Taunton Chest

The original



I've been busy with the construction of a copy of a particularly nice little chest made by Robert Crossman in 1727 (it is signed and dated!). The original is currently a dark red-brown with extremely intricate vine and bird painting.   The original sold at a Christies auction for $3 million.  Not bad for a pine piece that is only 22 inches square.... I'll take 1/100th of that for mine!





My version is currently a custom-mixed dark brown / red milk paint.  The case is made entirely of white pine, per the original.  The drawer fronts and feet are also white pine.

The cornice and waist moldings were made with dedicated molding planes, but the moldings around the drawers were done with a #6 hollow plane. Lots of fun!


A lumpy, not perfectly round foot. In other words, perfection.
Turning pine on a spring pole lathe is a challenge, but I made it work thanks to a burnishing tip you will see in the Tricks of the Trade section of Popular Woodworking Magazine.

I turned all four feet from one 13" long cylinder of white pine, then cut them apart. This ensured that the feet at least have a passing similarity with each other. This is exactly what I wanted, as imperfect turnings are par for the course on W&M pieces.

I've started to distress the finish (read scratch through the paint in certain areas and round over the sharp corners) but the detailed painting will wait until after I get back from the Lie-Nielsen Toolworks show.  Over the whole thing will go a couple of coats of dark shellac to grunge it up, as per my normal modus operandi.. Once that is done I will have another update!

Vintage Tools vs. New Tools

This question came up on one of the woodworking forums I frequent. Here is my response.

There are vintage tools of superb quality that surpass most of what is available today. There are new tools made today that far exceed the quality of virtually every other tool ever made. The question, to me anyway, is how much of this "quality" is actually needed to make furniture. Up to a certain quality point, the tool itself can hinder the execution of the work (this point is "lower" for a skilled tradesman who can make the most out of junk if forced to do so). 

Beyond this point, the quality of the tool adds very little to the actual execution of the work (perhaps speed and efficiency but, again, a skilled tradesman will be able to work quickly with just about anything of passable quality). After this, using the higher quality tool is purely for the enjoyment of the user. Not something typically associated with a professional, who must make each dollar spent on tooling count to the utmost. 

Take my planes, for example. I have a "complete" set of infills (I lack an infill miter and good rebate plane, but I'm in the market...), literally hundreds of vintage wooden planes, and a couple of LN planes. I could easily (and often do) work with nothing but the vintage wooden planes, even if they aren't of the same "high quality" that the other planes are. They work well enough to execute my designs. Anything beyond that is purely for my own gratification and doesn't actually effect my ability to do my work.

The care and feeding of the wooden plow plane


Four of the plows in my collection
The wooden plow plane is truly the workhorse joinery plane of the hand tool or hybrid shop.  It cuts grooves for a panel door faster than you can set up a router table.  It can be used to cut rabbets by burying the iron in the plane fence, rather like setting up a sacrificial fence on a table saw. It can be used to mark out, and even begin, a long and accurate rip saw cut, whether you make the cut by hand or band saw.  Even if you aren’t committed to working entirely by hand, a vintage wooden plow can be a great fit for your shop and a complement to your power tools. Here's how to make sure you buy a good one. 

Skating By 

Square along the wide side
The first, and most difficult to correct, thing to check is the skates. Like an NHL defenseman, a plow needs a good pair of skates.  These are the strips of metal that protrude out of the bottom of the plane. They are usually two to three inches tall and sometimes feature brass trim.  Like an ice skate, this is the bearing surface of the plane, meaning that this is what actually touches the wood.  It is vital to the operation of the plane that these two skates are straight and lined up with each other.  Over the years, the wood in the plane body moves with the seasons and can cause these skates to go out of alignment, sometimes quite severely. Check this with a straightedge before you buy the plane.  The skates should be aligned, both along the wide side of the skate and the bottom.  They should also be at a right angle to the bottom of the wooden plane body.  If they fail these tests, leave this one be and hunt for another plow.  
Square along the bottom

However, if it is just the bottom edges of the skates that aren't lined up, and you aren't working on a historic plow with real value, you can file the bottoms until they line up.  Work slowly and carefully until the edges line up with each other and are parallel to the bottom of the wooden body of the plow.  This will be easier if you remove the fence from the body and hold the body in your preferred vise.

                         
On the Fence

After you are sure your skates are square and true, the next step is to make sure that the fence is as well.  Depending on the age and national origin of the plow, you will either have a threaded screw arm system, a wedge-arm system or a “Yankee system”, in which the arms slide through the body and are held in place with wooden thumb screws that thread in from the top of the body. There are other, more exotic, methods but you are unlikely to find them on a plow that you should be using.  All lock systems can be made to work well, but my personal favorite is the wedge-arm plow (see my personal plow), as these are easy to change settings and don’t require tedious turning of 
sometimes-sticky wooden threaded nuts.

This fence is square enough
To check the fence, set the face of the fence close, about ½” or so, to the skate.  You should be able to “eye-ball” the gap between the skate and the fence and determine if they are parallel along the vertical axis.  The horizontal axis doesn't matter, as this is adjusted when setting up the plane to cut.  In my years of working with wooden plows, I've only had one where this was an issue, but if yours is out of parallel, you will have to shim the arms where they attach to the fence.  This is touchy, sensitive work that isn't possible on some types of plows, so finding another plow is usually a better alternative. 

Once you've confirmed that the fence is square, you need to check the depth stop hardware.  Make sure it is complete and turns, even if it turns with some difficulty.  This is usually grimy and stuck up with old grease and detritus that works its way into the thread mechanism.  Never, for any reason, remove metal wood screws from wooden planes.  You will only cause damage to the screw heads, potentially snapping them off.  Rather than take the stop apart from the top, you can take the depth stop out of the bottom of the plane by turning the adjustment knob all the way out.  Sometimes these will be quite stuck, again by the detritus and grease.  You may have to slightly rock the stop body, front to back, to get it to pull out.  Once you have it out, polish the brass body to remove the old dirt and wax it with paraffin so that it operates smoothly in the stop mortise.  Put a drop or two of lightweight machine oil into the threaded hole, put the stop back into its mortise, and turn the thumbscrew to reengage the threaded adjuster rod. 

 The heart of the matter: the iron and wedge

If you can't find one, make one
Assuming the plow passed all the checks, or you feel confident that you can make the repairs, bring it home and start to address the iron and wedge. Originally, these plows came with a set of 8 irons, starting at 1/8” and going up to 5/8”.  These irons are usually long gone, which is a shame.  Because of the wedging action necessary to keep the iron set properly, the bedding angle, wedge angle and iron angle all have to fit together very precisely.  Therefore, it can be difficult to make a plow work if you are missing the proper irons.  The best thing to do, should you find yourself in this situation, is to make a new wedge that will work with replacement plow irons, which can be obtained from vintage tool dealers and, very frequently, at flea markets and auctions.  If you can only have one iron, pick a ¼” iron.  This will be the iron you use most often; in my plow the ¼” iron is often used and rarely removed. 

 Like most hand tools, sharpness is vital.  Sharpen the iron, with your favorite method, as sharp as you can make it. These often will not fit in a honing jig due to the extreme taper of the iron. Freehand honing is an important, and not difficult, skill to learn.

A clean plow is a happy plow

Most of the wooden plow planes you will find “in the wild” are about 100 years old.  They have seen the insides of barns, garages and basements, not always protected by a tool chest.  Like many wooden planes, some of them are downright funky.  The best thing you can do for a plow is clean it up.  The worst thing you can do is clean it up too much.  The plows we will use are, and always have been, working tools.  They have been used by many different sweaty, dirty hands.  Getting the grime off the plane, but leaving the patina is the idea.  Often, you can see patterns in the surface coloration, showing you where the past users put their hands when using the plane.  You can tell how they used the plane, by the discoloration of the plow arms. You lose all of this information if you clean it too much. 

My favorite method for cleaning is simply a good rubdown with a quality paste wax and a soft cloth.  The solvent in the wax is usually sufficient to eliminate most of the grime and the wax leaves a nice tactile sheen on the wood.  Never polish the brass too much; just do enough to get the grime off.  No need to make these old guys shine like new.  Too shiny, and you’ve ruined the look that it took 100 years to create.  Remember, you can always remove more patina; you can’t really put it back on.

For the truly dirty planes, I’ll use Gojo, or similar orange oil based hand cleaner.  The kind with pumice works the best, but you have to be very careful not to damage the wood.  Wipe the plane down with a damp (not wet!) cloth, then take a small amount of Gojo and rub it around lightly with a rag.  This should strip the dirt without going too far into the surface, if you are careful.  Once you are satisfied, wipe the plane down again with a damp rag and apply the paste wax of your choice. 

The plane should now be clean, have a square fence, a straight skate, a smooth depth stop and a properly fitting wedge and iron.  It is now ready to adjust and use.

Plowing ahead

Ghost-planing the groove.
Using your newly tuned plow should be a joy.  This means proper stock selection.  Unlike a bench plane, the front skate does very little to hold down the wood ahead of the iron.  This means that the plow cuts like a plane with a very wide mouth; not a problem with cooperative wood but it can be rough if the wood wants to fight you.  So choose your grooving stock carefully, orienting the grain to run with path of the groove. Set the plane to take a moderately heavy shaving, something between a try plane and a jack plane.  You want to work quickly with thicker cuts, but not so heavy that you tear  everything up.  The wood will let you know how thick you can go.

Always mark out your groove with a marking gauge.  You can use a mortising gauge and mark out both shoulders, or you can just mark one shoulder, relying on the cutting iron to cut the groove to the proper size.  I tend to mark out both shoulders to avoid any potential chipping, and this helps me to ensure that my plane’s settings don’t slip in use.  Either way, the point is to have a straight line, parallel with the reference edge, so that you can set your plow fence.   These lines also make setting the fence to the proper width a simple matter.

To use the plow, place your off-hand, left for a right-hander, right for a left-hander, on the fence.  This hand has only one job; to push the fence against the reference edge of the stock and keep it there. It should not be used to push the plane through the cut.  This is the job of your main hand, right for a right-hander, left for a left-hander.  This hand should not be used to keep the plane square to the work.  Your two hands must never fight each other or try to do the job of the other hand; you will never cut a square groove if you allow this to happen.  Trust the fence, trust the skate, and trust your eyes. 

With a properly tuned plow, you can make grooves and rabbets quickly, lay out rip cuts efficiently, and do all of this work in a nice, quiet area, free from the scream of a universal motor and free from a spray of choking router chips.

Don't miss the SAPFM exhibition at the DIA!!




Many of you know that I am a proud member of the Society of American Period Furniture Makers.  I'm thrilled to be a part of SAPFM's event at the Detroit Institute of Arts! It is coming up soon, March 16th and 17th.  I will be there demonstrating how to hand-cut dovetails, both through and half blind (you might be able to shame me into doing a secret dovetail if I have time).  You'll be able to get a sneak-peak at my spice chest before it hits Popular Woodworking Magazine in August. And I'll have a small sample of my 18th century tool collection for you to examine, including a number of planes from the famous Christopher Gabriel (of Seaton Tool Chest fame).

If ol' Chris was here, he'd go to the DIA show!


Along with my demo, we will also have a number of other period furniture makes demonstrating their skills. George Walker, Steve Lash, Jim Crammond and Ed Stuckey are all going to be in attendance, along with several other very talented folks.  These guys will also be leading tours of the DIA's furniture collection.  It really will be a great opportunity to learn a little more about the history of our craft and the techniques used to build the masterpieces of the past!

I will be live-Tweeting the event and will probably write about it for the PWM blog.  Follow me on Twitter, user name @zdillinger.  I will be using the hashtag #sapfmdia to make it easy to find the right tweets.  Also, I will be providing Facebook updates throughout the weekend, so feel free to "friend me"

I hope to meet as many of you as possible in a couple of weeks! For those of you who can't make it to Detroit, I'll also be demonstrating my spice chest with SAPFM at the Lie-Nielsen tool show in Cincinnati in April. More details on that to come.

Zach

Live tweets from the Design Build Show in Boston

Guys,
I will be live-Tweeting the Design Build Show all this week on my Twitter account @zdillinger using the hashtag #zdatdbs2013. Follow along as we demonstrate hand tool techniques and show off some of the finest furniture in the country.
I will be demonstrating hand tool sash making. My fellow demonstrators will also have interesting things to show. So if you are in the Boston area this week, come on down and see my spice chest before it hits the newstands in Popular Woodworking Magazine.
If you can't make it, you can still play along by following on Twitter!
The view from my hotel is prety sweet! Yes, that is the ocean :)

A boxwood oil marker

One of my favorite blogs is written by Stephen Shepherd.  It is called Full Chisel.  If you don't follow this blog, stop reading my meager offerings right now and click over to his site.  Worth its weight in gold.

Anyway, a few weeks back, Mr. Shepherd mentioned a recent Lee Valley purchase he had made.  He bought a few lovely little boxwood storage tubes and a nice chunk of slate.  I too enjoy the soft sheen of boxwood, so I immediately ordered a few tubes and the slate.  I had an idea of what I wanted to do with the slate, but the tubes were bought with no clear intention.  Looking at them shortly after they arrived, I had an idea...

I like to oil my tools in use.  This helps prevent rust and makes them work so smoothly.  I also use paraffin wax for this, but lately I've been using the traditional lubricant, linseed oil.  I don't like to leave oily rags laying about in my shop.  Not only do you have the risk of fire, but the oil attracts dust and dirt, which is then wiped all over your tools the next time you use the rag. So it isn't for me.  But I would like a nice marker with which to spread the oil.

I found a chunk of wool fabric (thanks to my wife's obsession with hoarding fabric).  I cut a small chunk then rolled that chunk inside of some serran wrap.  This will help keep the boxwood from absorbing the oil.



Then, shove the chunk of wool / Serran wrap into the half of the tube with the threads. Then load the wool with as much oil as it will absorb.  You're done.


This is a very handy little tool for putting a small amount of oil on my saw blades and the soles of my planes.  This makes using the tools very, very simple.  You should close up the tube after use. This will help prevent the oil from drying and will stop the dust from getting on the wool.

As for the slate... just wait and see. For now, just understand that I've discovered an excellent fine sharpening stone for $4...

c. 1690 Tavern table

Many, many months ago (ok, it was almost two years ago.. but who's counting?), I blogged about building a table for my wife.  I finished the woodwork quite quickly, but never could decide on a finish. I knew that it would be milk paint, not strictly historically accurate, but I'm not going to fool around with oxides of lead. I enjoy not having cancer.  But the color confounded me.

Original tavern tables run the full range of colors, from reds to blues, even pastels.  Ultimately, I decided on Bayberry Green Milk Paint from Old Fashioned Milk Paint.   I think it looks pretty good.





One thing I really like about milk paint is that, if mixed on the thin side, the grain will still peak through in some areas. That's kind of neat, and actually simulates quite nicely the wear and tear on a piece over 300 years.  I helped that along with some judicious rubbing with steel wool.  This represents three coats of milk paint, 3 rubbed in coats of linseed oil, and a hand-rubbed amber paste wax over it all.

There are some areas that are missing paint.  This is done with calculated indifference.  I don't want total coverage, as the originals I referenced were not painted carefully. They were working tables and, as such, weren't made fastidiously.  The top shows plane marks and plenty of tearout, if you can see past the nail heads that hold the top down to the stretchers.

I like my stuff to look old, beat up, and well used. I think this table qualifies.

My new project

Having just finished a William and Mary spice chest for Popular Woodworking, I'm now planning my next project...

18 x 26 spice chest. No, it isn't 6 feet tall
I need a desk. The library in my new house is quite bare and needs to be furnished appropriately.  However, I'm not a huge fan of the traditional Chippendale secretary form. It is simply too tall in proportion, too ostentatious for my tastes. They are lovely work, of course, but they are not for me. So I looked a little further back in time.

photo from Colonial Williamsburg
This is the 1707 Edward Evans escritoire desk. It is the earliest known signed and dated piece of Philadelphia furniture. It is currently in the collection at Colonial Williamsburg, but I love the form so much that I will build one for my own personal use.

My new piece.
This piece is featured in numerous books on Philadelphia Furniture, including Worldly Goods, Philadelphia Furniture and Its Makers, and Hornor's Classic (and indispensable) Blue Book: Philadelphia Furniture. William Penn to George Washington.

Using the published dimensions and a couple of photos from the above mentioned sources, I worked out the dimensions of the piece. This is a wonderful way to make use of your dividers, your folding rule, and a sketch pad. I've got the process down to an hour or two to work out the major dimensions and proportions. The rest will be figured out at the bench as I work.

At 5 1/2 feet tall, this is is perfect for my library. Walnut, like all my furniture. Classic William and Mary style. I will be documenting this build as I complete it, but I just finished my construction drawing last night. Rarely do I work from a drawing (and never a plan), but this piece is complex enough that I felt a working drawing would be helpful to make sure I lay out all the dadoes in the right spot. Plus, I really like sketching moldings...

Support Underhill Rose!

I just sent my pledge to help out Roy Underhill's daughter Eleanor and her band Underhill Rose. All my friends should do the same! These ladies make wonderful, independent, music and are looking for some help to produce their next album. Do it now, the Kickstarter expires in three days and they are only abou $1,200 short of their goal!!!

http://www.kickstarter.com/projects/602449590/underhill-roses-new-album

Why I use only hand tools

I use hand tools. I eschew the use of power tools at every turn, even for something as simple as drilling a pilot hole. I hate the dust. I hate the noise. I hate the danger.  All of these things can be mitigated, of course, but I work wood to enjoy myself, not to be suited up like a diver on an extended deep sea expedition.

But I do what I do for a more profound reason than simple comfort. I do what I do because that is how it was done 250 years ago.  In my hobby work (the things I make for me), I try to replicate 18th c. style pieces as closely as my skills allow.  This means doing the work with the "proper" tools.  I'm not judging power tools as "improper" in every case, but they are improper for the work I enjoy, where period accuracy is desired above all else.

18th. Century woodwork is full of what we would today term "flaws".  Surfaces, even show surfaces, show tearout.  Boards are thicknessed unevenly. Sometimes the marks from the saw pit or the tell-tale marks of riving are left untouched. Boards cup and tear out hinges because the original builder didn't take into account seasonal movement (at least to the extent we would consider necessary). Drawer runners get nailed on to case sides across the grain, what many would consider a major structural flaw.

It's more than just surface quality. Designing and building with hand tools, when properly done, yields a piece that looks handmade because of the overall composition of these "flaws" and design decisions based on the existing material specifications.  You don't design a piece to an exact dimension, you make it work with the wood you have.  You don't plane 7/8 down to 3/4, just because this is the dimension you see in the plan, you make 7/8 work.

This cannot be done with power tools, no matter if you have the latest Nurffurr 5000 variably-spaced dovetail jig. Those machine cut joints stand out like sore thumbs. So do router-made moldings. They are too perfect and look terrible on period work.

Since my goal is to make things look as much like the original as possible, I do not worry about the modern definition of "flaw".  Sure, my surfaces sometimes show a little tearout, which usually goes away, visually, under shellac. My turnings are not identical and often show tool marks from my skew. My moldings show a little "movement" and are not identical from one foot to the next. My boards aren't perfectly flat (not hard to see why, my straightedge is Stick-of-Cherry, not Starrett). They are wavy, undulating, tactile, warm surfaces that show the pieces was made by hand, something that a machine cannot do. They are just flat enough to do what I need them to do. No more, no less.

That, my friends, is why I use hand tools. In no way should anything I ever say, anywhere, be taken to mean that I hate power tools, or that I somehow consider power tool work as less than hand tool work. It is just different. If my goal were different, I might very well put on the apron, safety glasses, hearing protection and fire up a Sawstop or a lunch-box planer.

We must end EEG now!

Prompted by a recent discussion on a woodworking forum, I must comment here on my dovetail philosophy. It is as follows:

Exposed dovetails are evil and must be eradicated.

The best furniture ever made, in my humble opinion, during any time period, was made in 18th century Philadelphia and Newport.  The makers of these pieces, Affleck, Townsend, Goddard, all of them, took great pains to hide ugly dovetails behind moldings, veneer or with special mitered dovetails.  There simply is no reason to expose dovetails on casework.

Some will argue that dovetails show craftsmanship. Baloney.  Craftsmanship is shown in the overall execution of the piece, the molding work, the proportions, surface quality and, yes, joinery.  But the dovetail is a simple mechanical joint.  Honestly, it takes no great skill to execute adequately (sawing and chiseling to a line is fundamental, not extraordinary), and far, far, far too much attention is given to this one area of woodworking. And it isn't particularly beautiful. It is utilitarian.

The best way to improve your dovetails is to cover them with molding.  This is as true of the finest, Klausz-like dovetails as it is for the average "hacked out with a screwdriver" looking dovetails.

We can eradicate the scourge of exposed end grain (EEG) in our lifetimes...

EDIT: Before I the lynch mob kicks down my door and cuts my Internet, please read this.  This is tongue in cheek, a parody of many of the domineering opinions of so-called "experts" so prevalent in the woodworking media.  I am not trying to change anyone's method of work; I am trying to expand the discussion beyond how to cut dovetails. Dovetails shmovetails, they don't make fine furniture any better.

Lost Art Press Woodworking Haiku Contest

Come on... all the cool kids are doing it.

Chris Schwarz is running a woodworking haiku contest on the Lost Art Press blog. If you win, you win a super-tuned #4 smoothing plane, as perfected by Chris himself.

For the less literary among us, a haiku is a short form of poetry from Japan.  It utilizes 17 syllables, arranged in a 5 7 5 pattern. They are easy, and quite quick to write. Do not be afraid. Enter! The deadline is November 22 at noon.

My own entry:

Sawplate sharp and set
Teeth cut swiftly through the pine
Blast! Its still too short!

Bench dogs are helpful...

But no matter how hard I tried, I just couldn't get this bench cat to perform any useful workholding task...


This little guy showed up at my house the other day.  Very young, very skinny, no fleas thankfully. Asked the neighbors and nobody claimed him.  I'd keep him but my cat Charlie won't have any of that.

Too bad, this little guy loves hanging out in my shop.  Its unheated, or I'd just let him live in there.  Oh well, somebody will take him and give him a good home. I hope they like being followed around and being distracted by the loudest purring cat in the history of the world.

Zach