Hell yeah. I just viewed a video (ironically) in which Mark Spagnuolo, the Wood Whisperer, delivers in his usual engaging manner, an excellent perspective on the role of books in learning woodworking. YouTube, he advises, is best used as a supplement to books. Mark is a prolific video producer, so his admonition to continue to use books as the pillar of learning woodworking carries a lot of weight. I agree wholeheartedly.

Explaining a woodworking concept by talking it through in a class or video is quite different than explaining it in writing. I may perform a process in the shop, maybe for countless times over many years, and later work through it in my mind to prepare to write about it. Then however, writing about it demands particular precision and clarity, even if accompanied by step photos such as for a magazine article. There is no video to help. The reader benefits from what is hopefully a honed and polished written product.

Similarly, reading and video watching are also different. Of course, video has the obvious advantage of seeing a process happen. Reading, however, gives you a chance to pace your mind, and to make sense of the material and absorb it. In particular, the breadth of a book allows you to see relationships among the material that you are unlikely to realize by only viewing videos.

So then, here are my favorite woodworking books. I have mentioned most of these elsewhere in this blog, but I hope this summary is helpful for readers.

1- The Krenov trilogy: A Cabinetmaker’s Notebook, The Fine Art of Cabinetmaking, Impractical Cabinetmaker. JK was a unique inspiring voice for so many woodworkers.

2- Woodwork Joints, Charles Hayward. Ounce for ounce, in paperback, maybe the best woodworking book of all time.

3- Understanding Wood, Bruce Hoadley. How can you even get near a piece of wood without this knowledge?

4- Understanding Wood Finishing, Bob Flexner. I still say that Flexner is the best explainer in all of woodworking.

5- The Perfect Edge, Ron Hock. There is good competition but I think this is the best book on sharpening.

6- Illustrated Cabinetmaking, Bill Hylton. When you have an idea for a project but you’re wondering, “How do I build that?” consult this encyclopedic review of construction options.

7- Wood, Eric Meier. As good a reason as you’ll find for printed books to continue to exist! Informative and joyful.

The following are out of print, as far as I know, but you can probably find used copies available:

8- Working in Wood, Ernest Scott. It has its imperfections, but this was an enormous help to me more than 35 years ago, along with Hayward’s book. I still find them helpful.

9- Designing Furniture, Seth Stem. Despite using mostly ugly examples, this book teaches design very systematically and well.

10- Making Joints, Ian Kirby. A marvelously clear thinker and explainer. Kirby is an underappreciated author in the woodworking world, in my opinion.

11- In a category of its own, not only because it is available free online, is The US Forest Products Laboratory’s Wood Handbook. Visit the US Forest Products Laboratory site and enter “wood handbook” in the search box.

Also, let’s not forget the magazines. They remain excellent sources of high-quality information.

Oh, and blogs too.

Uh oh, I was just thinkin’ again.

Yes, yes already, I understand the merits of hand tool woodworking (read here). Yet, we must acknowledge that pure hand tool woodworking is almost non-existent. Rather, we just have different points at which we decide that the work is best done, for whatever reasons, by putting aside machines and taking over with hand tools. For some, that point is after the wood leaves the sawmill; for others it is when the final chamfers are added. Really, there is a spectrum of approaches to woodworking that gives all woodworkers a great deal in common: we build stuff.

Router spindle locks are a ridiculous idea. Two opposing wrenches produce more torque with more comfort and safety. Some routers with spindle locks also have flats on the spindle on which you can use a second wrench in conjunction with the one for the collet nut. Manufacturers, including the one that makes yellow tools, please, stop the madness.

I’m pretty sure that you have a project in mind that is coming from your soul. It will challenge you, and give you great joy. Please, please, build that as soon as you can. And stop making another box for your chisels, or whatever.

If someone was to ask me for suggestions for getting a set of sharpening equipment from scratch, I now think I would be remiss by not recommending diamond stones for the bulk of the work. Add a CBN grinding wheel to speed the grunt work, finish off with a very fine ceramic finish stone, and you are very good to go.

Anyone of any demographic group, including women, is welcome by me, and, I believe, by the overwhelming majority of woodworkers, to come aboard and work wood. Those currently in the minority should not be discouraged by the very few fools who will only accept the historically typical demographics of woodworkers, nor by the reactions of others that are not ill-intended but come simply from not having updated one’s habits. Moreover, those currently in the minority do not need special enclaves for those in their category. Neither is coddling needed; just welcoming. Just work wood! You and the world await what you build. Now go ahead, tell me that it’s not that simple. OK, perhaps not, but I do think it does ultimately come down to just that.

Having had the Domino joiner for nine years now, my trust in the system has gone down, not up. Sorry Festool enthusiasts, the same goes for Festool in general.

Until you understand the following rule, to which I can think of no exception, you will not fully comprehend shop safety with power or hand tools. A tool edge, given the opportunity, will always move the work piece (or part of it) instead of cutting it. As examples, that is the essence of kickback on a table saw, and a drill bit or router bit grabbing the workpiece. The edge needs to be sharp, yes, but its mechanical options must be limited by the tool design, your setups, and your actions.

Believe it or not, if you need some decent red oak, maple, poplar, and even walnut, and are buying a small enough quantity so that a higher unit price doesn’t hurt too much, the Home Depot is a pretty good, convenient option. And they have no idea that the random curly board that you might find is a great buy.

Creative work is ultimately an exercise of free will to make something – a unique information set – that transcends oneself. Where does that free will come from, if not a gift from God?

Can you really sense, with any practical utility, the moisture content of wood simply by touching it? Yes. Let’s take a look.

An object feels hot or cool to the touch of your hand because of the flow of heat between your hand and the object. For example, an object feels relatively cool because it is drawing heat from your hand.

Remember how mom or dad could tell if you had even a bit of a fever just by touching your forehead?

Consider wood. The heat flow depends on several factors. The variable that we want to isolate is the moisture content (MC) of the wood. Wetter wood will draw heat from your hand faster and thus feel slightly cooler.

We want to keep these other factors constant:

• The wood species – density is the key. Denser wood will transfer heat faster.
• Surface texture. The greater contact of a smooth surface will transfer heat faster than a roughsawn surface. To a lesser extent, a diffuse porous wood such as cherry transfers heat faster than a ring porous wood such as oak.
• The temperature of the wood, especially relative to your skin temperature, of course, affects heat flow. Heat energy flows from the warmer object, usually your hand, to the cooler object, usually the wood.
• The surrounding temperature and moisture conditions will likely affect your perception of hot and cool.

Those four other factors are constant in the typical situation of sorting through boards at the lumber dealer – a particular species, roughsawn, at the temperature and surrounding conditions on that day.

So, can you sense differences in MC based on how cool or warm the wood feels to the touch of your hand? I think I can. No, I cannot tell the difference between 8% and 10%, but with the aid of a pinless moisture meter, I have shown myself that I can tell the difference between, say, 8% and 14%, and even closer than that. Every time? No, but reliably enough that I can use my sense of touch to quickly sort through boards of one species at the lumber dealer and help me make choices. Larger differences are more apparent. This also can alert me to certain situations, such as a poorly stored 10/4 board that is much wetter on one side than the other.

The differences I am sensing are relative, not absolute, but that is what I am concerned with as I sort through the piles. It is even possible to “calibrate” my hand for absolute measurements for a particular pile of wood by taking a couple of readings with a pinless moisture meter, and correlating that with what I feel, but I wouldn’t rely on that and it is not what I need.

I am not suggesting you discard your moisture meter. I also understand that the “measurement” is shallow. And I’m not going to put my lips on the wood; that’s weird. Yet, with some awareness and very little practice, you can get a pretty good sense of the relative moisture content of boards just with your hands.

What’s your sense of this?

Now let’s work through the elements of the jig. The top photo again shows an overall view with a leg blank in place.

Basic construction:

The jig is built on a piece of plywood about 5″ wide and 39″ long. Screwed down along one edge is a double-width T track with the groove placed up at the outer edge. The wide T-track allows the sliding stops to be far enough away from the leg blank to make room for the router fence. (See previous post.)

Workpiece registration:

The side of the leg blank registers against the track, and the end registers against the moveable tab stop that you can see sticking out sideways from the track in the photo below. (It is dark wood – wenge – with a brass knob.)

Clamping the workpiece:

Two toggle clamps are mounted on 1 7/8″ square x 5″ moveable blocks, which are secured in the track with T bolts. These clamps provide lots of holding power and can be positioned away from the routing action.

For use in addition to, or instead of, the toggle clamps, there is a wedge system, seen in the photo below. This consists of three 5/8″ square x 1″ blocks, distributed along the length of the plywood, that are bolted to the plywood but free to rotate. Wedges, 5/8″-thick x 8″-long with a 1:7 slope, secure the workpiece.

Stops for limiting the length of the mortise/haunch:

These are 3/4″ x 2 1/2″ x 2 1/2″ blocks that position in the T track and lock down with T bolts and star knobs. You can see them at the sides of the photo below.

At the right of the photo below, the router fence jig meets the stop to define the bottom of the mortise.

At the left of the photo below, the router plate jig meets the stop to define the bottom of the haunch (the limit of the full-depth mortise).

In the photo below, the left-side stop has been moved out of the way create the haunch all the way to the end of the leg. In practice, you would rout this first. Then you would move the left-side stop into place to define the top of the full-depth mortise, as seen just above. That location is “remembered” by the little maple stop with the brass knob.

In summary:

• Understood in its separate elements, the jig is not difficult to make.
• In practice, the whole thing is very intuitive to set up from mortises marked out in the traditional manner on one leg only.
• The mortising work moves along quickly.
• The jig can handle most common leg blank sizes that you will use to prepare the joinery before cutting the shape of the leg.
• It can also be used with rail and stile work but workpieces thinner than about 1 1/4″ will need to be paired with thicker wood to better support the router. The jig was designed mainly for mortising table legs.

[Skip this paragraph if you want; it will be apparent when you work with the jig. Depending on the circumstances and personal preferences, you can rout four corresponding mortises with the leg registered at one end of the jig, retain the router fence setting, and then reset the mortise jig to register the legs at the opposite end of the jig to make the other four mortises. Alternatively, you can retain the mortise jig settings and reset the router fence.]

Here is a very direct approach to mortising with a router that works especially well for mortising legs.

The system starts with an auxiliary router base plate that rests on top of the squared leg blank and has two adjustable fences that hug the sides of the blank to eliminate side play. I have been using the one shown here, made from acrylic, since I bought it from Woodhaven more than 25 years ago.

Though it is no longer available from Woodhaven, it does not seem difficult to make a similar version from plywood, perhaps lining the fences with adhesive UHMW plastic. The base is about 10″ wide and 8″ deep. Each fence is an L-shaped construction. The long arm of the L has two slots, in which slide bolts that pierce the base and are tightened to fix the fence position. The short (1″) arm of the L rides along the side of the leg blank.

It probably would be good enough to substitute the L fence with just a flat piece of plywood, though the height of the fence is added insurance against tipping. Alternatively, you could slot the base and use simple hardwood strips for the fences. I trimmed the fences to ensure that no part of them extends beyond the base plate, so it is only the base plate that will meet the stops that define the mortise length, as you will see later.

The idea is nothing more than a double-sided router fence.

So, that’s simple enough. Now we need two more elements. First, is a way to reliably register the workpiece in place, and then clamp it there. Second, we need stops to define the ends of the mortise (and a haunch, if required). To make the jig adjustable for different layouts, these stops must adjust independently from the workpiece-registration element and clamps.

Below is an overall view. It is really simpler than it might look at first. Trust me, I hate complicated jigs – I’ll break down this one for you in upcoming posts.

By the way, the plunge router is an Elu 3338, vintage about 1990 and still mortising strong. It is very similar to the current DeWalt DW625, though the Elu was made in Switzerland.

Many of us woodworkers have a habit of casting our judgmental eyes on woodwork we encounter anywhere, at anytime. Imagine if we were hair stylists. Recently, I noticed the condition of the tables in a certain non-chain pizza shop, which happens to serve the best pizza I have ever tasted. Great pizza joint, bad edge joints.

Only a year old, the joint in the tables are failing. Because we do not want this to happen in our work, we ought to ask why. It is not enough to point out that the exposed end grain produces more and faster moisture content cycling at the ends of the tabletop than toward the middle, which produces greater stress at the ends during the dry months.

The situation requires more explanation. If the joint lines were truly as strong as the wood itself, the failures would not occur almost exclusively at the joint lines. Those joints are, in fact, weak spots – they were not made well. Furthermore, even if they were intact, they do not look good.

There are many reasons to consider. Because I do not want this to happen to your work, or mine, I direct your attention to a series of three full-length articles I have written for Furniture and Cabinetmaking magazine. They really constitute a book chapter on the subject, and I think you will find they cover the topic thoroughly. The first is in the current issue, July 2017 (issue #259). The second and third will be in F&C August (#260), available any day now, and October (#262).

Much of it is from the series on this blog but I have refined everything and added more useful material, along with all new photos. I think you will find the photos supporting the explanation of the all-important matter of wood selection to be particularly useful.

If you are not familiar with Furniture and Cabinetmaking magazine, I suggest give it a look. Produced in the UK, it is full of high quality content, beautifully presented. A single copy off the newsstand here in the US is pricey but the digital version is a good value at $36.99 for one year of 13 issues from PocketMags. You can also get small bundles of any selection of back issues.

And then put aside any fear that anything you make will end up like those tables in the pizza joint.

For those not familiar with the Tormek grinder, the SE-77 jig, an upgrade over the older SVH-60, holds the blade and slides onto the guide bar, where it rotates to present the blade edge to the grindstone in a very consistent manner. The niftiest features of the SE-77 are its ability to reliably put a controlled amount of camber on a plane blade, and to microadjust the lateral angle of the blade edge to the stone.

The SE-77 has a sturdy build. The left clamp screw slides to adjust the width between the two clamp screws. This more securely holds a wide range of blade widths. There is an end stop on the right side that squarely registers the right side of the blade into the jig, which is useful for blades with parallel sides.

The pair of small thumbscrews, shown in the foreground of the photo below, controls the two special functions of the jig.

To microadjust the lateral angle of the blade edge against the stone, you back off one of the screws and advance the other the same amount. This is much more reliable than shifting and reclamping the blade in the jig.

To camber the blade edge, you loosen both microadjust screws. This creates a pendulum motion about the small stem. (See the photo: the small stem has a brass washer and external snap ring on its end.) With this pendulum motion, you can guide a controlled amount of camber onto the blade edge. The system works very well, though you do have to blend a gradual arc. A too-heavy touch can create a shallow V-point edge instead of a nice smooth camber.

Another welcome feature of the SE-77 is the design of the lower jaw of the blade clamp, which gives a good grip on Japanese chisels (hallelujah!), even onto the shank.

At $66, the SE-77 is not cheap. Having used the Tormek for a many years for grinding – very little on the leather honing wheel – this new jig has been a worthwhile upgrade.

Dear readers, I hope this series on blade camber has been helpful. As always, what I write is born of “the sawdust and shavings of my shop.” These are the techniques and approaches that work for me as I make things. I welcome your ideas and comments.

Rob

Creating the camber

There doesn’t have to be high art in producing the camber. On a coarse diamond stone, I start by leaning the blade to the left and slightly raising the right side. It is important not to overdo this. I then gradually reduce the lean, keeping aware of the approximate number of strokes, and blend the camber through the middle. Then I repeat this on the opposite side.

On the Tormek grinder with the older SVH-60 blade holder, I would lean on the slightly flexible guide bar to create some camber. The newer SE-77, which I will cover in the next post, is more controlled. The camber can be refined on a medium stone. Mild camber, such as in a high-angle, bevel-down smoother, can also be refined when honing the secondary bevel.

It is easy to underestimate the amount of camber by just looking at it without a straightedge reference, so I check the camber by holding a small, wide aluminum square (straightedge) against the edge and observe it against mild backlighting. Eventually, one can reliably relate the appearance to the performance on wood. Again, I do not measure it, nor recommend that as a habit.

If you overdo the camber, the nose of the blade will dull first, so when you go back to the stones to clean up the secondary bevel, some of the camber will automatically be reduced.

Skewing the plane

Skewing the plane at a typical angle used routinely has no significant effect on the camber function. However, an extreme skew angle, such as the 45° shown in the top photo, or even 60°, can occasionally be used to advantage to get the plane to pull a shaving from an isolated area, such as to correct a bit of tearout.

This is really just playing with how the plane sole bears on the surface contour of the board. The full camber depth is retained but is effectively spread over a shorter length of blade. (The plane stroke is still about parallel to the length of the board.) With some trial and error, you may be able to get the blade to “reach down” into a localized area.

Camber the chipbreaker too?

Very small differences, on the order of .1mm/.004″, in the setback of the chipbreaker may affect planing performance, at least according to this Japanese experiment. Should the chipbreaker therefore have a camber that matches the blade to create a consistent setback? With a straight-edged chipbreaker on a cambered blade, is there a difference in the shaving characteristic or wood surface across the width of the blade that cannot be explained by the difference in shaving thickness?

In theory, maybe so, but I have only rarely encountered advice to camber the chipbreaker. It also seems like too much trouble, so I don’t do it. Maybe it would help for a highly tuned smoothing plane. Any ideas, readers?

Next: the Tormek SE-77 jig