws keep everything together.

Here’s my materials list:

1 Top 1-1/4” x 6-3/4” x 32”
4 Legs 1-1/4” x 2-1/2” x 21”
2 Long Stretchers 1-1/4” x 2-1/2” x 26”
2 Short stretchers 1-1/4” x 2-1/2” x 12”

The only slightly tricky thing is cutting the feet so the sawbench sits flat on the floor. This is great fun to do once you know the trick. First put the sawbench on a flat and level surface. Then take small wooden shims and shim under all the feet until the sawbench is level on both its length and width.

Then take a small block of wood and cut an 11° bevel on one edge. Place this on your known flat surface and use the block to mark all around the legs of the sawbench (the beveled end allows you to make the outside angle of the legs).

Then clamp the sucker to your bench and saw the feet to your lines. This might seem hard. It’s not.

As always, I plan on keeping this sawbench until I retire. But that’s not likely to happen. Plus, I need to build another version that uses lapped-dovetails for one of the advanced classes I’m teaching in July.

— Christopher Schwarz