Lost Art Press

Clinching Nails (Sometimes Teeth)

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I’ve been clinching a lot of nails these last few weeks while building some utilitarian boxes. So I’ve been digging into the literature to investigate the best way to do it.

Clinching (sometimes spelled “clenching”) is when you drive a nail that passes through both thicknesses of wood you are fastening. The tip of this nail sticks out about 1/4” and is bent over and driven into the wood.

Clinching adds remarkable strength to a joint. A 1948 study by the U.S. Forest Products Laboratory concluded that clinching can increase the holding power of a nail between 45 percent and 464 percent – depending on a variety of factors, including the species of wood and its moisture content. (For the complete super-geeky report, click here.)

Also interesting: The study concluded that bending the tip across the grain increased the holding power by 20 percent compared to a nail clinched along the grain.

But how do you best clinch a nail? There is more than one effective method.

Four Ways & A Trick
Here’s how the machines do it: They fire a nail in at an angle and there’s a steel plate waiting for the tip when it emerges. When the nail hits the steel it bends over into the wood – essentially it ricochets like a bullet or pool ball.

I’ve never tried this with a pneumatic nail gun, but it sounds like fun on a Friday afternoon.

For the hand clinchers, there are at least two common techniques. The first one is to drive the nail through the work. Rest a steel plate, anvil or a second heavy hammerhead on the nail’s head. Then tap the tip of the nail with your hammer. It will curl over. Then you can drive the drooping tip back into the wood.

The second technique is similar to the machine process. You drive the nail through the work and against a waiting “bucking iron,” which curls the tip and forces it back into the wood. (For a nice illustration of these two methods, click here.)There’s one more technique I’ll sometimes use when I’m being really, ahem, retentive. I’ll drive the nail through. Then I’ll use needlenose pliers to bend the tip to the angle I want. Then I’ll drive it into the work. This results in a tidy appearance. I admit it’s a bit much.

When I have a lot of clinching to do, I’ve found that a cast iron table saw wing can be your best friend with flat work – doors, lids and the like. Lay the cast wing on your bench and then you have a nice big area to support your work as you merrily clinch away. And no, the clinching does not mar, crack or otherwise defile the wing.

There is one disadvantage to clinching. It can alarm your children. After I finished a lid I showed the 30 or so clinched nails to my youngest.

“Ewww,” Katy said. “Dad, does this wood have termites?”

— Christopher Schwarz

The Light That Helps Make Things Tight

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One of my most essential tools for joinery is one that I never talk about: my magnifier lamp.

This fluorescent, articulating light fixture allows me to see my layout lines, any undesirable tracks left by my handplanes and the bevel of whatever tool I’m sharpening at the moment. The light fixture drops into my dog holes so I can move it anywhere on my bench, though it rarely strays from the area of the benchtop that has my leg vise.

I’ve burned through three of these fixtures since I started woodworking – most of the ones you get at office supply stores are just junk. Their springs are weak and soon the lamp won’t stand upright. Plus they get damaged easily when you drop them.

About five years ago I bought a magnifier lamp that was built in the 1960s. It was “new old stock” (thanks Slav!), meaning it still had the sales tags on it when it came into my shop.

This sucker is bulletproof. And I don’t care what I paid for it (about $45) – I’d pay twice that in a heartbeat. You move it, and it stays put. It laughs off knocks and dings. And the switch didn’t break in the first week.

My magnifier lamp was made by Luxo Lamp Corp., which is still around – though I haven’t inspected the company’s modern merchandise. I really should take a look at the different lamps available (sounds like a tool test, eh?).

I can say this: I’ve never been happy with the student-grade stuff, so you might want to stay away from it. I’d check the stores that sell old office equipment. Buried among the manual typewriters, adding machines and metal shelving units just might be your next favorite woodworking tool.

— Christopher Schwarz

9 Ways to Plane for Longer Periods

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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

Guest Post: Sticking a Moulding

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Editor’s note: Dean Jansa is a dyed-in-the-wool traditional hand-tool woodworker who helped ignite many of the ideas behind my book on workbenches. At our request, Jansa gracious agreed to let us post some of his hand-tool tutorials he prepared for a Google Group. This first tutorial coves some of the basic strokes when sticking a moulding by hand.

— Christopher Schwarz

I was making a simple molding for a chest I am working on and thought I’d document the process. If you want to watch someone who really knows what they are doing I recommend Don McConnell’s DVD “Traditional Molding Techniques: The Basics.”

I’ve followed the same steps he outlines in the DVD, but Don does a better job of describing the steps than I probably will.

The first step, after deciding on the profile, is to lay the profile out on the edge of the stock and cut a series of steps with a fillister that will later guide the hollows and rounds. Note: It appears that I am cutting the steps on the edge of a large piece of stock. I’m not. That rough board is just used as a makeshift fence to turn my entire benchtop into a long sticking board.

It is a good idea to build your bench as long as you can. My bench is just a bit longer than 8’, and I stick the molding on a piece as long as I can fit on my bench. When creating moldings by hand there will be natural variations in the profile along its length. If you stick the profile as one long piece you can then wrap the moulding around the entire case and have profile match at the corners. The profiles, over the short distance needed to cut the miter, will match. So build a long bench!

Here you can see the resulting steps left by the fillister. There’s no need to worry about a little tear-out, the hollows and rounds will remove more stock and they are pitched higher than my fillister, which reduces tearing).

Next I cut the concave portion with a round plane.

Then the convex portion with a hollow plane.

Finally, cut the last bit of profile on the top of the molding with a hollow. (I didn’t take a photo, sorry.) Here is the resulting molding.

Finally, wrap the moulding around the case. First cut the front molding from the middle of the long board, then cut the sides from the pieces cut from the left and right of the front molding. Here it is on the case.

— Dean Jansa

The First Leg of the Journey

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Though my wife might disagree, I am definitely a leg man.

Whenever I’m going to great lengths in the shop, it’s usually because I’m preparing a set of legs for a table or a chair. I will sort through hundreds of board feet of lumber to find the right thick planks that have the grain pattern I like.

I will gladly band saw boards at odd angles to create the bastard grain that will produce a leg that looks good from all sides. Today I spent a long time (too long, actually) finding stock that had the right curve to work with a double taper on a Stickley 802 sideboard I’m working on.

And when it comes to prepping my stock, I always do the legs (and any panels) separately from the rest of the carcase stock so I can focus on getting the legs dead square.

Like any red-blooded American woodworker, I also like a really nice top. And I go the extra mile to make a top that gets admiring glances. But I think tops are easier because ultimately they just have to look good. Accuracy can take a back seat – except at the edges.

Legs have to be accurate on certain faces, otherwise the whole assembly will be cock-eyed, have gappy joints or both.

I don’t know any woodworkers who obsess about bottoms in furniture. Perhaps James Krenov? He puts a whole lot of effort into the base when he builds a chest-on-stand.

And don’t get me started on those nutjob woodworkers who obsess about feet.

— Christopher Schwarz