Making & Mastering Wood Planes

190 Pages·2000·28.85 MB·English

by  David Finck

MAKING
MAS
WOO P........~.-.-
David Finck

•

STERLING PUBLISHING CO. INC., N W YORK
Library of Congress Cataloging-in-Publication Oat"
Finck, David. 1961­
Making and mastering wood planes / David Finck
p. em

ISBN 0-8069-5163-5

1. Planes (Hand lOOIS) ') Woodwork I. Tille
TT186. F54!t 2000
684' 082-dr21
10 9 8 7 G 5 4 3 2
Published by Sterling PuOllshlng Company. Inc
38/ Park Avenue South. New York, N Y. 10016
@> 2000 by David FInck
D,stributed in Canada by Sterling Publishing
clo canadian Manda Group. One Atlantic Avenue, Suite: 105
Toronto, Ontano, Canada M6K 3E7
Distributed In Great Britain and Europe by Cassell PLC
Wellington House. 125 Strand, London WaR OBB. England
DIstributed In Australla by Glpncorn Lnk (Australia) PLy Ltd
PO Box 6651 Baulkham Hills. Business Centre. NSW 2153. Australia
Manufactured In th~ United Scates of America
AI! fights rese{l/ed
Sterling ISBN 0-8069-51 53-5
ChriS SWlmofr Design • Editor- MIChael Cea
ACKNOWLEDGMENTS

here would be no l)ook witlloUt James career, Also to my sisters Amy and Tina, partners
Krenov. The planes described and HillS­ in childhood arts and nafts ac1ventLlr~s, who ahvaYR
trateu in the following pages were in­ set the bar way over my head.
pired by him. To him and all the teachers and More thanks for the invaluable fforts of those
dent in the College of the Rcd,voods Fine who reviewed my manuscript: good friends David
~oodworking Program, my profoundest thanks. Esposito and Bojan Fetek, Tina Casey (my sister),
_ ost of what I know about planes and wooel­ James Krenov, Marie Hoepfl (my ~vife), and espe­
"orking v.ras learned there, I hope I've done cially Henry Finck (my father). Through tfleir
-. ticc to the subject of planes and Jim's spirit efforts this book was much improved.
-Jward woodworking. Ib my wife, Marie, and two young daughters
\Iter leading numerous workshops on plane­ Ledah and Willa: It has been a long and rather
. king over the years, it is clear that I am deep1s' lonely road. I have missed you! As [ write these
debted to my students. I thank them all for t1 e words, I look forward to more time spent with all of
.1ght lhal come from questioning the "obvious" you and less time in front of a computer.
.nd dflmanding greater clarity of presentation, Finally, I dedicate this book to my father, Henry
L'd like ro express my gratitude and love for Finck. He has taught by example from my earliest
. le grandfather J never knew, my namesake He years that a job worth doing is worth doing well. He
itarted my father working with ",'ood-and it is bas been a limitless source of knowledge and sup­
. father who hen inspired me. And to Paula, port, and an inspiration in so many ways. It is a
y mother, who nurtured the artist in all her chil­ debt that cannot be repaid. J can Ollly hope to pass
oren, and then, as a business partner, nurtured my the gift along.
Contents

.

"
Acknowledgments 3

Foreword by James Kreno\T 7

Introduction 9

CHAPTER 0 E CHAPTE THREE
ThaIs and Nlaterials Sharpening 'Techniques <> 43

for Nlaking a Plane 13

Presharpenino Procedures:
Thols 13
Preparing the Grinder, Honing StOI1f'i-i/
and \Vorkstation 43

Safety Equipm(~nt 14

Making a Plane Blank 14

Making a Toof Rest 45

Tru/l7g JIg 47

Band-Sow Pomter, i 8

Makmg a SlOne Cradle 49

Rip-Sowmg with 0 Band Sow 20

'Run-Qui" 22

Sharpening Plane Trans 51

The Logic of Truing Boards Using a
GTinding and Honing Guidelines 55

Jomter and Planer )4
Sharpening Straight Chi cls 67

Cabinetmaker's Triangle 25

Sharpening Spokeshave Irons 69

Sharpening Knives 69

Plane Irons 27

Chip Breakers 28

Making 0 Corvlfig/Markmg Kmfe 70

CHAPTER T 0 APTER FO .
Tuning and Using Hand Thols 35 !\1aking a Plane • 73

Combination Square 35 Tools and Supplies Needed 73

Straightedge 37 Preparing the Glue Surfaces 74

Block Plane 37

Laying Out and Sawing

Spol<eshave 41 the Front and Back Blocks 74
6 () Contents
Cleaning Up the Cuts 76
Polishing Surfaces 143

The Throat Opening 83
Squaring End Grain 145

Locating the Cross-Pin 87
Profiling 146

Cap Screw' Clearance Slot 89
Finishing Hand-Planed Surfaces 147

Making a Slotting Templote 90

CHAPTER SIX
H.outing th(~ Ramp Slot 91

Planing Aids and Special

Makil1g the Cross-Pin 92

Techniques ~ 151

Gluing Up the Plane Blank 97

Shooting Boards 1Sl

Opening the Throat 100

Planing Thin and/or Small Stock 158

Making on Adjusting Hammer 102
Planing Edges of Large Boards

and Surfaces 15H

Making the Final Wedge 107
Fitting Carcass Components Precisely ] 61

Setting Up the Plane III
Planing Curved Edges 163

Testing and Adjusting the Plane 112

Troubleshooting Techniques Il3

CHAPTER SEVEN
Shaping the Plane 114

Scraping 'Techniques • 167

Sales and Inserts Il7

Basic Cabinet Scraper 167

Improving a Throat Opening 119

Smoothing Surfaces with the No. 80

Additional Planes I:W

Pattern Scraper 175

The Scraper Plane 177

F'
Sanding After Scraping 178

CHAPTE V E
•

Planing Techniques • 125

Preparing to Plane 126
Metric Equ ivalents Chart 18]

Edgf.-Joi ning Techniques 130
Glossary 183

Flattening and Truing Surfaces 139
Index 187
Foreword

by James Krenov

l1e way that some of us work includes our invenr anything. r just changed the shape and size
emotions, our hopes, all the feelings that we of a plane that was already made, used a shorter
have. In cabinetmaking, there are different iron, and made the whole tbing very comfortable
\-ays of leaving one's spirit-or one's feeling about and very vnrsati e. You could hold it with two
-he material-in the completed object All these hands, you could hold it with one, you could do
u'ocesses involve an intimacy-a closeness to the large-scale work, and yOll could do very fine details.
··."ood, a closeness to the tools-and an awareness of I think it's VelY important that you be patient and
-<;"hat you're doing, of the possihilitics and the liJni· thorough. Lel the fust plane you make be a reasonable
rations of the tools, and of your skills. success. wh n ~\!e make something and we do not uc­
Certain tools tllat VvC use are classics: they have ceed, then we're not very likely to continue to make a
" een around as long as woodworking second and a third. It's like making a
-the chisel, the spokeshave, and guitar tllat has no tone, or a very
!:ertainly the plane are some. A bad tone. You put it up on a wall and
ong time ago, when I went to you say, "'Well, I made a guitar but
-chool we had the classic Euro­ it's not worth playing, so 1 don't
" an hand plane, which was made think 1'lJ make any more guitars; I'll
t peanvood with a jjgnum vitae buy one inStead." Well, these very
- k It bad a long iron, a big, tall personal hal1d planes, as r~1T as I
mob in the back, and a hom in tbe know, can't be bought, and you
-ront. NO'v, it v,,'as a good plane, and proba1J1y houlc!n't tI You should
"eople around me were using it and there was enjoy the makLng of them, and let some: of that fmjoy­
"othing that they found wrong with it. Certainly, if ment give you energy to us them properly, and make
-ell cared for and properly used, they were, are, a second and a third. Different sizes, different shapes.
.md will continue to be fine tools, just as a vcry Really, my simple message is that if you're going
"~ne-tuned metal plane can be. But I found the clas­ to approw'h woodworking with sensitivity and
",cal knob and horn plane very limiting, because maybe refinement, planes are a goodway to begin.
ou <.ould only comfortably hold it in one way, and They'f(~ a start to improving the rest of your tools
" wasn't very good for small work. So, just out of that need improving. After all, the hand plane is
uriosity I made this small plane. That was about the first part of the woodworker's aria. And what l'd
.--_ years ago. Many readers and people working like to sec happen, through this book that David has
'ith wood are familiar 1Nith it; it son of assumed written, is for you to make a plane or planes tllat
y name, which is all wrong, because I didn't will, in turn, make fine music.
7
Introduction

nuno
lle distinctions between an object that is
yet to even lift a plane or turn a plank. Your
merel "crafted" a.lld one tha is "finely
paints images of a lone craftsman planing heaps of
crafted" become app,uent S01118 tirnc after
gossamer-thin sbavings, at one ~with the wood.. Hold
c hum of the pO,,"ler tools has faded away'- Think
on to that vision, for it is surprisingl r aece, sible.
.-power tools as apprentices that handle the drudg­
Dut, likely as not, you have tried your hand at
_ that would otherwise sap the energies required
planing, and the romance has (lwindled. Instead of
~r more refined work. For example, the' excel at
shavings, frustrations have piled one atop another.
.JTIing rougl, lumber into dime~lsionec1 stock, The
You find sharpening plane irons to be tricky and
gic happens at the wmkbencll, tillle~col1suI11ing, and are unccrtain if
- ,ough, ,,<lith the use of hand tools, the blade is sharp enough. Setting
. comcs down to \-"anting to go
the depth of cut is a tedious pro~
yond the: ordinary. Among all
cedure tha[ often produces inac­
~ d tools, fev; r,an take one far
­ curate and unpredictable results,
er than a good plane, and the deptl1 of cut is often
wift strokes from a ha.nd plane altef(~d when you can least afford
nsform a machined surface to it. It seems that the plane will
- y smoothness. Planes can make only thick shavings or
amlessly join hoards and £latte], nonc at all. Surfaces meant to be
•. size surface. They polish end smooth have digs and ridges, and
_ ain quickly and beautifully, squaring an edge is all bur impos­
-m hoards to width and length, sible. The plane feels heavy and
d can be used to fit the Gompo­ clumsy. And then, when every­
nt, ill various joints, drawers, thing is adjusted properly, the
Author David Finck
_on;, and lids-,l11 with a higbly sat.­ blade becomes dull after a few
- ing level of accuracy. Of GOurse, power tools are mlTlIltes' work. This means the entire procedure
mmonly used for all these ordinary tasks, bnt bas to be started over again, Evr,ntually the plane is
;:h predictabl ordinary results. Hand planes can placed back on the wall rack, where it collects dust
t:\'ate your efforts to a new level of craftsmanship. with cruel irony.
There is another compelling side to hand planes. But using hand planes docs not have to be so
~ lllfmy, woodworking is not about rushing to get frustrating. Shop-made wooden hand planes can
mgs done. Perl,aps you are dTawn by the revive that romantic vision, Few metal, factory­
ancc of working with wood. Mayhe you have made planes can rival the performance of those
9
10 0 Incroduetion
made out ofwood in your own shop. Wooden planes ing skills are discussed in Chapters 2 and 3. You
can accommodate extra-thick blades ofsuperior tool also need to know when to use specific planes,
steel that simplify sharpening and stay sharp longer. and should have an arsenal of techniques to meet
The blade is adjusted with a wedge-and-hammer the various challenges that typically arise.
system that is slop-free, extremely precise, and Don't expect to master it all overnight-it takes
holds the setting tenaciously. The plane can have practice. It's like learning the guitar: at first it's a
the smallest possible throat opening (the gap where mystery and your fingertips ache trom pressing
shavings enter the body of the plane), greatly the strings, but soon you learn a few chords and
enhancing itS performance on figured woods like your fingertips toughen. Woody Guthrie said he
curly or bird's-eye maple. could play any song using jUSI three chords.
Additionally, these shop-made wooden planes Planing is like that too: learn the basics and you
are shaped for the comfort of your own hands. will be amazed by how much can be accomplished.
These simple shapes can be held several ways­ Odd as it may seem, a book on hand planes
''''hich is very helpful for dlfferent planing tasks. is incomplete if cabinet scrapers are neglected,
In all, planing with a well-made wooden plane is Scrapers, which are discussed in Chapter 7, are
a very pleasant experience. part of the plane family. Although overshadowed
With the information supplied in Chapter 4, it by the hand plane, they have their own unique
should take you a day and a half to make your first and important qualitieS. Chief among these is
plane. V'lith some practice, making a plane will take their ability to quickly smooth nearly any wood,
only a few hours. In short order, you can create a no matter ho,v wild the f1gUTe, Scrapers can take
collection of planes impossible to du plicate with tissue-thin shavings and leave a surface ready for
factory planes, 011 the basis of performance or cost. sanding \,'jth finest-grit sandpaper. Stock is
Specialized planes Gan also be made that expand removed more quickly than by hand-sanding, and
your capability for work beyond ordinary tasks. with considerably less dust and more accuracy than
With the plane in hand, the obvious next step is when a portable sander is used. Thus, whether you
learning to use it accurately and efficiently. are confronted by an entire tabletop of impossible­
Chapter 5 discusses proper techniques. HO'wever:, to-plane wood, or merely need to repair a small
experience also plays an important role. You will blemished area, Scrapers are the solution to the
develop sensitivities which amount to an ongoing problem.
conversation bet\·veen you, the plane, and the In wrHing tills book 1 offer up the information
material being planed by monitoring the shavings gleaned from my teachers, from my own endeav­
.Hawing from the plane, listening for telltale ors, and from working with students, in as richly
sounds, and lightly brushing fingertips over the detailed a form as I can muster. [ hope that
surface. It soon becomes second nature to respond makes the difference between things working out
to these cues. Sometimes this will mean simply or not, or between things working very well or
tapping with the hammer to produce lacy shavings merely working. But there is a danger of over­
that will shoot tbrough the plane. There are sub­ burdening the reader with information to the
tleties to attend to along the Ivay: when to sharpen point of distraction. i suggest that the differem
the blade iron and when to stop sharpening it; how chapters be studied one at a time. Reread the sec­
much to arc the blade for polish-planing; setting tions you are unfamiliar with, try the techniques
lhe blade precisely; and what to listen for when or procedLlres, and then read the text again to
tightening the wedge, These tuning and sharpen­ verify that everything has been done properly.
Introdu([/on I 1
_hour an experienced observer looking OVSf My sincerest hope is that the information that
shoulder.. you must be your own observer­ follows will be it bridge to a way of working t113t
i'i1cult task. gives you great satisfaction, whil(~ positively influ­
have k~pt assumptions that the reader has an encing the quality of the work. 'Nith increased
~anced knowledge 0 plane to a minimum, to reliance au planes, yOLl will also enjoy a quieter,
cn:-ure the success ofthose with limited expe­ safer, and cleaner shop. I do not mean to say that
~ce, In fact, the process of plane-making serves this approach is for ever 'one, but nearly anyon_
an elegant framework tor teaching many of willing 0 try can have great success making and
fundame11tal of nne woodworking. It is also a using plal1es. I hope to leave yon brimming with
'de for illuminatilg many 0 the little "tricks" the confidence to handle the numerous tasks lhat
~ help yield clean and accurate work. To pre­ planes excel at and to get you Sti.ntr.d on amassing
,. e the flow of the process, and prevent the more a collection of the finest planes availahle the
erienced among you from being boggrd down, ones you make yourself!
't of the ancillary information appears in boxes
arate from the main text. David Finck
Ledall, age 3 112, planing Q cherry tabletop.