Archive for the ‘Uncategorized’ Category

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Lie-Nielsen Event This Fri-Sat

June 1, 2010

If you’ll be in the area this weekend stop by the LN event at the Popular Woodworking offices in Cincinnati. Lie-Nielsen puts on these events, and they very kindly invite other tool makers to join them and show their own wares. If you’ve never been to one of these events before, don’t be surprised if you see all of that LN bronze, brass, and steel in one place for the first time and have to take a knee or ask for a glass of water. You might even want to bring an extra pair of shorts to play it safe.

At this event I’ll be there along with John Economaki from Bridge City Tools, Kevin Drake from Glen-Drake Toolworks, members of SAPFM, and of course the staff of Popular Woodworking Magazine. Any one of these attractions would be worth going to see if it was the only one there, so to have it all going on at the same time is pretty neat.

I’ll have with me maybe half a dozen demo saws that people are welcome to try out. It will be very laid back—just me at a bench with my saws. Stop by and check them out up close. I’ll answer any questions anybody has and otherwise will just enjoy hanging out.

Here’s a link to the schedule and directions.

Hope to see you there.

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A Bone to Pick

May 21, 2010

You guys ever read a book by the late wood finisher George Frank, titled, “Adventures in Wood Finishing”? Great book. His stories are well written and a lot of fun to read. Plus they have lots of interesting tidbits in them about wood finishing. Here’s a link to the book at Amazon:

Adventures in Wood Finishing, by George Frank

One of the stories in the book is about a set of huge doors George was commissioned to build for the Metropolitan Museum of Art in NYC. The catch? He wasn’t allowed to apply any finish to them—a tricky situation. So how did he manage to “finish” the doors without finishing them? He burnished them.

Interestingly, saw handles used to be burnished for a finish.  The handle maker would use a piece of bone to burnish the beech wood and close its grain.

Over the last year I’ve mentioned this treatment conversationally to people and have had it requested several times. It produces a surprisingly comfortable handle, and a very attractive one too.  It’s remarkable how shiny the wood gets, and without any film or oil applied to it. The end grain especially looks almost glassy.

It’s kind of like going back in time and seeing what a saw handle would have looked like brand new a very long time ago—quartersawn beech with a burnished finish. Not all handles were burnished, though, just the better ones. And no doubt I fuss over my handles a lot more than the old handle makers fussed over theirs. But the basic look of the wood and everything, it’s all there.

I used to wonder why the old handle makers bothered using bone—why not just use a harder wood? Burnishing is burnishing right? But then I made a burnisher out of bone and no longer wondered anymore—its surface was the perfect combination of hardness and smoothness.

My burnisher is made from a piece of beef bone that I bought at a pet store. It’s real bone, just already defleshed and sterilized, so all the prep work to the bone is already done.

I cut out the piece I wanted with a hacksaw then ground it to shape and polished it up. I had access to a photo of an original handle burnisher from England, so I knew the basic shape to shoot for. Beyond that I refined the edges and surfaces into contours I thought would be useful.

Of course someone could say that a handle finished this way will become soiled from the dirt and oils from your hand. And that brings us back to George Frank and his doors—some people saw the doors and found them dirty, and others saw them and thought they had a wonderful patina. The truth is, any handle will patinate from use. I for one don’t think the signs of honest work are something to be avoided.

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Welcome to the New Website

May 16, 2010


Welcome to the new Eccentric Toolworks website and blog. I’ve consolidated the two in order to give you something more compact and user friendly. In addition to the new look and some other changes, such as the gallery page and the lists of links in the sidebar, please note that the url has changed—just http://eccentrictoolworks.com now.

I hope you like the changes and enjoy your visit.

(Bow Saw Toggle)

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April Is the Cruelest Month

April 29, 2010


At least that’s what T.S. Eliot said in his landmark poem “The Waste Land.” I’m not buying it, though. It’s been a darn nice April here at the Toolworks. Granted I spend most of my time in a tiny subterranean shop sucking in the radon, but the Spring weather has been especially pleasant this year. Trees budding seemingly overnight, bulbs tucked away all over the lawn deploying their stems in perfect synchrony. It’s been a quiet symphony of color and slow motion.

The cats were plotting pirate-like mutiny after being cooped up all winter–they burst outside but were promptly incapacitated by warm patches of sunlight. The one looked up at me and squeaked, “Solar energy is the future, man.”


So today I thought I’d take a few minutes and go outside to take a few pics of a tenon saw I just finished up. It’s got a subtle new twist on the lamb’s tongues I’ve been carving. I always get asked how long it takes to make a saw. It depends. It takes as long as it takes, which varies from one type of saw to the next, and which varies from saw to saw anyway. Obsessing over time only makes sense to me if your goal is to make a lot of something; so that is not what I do. I attend to the details of what I’m doing, and when they’re done, I’m done. Simple enough.

But generally speaking tenon saws are among the most time consuming that I make. They have closed handles, long folded backs, and big thin blades. Everything must be a very particular way before it leaves the shop, and nothing gets that way by accident.


The handle in front is the same one pictured above. The handle behind belongs to a panel saw not quite finished. Thanks for looking. Hope your April has been as nice as mine.

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Waiter There’s a Fly Press in My Soup Part II, Punching Saw Teeth

April 13, 2010

We got off to a fast start in our first installment. In case you missed it, we had videos of Japanese saw smiths, we gunned down a burglar with a Foley retoother, and we dusted the cobwebs off Charles Holtzapffel. A veritable smorgasbord of sawmaking curiosities. I’m going to assume you’ve read that installment and won’t repeat much from it. One thing I will repeat, though, is Charles Holtzapffel’s description of a toothing gauge. It will be helpful to have it near at hand. He writes:

“The teeth of saws are for the most part cut in the fly-press. …Two studs are used to direct the edge of the blade for the saw to the punch, at the required angle depending on the pitch or inclination of the teeth, and an adjustable stop determines the space or interval from tooth to tooth, by catching against the side of the last tooth previously made.” (Holtzapffel, Turning and Mechanical Manipulation Vol II, p 942)

This description was the only actual description of any kind that I had to work from. But of course I also had in mind what I needed a toothing gauge to do—so ultimately what I did was work backwards from what I needed, carefully considering Holtzapffel’s description as I did so. Here is what I came up with.


This first shot shows the gauge from above with some of the parts labeled. The second shot shows the gauge installed on the press.

The whole thing sits on the fly press table and is fixed to it by the bolts that pierce either end of the gauge bed. The heads of the bolts fit into T-slots in the fly press table. You’ll notice that the lefthand nut that fixes the gauge is about half the height of the one on the right. That is because I feed the saw plates from right to left, so the plates pass over that lefthand nut; it initially did stand up higher and got in the way, so I cut it down.

Probably the biggest thing you’ll notice is that my gauge has a solid fence and no studs. Holtzapffel’s description of two studs acting as a fence seemed less effective a solution than simply having a solid fence. For instance, two studs that lead the blade to the cutter would probably be placed a few inches apart in order to be an effective fence—but then once the blade was advanced to a certain point, it would no longer be supported by both studs. A solid fence, by contrast, never loses contact with the blade, and can even cross over and support the blade on both sides of the cutter.

The fence is adjustable not only for rake angle but also for depth of cut. What’s more, the same cutter can be used to cut all sizes of teeth. The size of the teeth is determined by how closely and shallowly the teeth are spaced. For the smallest teeth the old makers would have used a punch that punched several or so teeth at a time. I haven’t gotten around to making one of those yet but plan to.


The punch I did make is made from W1 tool steel. The lower die is made from O1 tool steel. The bottom die is held in place with a pair of recessed screws; they are recessed so that the saw plates can pass over them without the heads of the screws interfering. The W1 punch was filed to shape to fit the lower die and is held in an auxiliary tooling holder that fits into the fly press ram. The die and punch are made from different types of tool steel just because those were what I had on hand. The O1 is more ideal for this type of work, but the W1 works fine.

The teeth are spaced using a little indexing stop that I made from scrap steel. It is adjustable both from side to side and from front to back.



It works like the one Holtzapffel describes–it registers against the last tooth punched. That registration, combined with control of the rake and depth, is what produces good teeth. All three variables have to be regulated–if you adjust spacing without adjusting depth of cut, for instance, you wind up with all sorts of odd permutations, some of which result in the punch just nicking the blade. Like this:

Now that you see how the gauge goes together, let me show you how I use it. The first thing to do is to register the punch with the lower die. To do that I loosen the bolts that secure the gauge bed as well as the set screw that hold the punch in the ram. I move everything around until it meshes just right then gently snug it up. The punch and die are both made with relief angles so that they make contact just at the point where they shear the saw platel. Then their surfaces retreat just a bit. The punch and die either needed relief like that, or they needed to be perfectly vertical, and it was simply easier to give them a tiny amount of relief. If they sloped in the other direction they would spread apart as they engaged, and as the punch was raised you’d see that the cutting edges no longer meshed.

The next thing to do is to set up the fence and indexing stop. To do that I use a piece of saw plate that already has the desired tooth configuration–I place it against the fence and place the cutter in one of the gullets. I adjust the depth and angle of the fence so that the cutter fits perfectly in the gullet. Then I gently snug down the bolts that hold the fence.


With the plate still in place I move the tip of the indexing stop into place against the tooth beside the cutter. Basically I am aligning everything just as if it had punched the very plate I am using for alignment purposes.

I snug up the screw that holds the indexing stop, and I’m ready to go.

The pictures of actually using the press don’t look much different really than the pictures of setting it up. Only now the cutter is going up and down, and I’m not fooling around with any wrenches. Here’s a picture of just starting out punching a saw plate.


Here is the same plate much farther along.

And below is what the plate looks like with the teeth nearly, but not quite, finished.

So that’s about it. I’ve been very pleased with how the toothing gauge has performed. For me this method strikes just the right balance between thoughtfulness and expedience and seems to fit nicely with the other processes involved in making my saws. At some point down the road I will experiment with a second gauge that utilizes the two studs for a fence like the one that Holtzapffel described. I still feel that tugging at me. But for starters I wanted something that I knew would work and that I could rely on right away in my own work. Thanks for reading.

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Waiter, There’s a Fly Press in My Soup Part I Background to Punching Saw Teeth

March 26, 2010


Certain parts of the saw making process seem to particularly intrigue people. For instance, people almost always comment on the teeth–”How do you make all of those teeth? Do you buy the blades with the teeth already on there? Do you file the teeth in? Do you have a machine that stamps them in, all in one shot?” People don’t just wonder about it, in other words—they really mull it over and think about how it might be done. That spark in people’s eyes is a familiar sight to me at this point. When people ask those questions the way they do, they may not realize it but they are under the spell of the Western saw. It’s a taste of the same preoccupation that has no doubt given us the Western saw as we know it.

The way I make saw teeth is by punching them with a fly press. I’ll show you in detail how I do it. It’s really similar to how the old makers did it. But first let me give you a little background. This is the third method I’ve used to make saw teeth—-the very first method I used was to simply file them in. That way obviously works and is fine if you only want to make a saw or two, but it is woefully slow and wasteful of files, and in my opinion has no real advantage to recommend it. People sometimes imagine this must in fact be the oldest way that saw teeth were ever created, and I would seriously doubt that. Back that long ago files were handmade and were not nearly as trivial an item as they are now. Plus, saws were made by blacksmiths, and blacksmiths use punches like woodworkers use drill bits–just a dirt common way to pierce your material. The oldest method I know of for creating saw teeth was to punch them individually using a small handheld punch of some kind that was struck with a hammer and moved along by eye (1). I think it was probably sort of similar to the way the teeth of some Japanese saws are still punched today.

Check out these videos of Japanese tools being made. The two videos on the left are about saws (All four videos are worth watching, though). The second one from the left shows a small hand held punch being used to punch teeth.

The next method I used to make teeth was a vintage Foley retoothing machine. I actually own two of them. It’s a clever little machine for its combination of simplicity and competence, but in use it wound up appealing to me about as much as volunteering for Highway Patrol Taser practice. There’s nothing wrong with them, mind you. I just didn’t care for it. It felt like I was feeding my saw plates through some kind of Gatling gun. I’m making saws, not charging San Juan Hill. The real question here is why do I own two of them? Well, that way I’d always have at least one in good working order; I bought them more or less simultaneously. So my plan didn’t flop at least. They both work. Plus if someone ever tries to break into my house I can always feed a saw through the Foley and watch the guy fill his pants.


So now we get to the fly press. I’d already owned it for probably about a year and had been steadily implementing it in my work. I was up to my eyeballs in the hunt with the old makers, and so now I got the idea that I would figure out how to punch my teeth using the press as well. It’s not quite as simple as it might seem. Check out this old engraving here, along with the one at the top of the page.


These guys are punching awfully large looking teeth, don’t you think? As detailed as these engravings are, it seems to me they have been artistically treated in order to make them “read” better. For instance, in addition to the tooth size, I’m fairly certain that a device is missing from these engravings that I have seen referred to as a “toothing gauge.” A toothing gauge was a device that controlled the depth, spacing, and rake angle of the teeth as they were punched. I’ve seen one referred to in a Beardshaw inventory from 1823 (2), and I read a description of one in Holtzapffel’s second volume on “Turning and Mechanical Manipulation.” I’m not aware of a surviving example of a toothing gauge, although I’d be a little surprised if, in all of the flotsam out there, there wasn’t at least one of these things still adrift. Just some unheralded hunk of rusty iron somewhere.

You might wonder why it is that Western makers wouldn’t just space the teeth by eye like the Japanese makers are doing in those videos linked to above. Well, there are two big reasons as I see it–because believe me, I thought about it. First, a fly press requires you to hold the plate with one hand and to turn the weighted wheel or arm with the other. Good luck keeping your teeth just right using one hand to hold your plate like that. You could use a hold down of some kind sort of like the one Japanese maker does with his hand held punch. But that brings me to problem number two–your line of sight isn’t very good for lining the punch up by eye. Those Japanese makers have it literally right in front of their faces. With the fly press you are back a little farther, and believe it or not, that makes a big difference–and the smaller the teeth the worse it gets.

Also, did you notice how deliberately the Japanese makers worked? I’m attuned to that style of work myself, but Western saw makers would have wanted to do it faster. The biggest saw makers would have had guys who did nothing all day but punch saw teeth.

Let’s get back to Holtzapffel and wrap up this leg of our tooth punching extravaganza with his description of what appears to be a toothing gauge. This is on page 942 of Vol II of “Turning and Mechanical Manipulation,” if you have a copy.

“The teeth of saws are for the most part cut in the fly-press….Two studs are used to direct the edge of the blade for the saw to the punch, at the required angle depending on the pitch or inclination of the teeth, and an adjustable stop determines the space or interval from tooth to tooth, by catching against the side of the last tooth previously made.”

Instead of just analyzing what Holtzapffel wrote, what I’ll do is show you what I came up with. You’ll see how it both draws on Holtzapffel and differs from him. We’ll mount it up on the fly press and show it all in action. That means there is a lot left to go, and it will be very pic heavy—so why don’t we stop here for now, and we’ll pick up next time where we left off, with the toothing gauge.

Footnotes:
1. This method of punching teeth is mentioned in appendices 5, 7, and 8 of “Hand Tool Manufacture During the Industrial Revolution: Handsaw Making in Sheffield c.1750-c.1830,” by Simon L. Barley, 2008.

2. The 1823 Beardshaw ledger can be seen in Appendix 20 of the same dissertation.

(I want to acknowledge and thank the Sheffield Local Studies Library for permission to use the two engravings on this page. Also, a big thanks to Leif Hanson for the videos of the Japanese tool makers.)

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Ordering Reopened at New Prices

March 23, 2010

Boy do you guys want saws! I’ve been getting all sorts of requests to either add to orders or to take new orders. One of the main reasons I put a hold on all orders was to get a handle on the backlog, which I’m still working on. But the other reason was to give myself a chance to work out prices that are more realistic for the amount of handwork that goes into each tool. My initial pricing attempts were, well, … woefully off target. The present price change is a large one, I know, but to be honest it is simply where my prices should have been from the beginning. As is common with various crafts, my saw making abilities were far ahead of my pricing and business abilities. It’s taken some time, perspective, and experience to get things right.

So as of today I am happy to say that ordering is officially reopened, and anyone who would like to place a new order or add to an existing order is welcome to do so.

The following are base prices. Additional customizing is extra and can be worked out on an individual basis. To read more about the saws check out my toolworks page.

Andrew

Dovetail—$500

Carcase—$525

Tenon

14″—$550

16″—$575

18″—$600

Panel—$550

Full Sized—$575

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A Saw Maker’s Old Friend

March 17, 2010


One tool you don’t hear much about these days, but that was of extreme importance to early saw makers, is the fly press. For those who aren’t familiar with it, a fly press is a massive iron frame pierced by a heavy screw; on one end of the screw is a ram, and on the other end is either a weighted wheel, or a weighted arm, used to turn the screw. The screw raises and lowers the ram, and the inertia of the weight above imparts incredible force to the ram as it is lowered. All sorts of tooling can be devised for the ram end of the tool, to convert the energy of the press into useful types of work.

Today in the U.S. at least, fly presses when you do see them are usually characterized as a blacksmith’s tool—a wide variety of hot and cold smith’s work can be done with them. Historically in the U.K. and Continental Europe, the fly press was used in numerous trades in addition to blacksmithing, from making coins, to making locks, to making saws. If you have access to a copy of Diderot’s Encyclopedia, look in Volume 1 at the gigantic fly press used for coining. It was so huge, it took several men pulling ropes to operate it.


For saw makers the fly press was used to fold brass backs and to punch saw teeth. I would imagine a much larger press was used to fold the backs than was used to punch the teeth.

The press that I use weighs several hundred pounds, neither small nor huge as fly presses go—a nice mid-sized press that can handle a wide range of work. Powerful enough to do work that a smaller press could not, and small enough to do more delicate jobs for which a larger press would be too slow and cumbersome. But one characteristic that all fly presses share is a unique combination of power and control.


This is the press I use to punch my saw teeth, close my brass backs, and stamp my medallions. Quite a work horse. And one of the coolest things about this press is that it requires no electricity. It is very quiet in use.

The stand is welded from heavy 1/4″ wall tubing, angle iron, and a 3/8″ thick plate for the table. It also has a 1/4″ thick skirt around the top. I doubt I will get invited to weld on the Alaskan Pipeline anytime soon, but this stand should enjoy a longevity equal to that of the press itself.

Stay tuned, because in the coming entries I will show the press in action.

Andrew

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In the White

February 17, 2010


I haven’t posted anything in a while so I thought I’d take a few pictures of a tenon saw handle I’m finishing up. I always find it interesting to see what work looks like before it is finished–when it is “in the white,” as violin makers say. You can really get a good look at it that way.


My handles are shaped by hand, using various saws, rasps, chisels, scrapers, and files. With this design I changed things up a bit–instead of rounding the front of the tote, I made the front upright and the top flat, and then incorporated my scroll and lamb’s tongue. I wanted to use some straighter lines to act as counterpoint to the curved and more organic elements. Just something a little different. Thanks for looking.

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Learn From the Best

December 28, 2009

How many times have you heard someone sheepishly say, “I’m just self-taught?” Being self-taught can be a kind of by-word for the homespun and amateurish. And that’s too bad. History is packed with distinguished figures who were largely self-taught. Inventors, artists, scientists, philosophers, . . . . The ability to teach oneself is an extremely powerful tool. If you can truly teach yourself, there’s really nothing you can’t learn to do.

The ability to refine skill is tantamount to acquiring new skill. Refining your thoughts can move you forward in large leaps, so that you seem to have improved during periods away from the bench. The ability to teach oneself and to watch one’s own thoughts is probably the most important skill I’ve never seen taught in school. Most skills ultimately come down to the particular way that your thoughts wriggle out through your fingertips. Calibrate your eye. Refine your thoughts. Improve your skill.

So as 2010 draws near if I had one wish for everyone it would simply be that if you have something you want to learn, that you start learning it in this coming year. And if it’s something you think might be out of reach for you, all the better–learn it anyway. If you aren’t already good at it, learn to really teach yourself. Once you do that, there’s no telling what might come next. Best of luck and happy new year!

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