Tip #3: See the line with both eyes if you can.

Most woodworkers feel more comfortable and work more accurately sawing with the line and the saw on a specific side, left or right. For right handers, the most efficient setup has the saw in the right hand and the line to the right side of the midline of the body. Both eyes view the line from the left and see the left edge of the kerf splitting the line and the remaining half-line trailing the kerf. The keeper wood in this case is on the left, the waste on the right. This arrangement is likely to be favored even in the minority of cases in which eye dominance does not match the side of hand dominance.

The photo at the top, demonstrating this setup, is the view with the right eye sawing a tenon. Below is the view with the left eye. The small disparity in vantage points permits stereoscopic (high level binocular) vision.

The key element is that both eyes view the line. If you are fortunate to have two good eyes that align properly, your binocular vision is an advantage over seeing the line with just one eye. The eyes also track better working together than alone. Try it.

Sometimes this desirable setup cannot be achieved. A right hander finds himself with the right eye viewing the line from the right side of the saw, as in the photo below.

Since it is usually very awkward to shift the head fully to the right of the saw, the left eye views from the left side of the saw, as seen below.

The brain cannot blend these two very different images. One image is functionally “turned off” and you are then effectively working in the less efficient one-eyed mode. Sometimes this cannot practically be avoided.

There is another situation to consider. This happens commonly at the bandsaw. One eye, usually the left, gets a good view of the line meeting the teeth, as in the photo below.

Oops, the other eye’s view is blocked by the blade guide/guard apparatus:

You may sense less visual precision without being immediately aware of the cause. The solution is to arrange your stance so that both eyes have a view of the line where it meets the teeth.

Because of the many sawing situations in the shop, there are exceptions to all of this. The basic principle is nonetheless helpful, and being aware of it can help your sawing.

Good lighting (angle and distance), a good quality line, and proper visual correction for the distance at which you are working, also contribute to seeing the line properly. And, yes, you do have to blow away the saw dust regularly, especially with Japanese pull-stroke saws.

Coming up: Do you need to see all of the lines? Can you? When does seeing them become less important?

Tip #2: Engage and stabilize your core.

“Core” muscles refer to the abdominals, obliques, hip flexors, spinal stabilizers, and the gluteus muscles. Strong, balanced, and activated core muscles allow the limbs to perform properly. Core involvement is the source of much of the precision and power of a tennis player’s swing, a fighter’s punch, and a sawyer’s stroke. Watch Chicago Bears linebacker Brian Urlacher demolish a ball carrier, or Boston Red Sox little guy Dustin Pedroia belt a ball over the fence, and you’re seeing core strength in action.

Pick up the saw, place one foot forward, and use your core muscles, especially the glutes, to find a balanced, stable stance. From there, the arm can operate with precision, intent, and strength. A stable core does not mean an immobile core, rather it is a controlled positioning and movement of the trunk. If the trunk is unstable, the arm flails.

Do not fall into the saw stroke, move into it. Maintain balance throughout the stroke. Do not use the bench or the work piece to prop up your body. A partial exception is when using a handsaw with a low saw horse or bench. Even in that situation, the non-sawing hand is really just an aid to the core musculature. You should not be falling on that hand with each stroke. Again, move into the stroke with intent and control, do not flail into it. You can still use your body weight for power, but in control using the core.

It was difficult to take photos for this post. I set the timer and quickly moved into position with the saw but I could only approximately convey the general ideas.

Whew, look at this guy. Bad news:

And this guy. Ouch. He won’t last a day in the shop.

In addition to sawing precision and strength, you will also have shop endurance. Woodworkers often complain of low back soreness after a day in the shop, especially with tasks such as sawing joinery and sharpening. The way to avoid this is to use a balanced stance and active glutes to take the excess effort away from the lower back muscles. This applies to machine work too, such as precision sawing at the bandsaw.

Try this: pick up the saw, channel your inner Bruce Lee, and concentrate much more on your stance and core activation – stable, not stiff; intent, not mushy. You may surprise yourself to find following the line is easier and more natural than if you think just about your arm and the saw, forgetting about the all-important core. Be Bruce grabbing the cobra.

The core matters in sawing. I leave it to you to do the homework. 

All would be right in the world of woodworking if we could saw perfectly to the line every time. Joinery would fit directly from the saw, everything would assemble neatly, we would never grow old, and pay no taxes. In the meantime, however, let us consider some ways to improve this ubiquitous woodworking task. The uncommon tips in these posts apply not only to hand sawing, but also machine sawing without a fence such as might be done with the bandsaw.

We know the basics: an appropriately designed, good quality saw, straight, properly sharpened and set. The work piece is securely held in an ergonomic position. The sawyer grips the saw properly with good hand-shoulder alignment, and produces even strokes engaging the length of the saw.

Tip #1: Consider the line and what it means.

The idea here is to have mental clarity as to just what the line represents and thus how you will saw in relationship to it. Mental clarity precedes physical success.

Consider several scenarios.

If the line is produced by drawing against a template as in, for example, sawing curved legs from rectangular blanks with the bandsaw, then the entire line is in the waste wood. If you split the line with the saw, there remains a half-line of extra wood to remove saw marks and fair the curve. If you want more margin for clean up, make a chunky line and saw right up to it without touching it. The key is to be clear about what you are aiming for and why.

If you use a pencil to mark out pins from the tails you’ve sawn, the line is fully in keeper wood. If you split this line, the pins will surely be too small. If you saw to one side of it, and no more, things should work out fine.

If a part is marked to length by registering it with the end of another part which is thus used as a template, the line will be fully in waste wood. Splitting it with the saw will make the resulting piece too long, but perhaps this is a desired allowance to allow for shooting it just right. Sawing to fully remove the line would be an attempt to produce an exact match from the saw. Again, the intent should be thought out beforehand.

As another example, I set my mortise gauge so the two points are at exactly the width of the mortise and mark out the tenon with this setting. I run a pencil line so the point rubs against both sides of the “valley” of the scribed line. I then know that if I split this line with my saw, the tenon will be just right.

Visually, I find it easiest to split a line with the saw. The visual cue is that as the cut proceeds I can see half of the line remains next to the kerf, and this remainder looks half as wide (easy to estimate) as the uncut line ahead. When sawing to one side of a line, it is easy to be too timid and leave extra wood, though if this is not excessive it may work out fine, allowing for a bit of clean up. Sawing to completely remove a line, but no further, is visually difficult since the result looks the same if you have done it just right or if you have sawn too far into the keeper wood.

The key is to be clear about the “context” of the line and anticipate the next step in construction. In all of these matters, the concept of one-sided tolerance is most helpful.

This installment of the Q&A features questions from readers about shop electrical supply, convex-sole planes, gel varnishes, ripping, and Claro walnut.

A woodworker who is planning a new small shop is considering how much and what type of juice to have the electrician wire into it. Here’s what I use in my little playpen and why.

The pre-existing wimpy household 110V-15A wiring takes care of shop lighting and a few other small items such as a battery charger. Then there is a 220V-20A line with a single receptacle. This runs the bandsaw, table saw, and jointer-planer; one machine at a time, of course, because there’s only one guy in the shop. A 220V-15A line would not reliably handle a surge from the jointer-planer rated at 14A or the cabinet saw at 13A. There are also two 110V-20A lines, each with a pair of receptacles. Two lines are necessary to run the DW735 at 15A along with the dust collector at 16A. This also accommodates any portable power tool that I own along with the Fein shop vac.

It pays to plan carefully for the shop you have now and for the shop you aspire to. I think I’ll never need more juice than this in my one-man small shop.

A woodworker planning to make a coopered door inquires about options in planes with the sole and blade convex across their widths. The radius of the blade needs to be just a bit smaller than the curve it planes. Calculating an example, a 14″ wide door with a curve depth of 2″ has a radius of 13.25″. A 1-1/2″ wide plane blade of this radius will have a curve depth of 0.02″. Taking into account the effect of the blade bedded at 45 degrees (formula here), the blade must be cambered .03″, or about 1/32″. A tiny bit more depth than that will keep the outer corners of the blade clear of the wood and enhance control.

For this, my solution is to take any small wooden plane and camber the blade, and shape the sole to match it. Test and adjust. One nice option might be to get a Krenov style plane kit from Ron Hock and alter it accordingly. A Japanese convex sole plane is a more expensive option that is not tailored to the specific task, and is likely to be too curved for it.

I was a fan of Bartley’s gel varnish, which is no longer available as far as I know. A few questions came in regarding alternatives. Here are three:

• General Finishes Gel Topcoat Satin (my choice)
• Old Master’s Gel Polyurethane
• Jel’d Poly Kote 250

A reader asked about my preferences in handsaws for long rips. My preference is the bandsaw, the “hand tool with a motor.” In most cases, I see no particular virtue in sweating out a long rip by hand, but the Disston D-7 is my weapon of choice if I really want to commune with the wood.

Speaking of communing with wood, I’ll hang out with Claro walnut any day. A reader wonders what woods might make a good combination with Claro. Of course, this is personal preference, but consider pear. The pink blush of pear seems to bring out the red hues in Claro, and its fine, delicate texture contrasts with the moderately open-grain nature of Claro. Unity and variety, right Mr Heath?

One combination that might seem promising but falls flat to my eye, is walnut and cherry. Maple and walnut usually don’t seem to work together. Claro and zebrawood look cool together, and ash also has potential with Claro. Just opinions.

Email questions (see the About page) and I’ll try to answer as time permits. Thanks, and happy woodworking.

This Wednesday, April 4, 2012 I will be presenting at the Woodworker’s Guild of Rhode Island. The meeting starts at 7:00 pm and is held at the Scituate Community House in North Scituate, Rhode Island, which is just west of Providence. Click here for a link to a map and directions.

The nice guys at WWGRI were kind to invite me to speak and demonstrate at their group. Naturally, I demanded my usual compensation: all the plane shavings I can stuff in my apron pockets and not a penny less. Seriously, it’s always fun to hang out with fellow woodworkers and share the craft that we enjoy so much.

The topic of the talk segment will be “The Design Journey,” which is summarized in my article in the Winter 2012 issue of Woodwork magazine, and is discussed in the 2010 eight-part series here on the blog, “Creating a work in wood – from idea to finished piece.” This will include a short series of slides.

Then at the bench, I will demonstrate strategies for planing difficult woods. Bed angles, cambers, bevel-up, bevel-down, back bevels, toothing blades, scraper planes, and so forth will be included. There are many ways to approach this task and this presentation will hopefully assist each woodworker in finding what is right for his work with his tools.

The WWGRI welcomes new members and, Heartwood readers, if you are in the area, come on by and say hello.

Here are the other rasps that have been useful in my work. There are, of course, many more specialty rasps available than discussed here. Hopefully, you will have the opportunity to use high quality rasps that are suited for your work.

For the enjoyable work of shaping table legs, the Auriou curved “ironing” rasps have been very helpful. Pictured are the larger #8 grain, 1-1/8″ wide, and the #10 grain, 3/4″ wide. (I do not see the #8 grain available now, but there is a #9.) This type of rasp has a shallow curve along its length, useful for the gradual concave curves found in legs and other work. These smooth-cutting tools give excellent feedback to the hand when fairing curves.

Half-round rasps can be used to fair these curves but there are some disadvantages. As the convex face of the rasp is angled to the length of the leg, the contact profile is asymmetrical and often becomes confusing to feel. Also, there is less contact length, somewhat like a short-soled plane, and this makes it harder to feel the lumps and bumps that must be removed to fair the curve. There is also more tendency to tear the wood fibers. Do not be tempted to hold the rasp almost parallel perpendicular to the length of the leg because the teeth will slice the wood like tiny knives, you will not be able to control the rasp well, and deep scratches will be created; not how a rasp should cut.

Now, let’s say you’re at the bandsaw and both your mind and the cut wander, hopefully on the safe side of the line, and you end up with a lump on your otherwise nice leg. Hack it down with this beast, the Surform shaver. Don’t expect a lot of control or a uniform surface, but it is cheap and works quickly.

Click the thumbnail below to enlarge.

Returning to refined tools, for detail work, the Auriou #14 grain modeler’s rasp can be a lifesaver. It is thin and can be exquisitely controlled. It leaves only a very shallow scratch pattern, but can be made to remove wood remarkably fast for its size and grain.

Similarly useful, though a bit less smooth-working, is the Grobet detail file. While not a true rasp, its double-cut file pattern makes it function similar to a rasp. It is also versatile – four faces, flat and convex, each in coarse and fine.

Click the thumbnail below to enlarge.

The larger round rasp is an inexpensive model from Lee Valley. The round needle rasp, made by Corradi, is helpful for various detail work such as enlarging holes. The handle, also from Corradi, has a chuck which allows the rasp to be removed.

Click the thumbnail below to enlarge.

This wraps up the rasp series. I hope it has been helpful. A final thought: it is easy to underestimate the value of a quality rasp. They are not pretty tools, but they can make a big difference in your work.

#&@$*%!!

For a few weeks, there have been technical troubles with this blog. Error messages appeared over the header, the blog was inaccessible at times, some text was corrupted, and, most frustratingly, I could not even access the administration dashboard. My web host, whose name I shall kindly omit from the discussion (yes, that is smoke you see coming out of my ears), has, after an exasperating delay, corrected most of the problems, which by the way, they created. Some issues remain to be fixed, but at least I am now able to post.

I apologize to readers who visit this site to enjoy useful woodworking information and discussion, especially those whose comments may have been lost in the shuffle. This little post is just intended to let you know that things should be back on track soon and I will continue to try to bring you quality content.

As always, thanks for reading, and happy woodworking.

Rob

In the two previous posts, note the orange-colored handles on the Nicholson, Corradi, and Iwasaki tools. These are labeled “Disston” but, as far as I can tell, are no longer manufactured. I last bought some at least several years ago, I’ve forgotten from where, and have about eight in use and a few spares. Disston called them “Stronghold” handles as seen in this ad from 1930. They came in five sizes, from #1, the smallest, through #4, and the long, thin #0 for use with taper files for saw sharpening. The #3 is good for a 10″ rasp or file.

There are three relief slits at the front of the handle which is surrounded by a steel spring ferrule. This construction grips the tang of the rasp well, prevents extension of the built-in slits, and makes the handle reusable because there is some flexibility to the bore. Best of all, these handles feel just right in my hand.

I wonder if one of the hand tool manufacturers such as Lie-Nielsen or Lee Valley would be interested in making these handles if patent issues could be cleared. By the way, I do not have the Disston handles on my Auriou rasps only because I am unable to remove the less comfortable original handles despite lots of pounding.

Rasps are used more effectively if one adopts the attitude that this truly is a tool to be used with sensitivity. The rear hand (on the handle) supplies power and direction while the forward hand aids control with a light hold. Push to cut, disengage with a slight lift, retract, and repeat. The rasp is angled to the direction of push (remember the teeth are in diagonal rows), but avoid a pronounced sideways motion which will make the teeth slice into the wood across their width, causing the tool to grab and create deep scratches in the wood.

Adjust your push and pressure to the grade of the selected rasp which is based on the stage of the shaping process. Flip freely from the flat side of the rasp to the convex side depending on the contour of the work. As you get closer to finishing, lighten your touch. Use the weight and stiffness of the tool to sense lump and bump irregularities as you fair the curves of the wood. As with all woodworking, good adjustable lighting helps a lot.

For purchasing 10″ half-round rasps for fine furniture making, the subject of these posts, here are some suggestions. You can try out tools prior to making your choices at shows, some stores, Lie-Nielsen Hand Tool Events, woodworking schools, or your friends’ shops.

• Low budget: Shinto + one medium lower cost hand-cut or maybe a Nicholson
• Middle ground: Shinto + one hand-cut such as an Auriou #9 or #11
• Better still: Shinto + #9 Auriou + #13 Auriou, and use a medium/coarse lower cost rasp that you may have acquired earlier for rougher or less critical work