Holly Wood Spectaculars

(male announcer) MAJOR FUNDING FOR THE WOODWRIGHT'S SHOP IS PROVIDED BY: (male announcer) WHETHER YOU'RE HELPING THEM LEARN HOW TO WALK...

I'M SO THERE.

(announcer) OR TEACHING THEM TO DRIVE.

(girl) SORRY.

OH, YEAH; I'M THERE.

WHEREVER YOU ARE IN LIFE, STATE FARM IS THERE, PROUD SPONSOR OF THE WOODWRIGHT'S SHOP.

[horns beeping] [banjo strumming] [upbeat fiddle music] HEY, HELLO AGAIN.

WELCOME BACK TO THE WOODWRIGHT'S SHOP.

I'M ROY UNDERHILL, AND SO GLAD YOU COULD BE WITH ME; ALONG WITH MY SPECIAL GUESTS HERE, MARCUS HANSON, ED WRIGHT.

GOOD TO BE HERE.

GUYS, THANKS FOR COMING DOWN.

THEY'RE GONNA SHOW US SOMETHING.

IT IS A HOLLYWOOD SPECTACULAR.

AND I SAID THAT BECAUSE THERE'S SOME HOLLY WOOD IN THERE.

IT'S AN INCREDIBLE PIECE.

WE'RE GONNA SEE HOW TO DO THIS A LITTLE BIT.

BUT WHAT IS IT, FIRST?

THE PIECE ACTUALLY IS A TOOL TILL.

IT'S DESIGNED TO STORE SMALL MEASURING TOOLS, CHISELS, AND IT WAS COPIED OFF OF AN ANTIQUE CHEST MADE IN THE 1790s BY BENJAMIN SEATON IN LONDON.

AND THIS GOES INSIDE A MUCH LARGER CHEST, SO ALL THIS SPECTACULAR DECORATION YOU SEE WHEN YOU OPEN UP THE CHEST, IT'S TO SHOW THAT YOU'VE GOT THE CHOPS.

YOU HIRED THE RIGHT GUY WHEN YOU LOOK AT THIS STUFF.

MAN, OH, MAN.

AND THESE ON THE FRONT, THESE ARE DRAWERS HERE?

YES, MANY BEAUTIFULLY FITTED DRAWERS.

THAT'S FANTASTIC.

KAARE DID A FINE JOB.

IN FACT, I NOTICED THAT IF YOU JUST WIGGLE YOUR FINGERS JUST A LITTLE BIT LIKE THIS-- THAT'S AMAZING.

I CAN'T DO IT.

WIGGLE FASTER.

THAT'S AMAZING.

WELL, WE'VE GOT TO TURN THIS THING AROUND HERE A LITTLE BIT, 'CAUSE YOU CAN SEE THE CONSTRUCTION ON THE BACK SIDE.

AND THIS IS VENEER THAT WE'RE GONNA BE LEARNING HOW TO DO.

YES.

BUT IT'S GOT TO GO ONTO A REALLY QUALITY BIT OF WORKMANSHIP HERE ON THE BODY THERE.

AND THERE'S ACTUALLY ANOTHER SECRET TILL HIDDEN BACK HERE BEHIND THE DRAWERS.

IS THAT RIGHT?

YES, THAT'S RIGHT.

NOBODY KNOWS WHAT IT WAS FOR.

WHAT WAS BENJAMIN SEATON HIDING?

HIS NAUGHTY MAGAZINES?

NEVER MIND.

BUT TELL YOU WHAT.

LET'S LOOK AT THIS NOW.

THIS IS WHAT WE'RE GONNA SEE HOW TO DO, IS THIS OVAL WORK ON THE LID.

NOW, MARCUS, HOW DO YOU-- WHAT'S THE PROCEDURE, AND WHAT GOES FIRST?

WELL, BASICALLY WHAT HAPPENS IS, YOU BUILD EVERYTHING FROM THE CENTER OUT TO THE OUTSIDE.

SO THE OVAL IS DRAWN AND CUT OUT FIRST.

AND THEN THE STRINGING IS PLACED AROUND THAT.

AND THAT STRINGING-- THESE ARE VERY NARROW STRIPS OF WOOD THERE.

RIGHT, BOXWOOD AND HOLLY.

AND THEN THE CROSSBANDING IS APPLIED AROUND THAT, ANOTHER SET OF THREE PIECES OF STRINGING, AND THEN, OF COURSE, MOVING CONTINUOUSLY TOWARD THE EDGE AND MORE.

(Roy) SO YOU'VE GOT TO DO THESE CORNERS HERE AND MAKE SURE THAT THE CORNERS FIT TO THE OVAL.

BUT IT HAS TO GO FROM THE INSIDE OUTWARDS IN ORDER FOR THIS TO WORK.

ALL RIGHT, SO WHERE DO WE BEGIN?

WHAT WE NEED TO DO IS DRAW AN OVAL.

IF YOU'LL MOVE THIS...

OKAY, ED, YOU'RE GONNA SHOW US HOW-- I'LL SHOW YOU SOME OF THE PROCEDURES, ASSEMBLING.

ALL RIGHT, AND, MARCUS, YOU'RE GONNA MAKE SOME OF THIS MATERIAL, BUT FIRST-- WE DON'T WANT TO DROP THIS.

AGAIN, KAARE-- I'LL TURN IT AROUND.

KAARE LOFTHEIM AT THE CABINET SHOP IN COLONIAL WILLIAMSBURG.

THIS IS HIS WORK.

BUT YOU'RE THE GUYS WHO FIGURED THIS OUT FROM MUSICAL INSTRUMENT MAKING BACK THEN.

IT'S SO MUCH LIKE OUR WORK, YES.

OKAY, NOW WE'RE GONNA START WITH THE OVAL.

ALL RIGHT.

SO I HAVE A LAYOUT ON A SHEET OF VENEER FOR THE OVAL THAT WE'LL WORK WITH.

AND I HAVE THE LENGTH OF IT DESCRIBED HERE AND THE WIDTH.

AND WHAT I'M GONNA DO THIS WITH IS THIS ELLIPSOGRAPH.

THAT'S BEAUTIFUL.

IT'S A BEAUTIFUL TOOL.

THIS WAS MADE BY GEORGE WILSON, YOU KNOW.

OH, YES, THE TOOL MAKER.

AND SO WHAT I'LL DO IS, I'LL CENTER THE ELLIPSOGRAPH ON MY MARKINGS.

SO I HELP YOU LINE UP HERE?

YEAH, THAT'S GOOD.

AND THEN WE'LL ADJUST IT SO THAT OUR PENCIL WILL TOUCH EXACTLY THE MARKS THAT I'VE MADE.

ALL RIGHT.

THIS IS GREAT.

NOW, THIS IS AN OLD IDEA, I GUESS.

THIS MUST GO-- OH, YES.

OH, ABSOLUTELY.

THE TOOL IS QUITE A FIND HISTORICAL.

ALL RIGHT, AND THEN THIS GOES-- SO YOU JUST ADJUST WHATEVER IS IN THE RIGHT ANGLE TO THE BEAM TO THE LENGTH THAT YOU WANT.

RIGHT.

AND I SEE YOU PUSHING DOWN.

IT'S GOT LITTLE SPIKES-- LITTLE SPIKES TO HOLD ON.

AND THEN YOU DO THIS PROCESS OF JUSDRAWING LIKE THIS.

OH, NO KIDDING.

ALL RIGHT.

OKAY, THERE WE GO.

AND YOU JUST DRAW THE-- ALL RIGHT.

CAN I RUN IT AROUND?

OKAY, YEAH, YOU RUN IT AROUND, AND I'LL HOLD IT.

AND THEN WE GO.

AND IT'S COMING AROUND, MAKING A PERFECT ELLIPSE.

YEAH.

LOOK AT THAT.

[laughs] THERE IT IS, YES.

OH, IT'S REALLY NICE.

ALL RIGHT, NOW, IF YOU DON'T HAVE ONE OF THESE, WHAT DO YOU DO?

WHICH IS QUITE LIKELY.

[laughter] A VERY SIMPLE WAY OF DOING THIS WITH THREE NAILS AND A BIT OF STRING, JUST A BIT OF STRING.

OH, OKAY.

SO ANOTHER TRADITIONAL METHOD.

VERY TRADITIONAL.

SO I'VE GOT, AGAIN, THE LAYOUT FOR THE LENGTH AND WIDTH OF THE OVAL THAT WE NEED.

THAT'S THE WIDTH-- THAT'S THE LENGTH OF THE OVAL, AND THAT'S THE WIDTH.

THAT'S RIGHT.

NOW, THERE IS A SITUATION WHERE YOU NEED TO DETERMINE THE PLACEMENT OF YOUR NAILS.

AND IT'S NOT QUITE AS STRAIGHTFORWARD AS IT LOOKS.

WHAT YOU ACTUALLY NEED TO DO IS TO TAKE HALF THE OVERALL LENGTH OF THE OVAL.

AND IN THIS CASE, THAT'S LIKE 7 1/2 INCHES.

7 1/2 INCHES.

ALL RIGHT.

THEN YOU TAKE THAT MEASUREMENT, AND YOU TRANSFER IT TO THE MAXIMUM WIDTH OF THE OVAL AND BACK DOWN TO THE CENTER LINE.

OKAY, SO YOU'RE KIND OF MAKING A HYPOTENUSE.

THE HYPOTENUSE OF THAT RIGHT TRIANGLE THERE.

SO THAT DISTANCE BECOMES THAT DISTANCE.

ALL RIGHT, AND THEN YOU DO THAT SAME THING OVER HERE?

SAME THING ON THE OTHER SIDE.

AND THAT GIVE YOU THE EXACT PLACEMENT-- TWO NAILS THERE.

THEN WE'LL HAVE A TEMPORARY NAIL DRIVEN AT THE POINT OF MAXIMUM WIDTH... ALL RIGHT.

AND A BIT OF STRING, WHICH I'VE TAKEN THE LIBERTY OF ALREADY PREPARING, BUT THIS IS THE POINT AT WHICH YOU WOULD TIE THE STRING.

OKAY, YOU TIE IT AROUND THOSE THREE NAILS.

MM-HMM, SO THEN YOU REMOVE THIS ONE.

PULL THAT ONE OUT.

OKAY, AND I HAVE A BIT OF A PENCIL STUB HERE.

AND SO I'LL HOLD THE STRING TIGHT ON BOTH OF THE NAILS AND MOVE IT AROUND JUST LIKE THIS.

I REALLY--ACTUALLY, I REALLY LIKE THIS WAY OF DOING IT.

CAN I DO IT?

I'M GONNA DO IT THE REST OF THE WAY.

BUT, AGAIN, CONSISTENCY WOULD BE A KEY THING, NOT TO STRETCH THE LINE.

EXACTLY.

YEAH, THERE'S A LITTLE ELASTICITY IN THE STRING, SO THAT CAN THROW YOU OFF.

BUT YOU GET A VERY GOOD ELLIPSE, REALLY.

YOU GET A GOOD ELLIPSE.

THAT'S WONDERFUL.

NOW, HERE WE'RE WORKING IN TULIP POPLAR TO LAY THIS OUT.

BUT, OF COURSE, IN THE ORIGINAL, YOU WERE COPYING MAHOGANY.

WE'RE DOING THIS ON POPLAR.

BUT NOW YOU'VE GOT-- THAT'S THE ELLIPSE.

I GUESS YOU CAN SAW THAT OUT AND TRUE IT UP.

BUT YOU ALSO HAVE THAT VERY NARROW STRINGING, THE VERY NARROW-- YES, YES, THAT'S A VERY IMPORTANT PART.

THIN, THIN STUFF.

AN IMPORTANT PART OF THE DESIGN.

SO I HAVE A BIT OF BOXWOOD VENEER THAT WE'VE PREPARED EARLIER.

OH, NOW WAIT A MINUTE.

BOXWOOD DOESN'T GET THIS BIG.

THIS IS REALLY, LIKE, FROM SOUTH AMERICA OR FROM CENTRAL AMERICA, THIS KIND OF BOXWOOD.

OKAY, GOOD.

IT'S INCREDIBLE.

YEAH, YEAH, BOXWOOD.

SO WHAT HAPPENS IS THAT I NEED A GOOD EDGE TO WORK FROM, SO I'LL TAKE MY LITTLE BIT OF BOARD HERE, WORK BOARD, AND LAY THIS DOWN.

ALL RIGHT.

AND I TAKE A TRYING PLANE, WHICH I HAVE SET UP HERE... GONNA MOVE THIS GUY OUT OF THE WAY HERE.

AND RUN IT ALONG THIS EDGE.

OH, ALL RIGHT.

SO YOU'RE USING THE BENCH TOP AS PART OF THE RIGHT ANGLE.

YEAH, YOU CAN RUN IT ALONG LIKE THIS.

AND YOU'LL GET A FLAT EDGE ON THERE, A STRAIGHT EDGE ON THERE AND THEN-- IT'S SQUARE NOW.T'S SQUARE NOW.

IT WOULD BE HARD TO DO OTHERWISE.

AND THEN I'LL MARK THE EDGE WITH A CUTTING GAUGE I HAVE HERE.

OKAY, SO THAT HAS A KNIFE BLADE.

YEAH, I SEE IT RIGHT THERE.

IT'S GOT A LITTLE KNIFE BLADE THERE, INSTEAD OF WHAT WE WOULD NORMALLY HAVE IS LIKE A SCRATCHER.

THERE'S ACTUALLY A LITTLE KNIFE.

AND YOU PREFER THIS FOR THIS KIND OF WORK?

I LIKE IT.

I PREFER IT FOR ALL THE MARKING, ACTUALLY, MYSELF.

OH, REALLY?

SO THEN I'LL TAKE IT, AND I'LL SCRIBE A LINE ALONG THE EDGE OF MY PIECE OF WOOD.

IT'S HARD TO SEE.

YEAH, I SEE IT.

YOU CAN SEE IT THERE OKAY.

SO THEN I'LL GO BACK AND TAKE A BACKSAW.

I HAVE A NICELY SHARPENED BACKSAW.

YOU'VE GOT A CROWDED BENCH.

WE'VE GOT A CROWDED BENCH HERE.

THAT ALWAYS HAPPENS.

AND WE'LL WORK OFF THE END OF THE BENCH, AND YOU CAN SAW THIS STUFF QUITE NICELY.

SO I'LL START OUT LIKE THIS AND WORK MY WAY DOWN.

OH, OKAY; I GOT THE IDEA.

SO YOU ACTUALLY ARE CUTTING SOME-- NOW, KEEP ON CUTTING.

I DIDN'T MEAN THAT.

SO WHAT I GOT IS THAT THE WIDTH, THAT'S THE VERTICAL.

AM I RIGHT?

NO.

YES, THAT'S THE VERTICAL THICKNESS OF THE PIECE.

IS THAT RIGHT?

SO HERE-- THIS IS LIKE YOUR BLADE IS THE GROUND THAT THIS IS GONNA GO ONTO.

SO THIS WOULD BE STANDING EDGE UP.

YES, THAT'S EXACTLY RIGHT.

EXACTLY RIGHT.

YES, AND YOU SAW DOWN A STRIP.

I'M NOT GONNA CONTINUE.

YOU SAW A LONG STRIP OFF.

I HAVE A BIT PREPARED TO SHOW YOU THE NEXT STEP.

SO IT'S ALREADBEEN SAWN OUT.

BUT IT'S NOT FINISHED YET.

IT HAS TO BE QUITE THIN, REALLY.

THAT'S PRETTY THIN.

MM-HMM, I'VE GOT A BIT OF A SCRAPING STICK.

THIS THING WILL DO A NICE JOB, I THINK.

AND DID YOU CALL THIS A SCRAPING STICK?

MM-HMM, YOU KNOW, THE BENCH TOPS NEVER DO STAY VERY, VERY NICE.

THEY'RE A PROBLEM, BECAUSE-- IT'S 'CAUSE WE WORK ON THEM.

YEAH, AND THE GRADE OF PEOPLE THAT-- YOU KNOW WHAT I'M SAYING.

I DO.

SO THIS IS SOMETHING YOU JUST KEEP-- KEEP VERY STRAIGHT AND SMOOTH.

VERY STRAIGHT AND SMOOTH.

SO THIS IS MY SCRAPER, OKAY.

OH, YEAH.

ALL RIGHT, AND IT'S JUST A BLADE THERE IN A FRAME.

IT LOOKS LIKE IT'S GOT-- AND SEE THE BLADE THERE?

IT'S NOT ALL THE WAY FLUSH THOUGH.

I CAN'T FEEL IT.

NO, IT'S SET SO THAT IT WILL LEAVE AS IT PASSES THROUGH EXACTLY THE RIGHT THICKNESS OF MATERIAL FOR THE WIDTH OF THE STRINGING.

ALL RIGHT, SO THE RECESS OF THAT BLADE IS WHAT WE'RE AFTER.

THAT'S WHAT WE'RE GOING FOR.

SO THIS THING WILL STOP CUTTING WHEN IT HITS THE EXACT SPOT THAT WE NEED.

AND I'M GONNA RUN IT ALONG LIKE THIS.

OOH, SO YOU'RE REALLY JUST RUNNING A GAUGED SCRAPER.

LOOK AT THE SHAVINGS.

WE GOT TO STOP, 'CAUSE YOU SEE THE CHARACTER OF THAT WOOD, THOSE INCREDIBLE LITTLE SHAVINGS THAT THAT MAKES.

OH, THAT IS ASTOUNDING.

AND IT LEAVES THE MOST PERFECT SIZE MATERIAL.

REALLY?

ALL RIGHT, SO THAT'S IT.

SO THAT'LL GET EVERYTHING.

SO THAT'S THE STRINGING.

WE'VE GOT THE OVAL.

AM I READY TO TAKE THIS ON OVER THERE?

READY TO TAKE IT OVER?

I THINK ED'S GOT A-- SOMETHING THERE-- ALL RIGHT, WE'LL GET IT BACK TO YOU IN A LITTLE BIT HERE, I GUESS.

ALL RIGHT, SO THERE'S OUR BOXWOOD STRINGING.

ED, WERE YOU READY FOR THIS PIECE NOW?

THIS ONE WOULD STILL BE, FOR MY PURPOSES, A LITTLE HEAVY.

MARCUS-- I'M GONNA TELL YOU.

MARCUS IS SO GOOD AT THIS SCRAPING AND CHOOSES HIS WOOD WITH SUCH PANACHE.

BUT HE CAN WORK THESE PIECES THIS THIN.

OH, MY GOSH.

AND LOOK WHAT IT CAN DO.

THAT'S ASTOUNDING.

GOSH, AND, AGAIN, BOXWOOD.

BOXWOOD; YOU NEED WOODS THAT HAVE GOT THIS KIND OF INTEGRITY TO DO THIS.

AND WHAT HAVE YOU GOT?

THIS IS THE OVAL, BUT IT'S NOT MAHOGANY.

IT'S NOT MAHOGANY.

WE WANT TO DO--MAHOGANY IS KIND OF PRECIOUS NOW.

WE WANT TO KIND OF KEEP IT THERE.

THAT'S WONDERFUL.

SO WHAT WE NEED TO DO, WE NOW HAVE OUR OVAL MADE, AND ALL I'VE DONE IS ACTUALLY SPOT-GLUE IT TO PAPER ON A WORK BOARD.

SO THAT'S NOT-- SO THE PAPER'S JUST BEEN SPOT GLUED ON, AND I'VE JUST PUT SPOTS OF GLUE ON THE UNDERSIDE OF THE OVAL.

JUST KEEPING IT FROM SHIFTING ABOUT.

YEAH, OKAY.

WELL, THE REAL GOAL FOR THIS IS JUST TO SIMPLY-- IF I CAN FIND MY EDGE HERE.

YOUR SPOTS OF GLUE.

YEAH, LET ME TRY IT OUT HERE.

THERE WE GO.

YEAH.

AS YOU CAN SEE-- SO IT'LL COME LOOSE THERE.

THAT'S RIGHT.

I'M NOT INTERESTED IN IT GLUING TO THE WORK BOARD.

SO THIS IS JUST KIND OF AN ASSEMBLY-- ALL WE'RE GONNA DO IS ASSEMBLE THIS DECORATION ON PAPER.

ALL OF THIS OVAL WORK WILL BE ASSEMBLED ON PAPER.

ALL RIGHT, BUT THAT'S GLUE NOW.

SO THIS IS JUST TACKED ON TEMPORARILY.

AND NOW WHAT I'M GONNA DO IS, INSTEAD OF THIS WONDERFUL THIN BOXWOOD, WE'RE GOING TO GO TO A LITTLE BIT OF HOLLY, DYED BLACK.

NOW, HOLLY'S THE WHITEST WOOD OF ALL, BUT YOU DYE IT-- WHY DON'T YOU USE EBONY?

OKAY, EBONY IS TOO HARD AND TOO BRITTLE.

IT SNAPS.

AND THIS STUFF, AS THIN AS IT IS, CAN BE A LITTLE BIT FRAGILE TOO.

OH, MAN.

BUT WE'RE GONNA GO AHEAD AND PUT THIS ON.

OKAY, YOU'RE GONNA TAKE A RISK NOW?

THAT'S RIGHT; AND I'M GONNA NEED GLUE.

AND THAT'S WHAT I SMELL COOKING-- OH, I JUST SNAPPED IT.

UH-OH.

HAVE YOU GOT ANOTHER PIECE?

I'VE GOT ANOTHER PIECE.

IN FACT, MARCUS, IF YOU COULD GRAB ONE OF THOSE BLACK PIECES OVER THERE, I CAN CUT ONE REAL QUICK.

THANK YOU, SIR.

THAT WILL DO FINE.

SO IT IS-- IT'S VERY FRAGILE, THEN.

IT CAN BE VERY FINE.

YOU WEREN'T JOKING.

I WASN'T JOKING ON THAT SCORE.

HERE I WAS, TALKING ABOUT EBONY HERE.

SO WHAT I'M GONNA DO IS TAKE MY GLUE.

NOW, THIS IS ANIMAL HIDE GLUE.

THIS IS BASICALLY PROTEIN, COLLAGEN.

WE DON'T WANT TO KNOW, DO WE?

YEAH, WE DON'T WANT TO KNOW.

AND THIS IS WHAT THEY USED.

THIS IS WHAT THEY USED.

ALL RIGHT.

AND IT HAS A GREAT ADVANTAGE OF BEING VERY, VERY QUICK SETTING INITIALLY.

SO WHAT I'M GONNA DO HERE FIRST IS PICK A SECTION.

OKAY, AND I'M GOING TO TAKE A LITTLE STICK AND DAB IT IN THE GLUE AND PUT A LITTLE HERE JUST IN THE MIDDLE.

OKAY, ALL RIGHT.

OKAY, THAT'S ALL I'M GONNA DO.

SO YOU START AT THE SHARPEST POINT?

START AT THE SHARPEST POINT.

I'M GONNA PUT IT HERE.

AND WHAT I'M GONNA DO IS PUT A PIN.

IN FACT, I NEED THAT BRASS HAMMER OVER HERE.

THANK YOU.

YEAH.

WELL, I COULDN'T SEE IT UNTIL YOU PUT THE BLACK PIECE ON THAT THERE'S--YOU'VE ALREADY GOT A BLACK PIECE DOWN AND A WHITE PIECE.

SO THIS IS GONNA GIVE IT A CONTRAST.

AND THIS WILL GET THE CONTRAST, YOUR MULTICOLOR EFFECTS.

BUT NOW THE STEP IS TO NOW WORK THE GLUE ALONG.

TURN THIS FOR YOU HERE.

SURE, GO AHEAD.

WORK OUR WAY AROUND.

AND THIS WAY WITH THIS LITTLE STICK, I CAN PUT GLUE ON BOTH FACES.

WORK MY WAY AROUND NICE AND NEAT.

THERE WE GO.

BUT I'M NOT DONE QUITE YET.

WHAT I NEED TO DO NOW IS TO WORK AROUND AND SQUEEGEE...

I GOT YOU.

WITH THE STICK JUST THAT WAY.

I GOT YOU.

OKAY, IT'S COMING UP.

SO YOU'RE JUST TAKING A LITTLE-- YEAH, SEE, THE GLUE IS SETTING ALREADY.

YOU CAN SEE WHERE IT'S ALREADY TACKING.

SEE WHERE IT'S ALREADY STAYING THERE ON THAT END?

YEAH.

OKAY, THAT'S ALL YOU NEED TO DO.

NOW ALL I NEED TO DO NOW IS GOING TO BE TO TAKE ANOTHER PIN JUST TO REINFORCE THAT.

SHOULD I DRIVE IT IN THERE FOR YOU?

YEAH, IF YOU WANT.

I'M ALL READY WITH YOUR BRASS HAMMER.

THERE YOU GO, GREAT.

THAT'S PLENTY, PLENTY; JUST A TAP, JUST A TAP.

OKAY, NOW WE'RE GONNA COME BACK AND DO THE OTHER SIDE.

ALL RIGHT, ALL RIGHT.

LET'S MOVE THE WOOD BACK THERE.

THE WET--THE HEAT-- THE HEAT AND THE MOISTURE, THAT HELPS THAT WOOD BE FLEXIBLE TOO A LITTLE BIT.

A LITTLE BIT, YEAH.

NOT ENOUGH AT TIMES.

BUT YOU STILL HAVE TO BE CAREFUL.

BUT I SEE WHY YOU WANT TO STAY OUT THERE ON THE POINT.

YEAH, THAT'S THE MOST FRAGILE PART.

YEAH, IF YOU TRIED TO END YOUR BUTT JOINTS HERE, JOIN TWO PIECES TOGETHER-- THEY'RE ALWAYS GONNA BE FLIPPING OUT ON YOU.

SO YOU NEVER WANT YOUR FREE ENDS AT THE SHARP END.

BELIEVE IT OR NOT, BEN SEATON PUT A COUPLE OF JOINTS THERE.

HE DID?

YEAH.

NOW, WHO WAS BEN SEATON?

HE WAS A YOUNG CABINETMAKER TRAINED UNDER HIS FATHER.

THE TOOL CHEST HE WAS MAKING FOR HIS OWN PERSONAL TOOLS.

AND AMAZINGLY, WE'VE GOT NOT ONLY THE CHEST, BUT WE'VE GOT A LOT OF THE ORIGINAL TOOLS.

OH, NO KIDDING?

AND THEY'RE REALLY-- A LITTLE BIT MORE GLUE RIGHT THERE ON THAT END THERE.

RIGHT THERE, OKAY.

AND THERE WE GO; THAT'S RIGHT.

YOU DON'T USUALLY HAVE TO DO THIS WHILE YOU'RE EXPLAINING.

NO, THIS IS ALL RIGHT.

HERE'S THAT SQUEEGEE ACTION AGAIN.

HERE'S THE SQUEEGEE ACTION AGAIN.

ALL RIGHT, SO WE'RE JUST GONNA RUB GENTLY, GENTLY, GENTLY, GENTLY, GENTLY.

AFTER WHAT HAPPENED EARLIER, BOY, I'M REALLY KIND OF-- BUT I SEE IT, YEAH.

SEE, IT'S GRABBING DOWN.

YOU DON'T WANT TO CATCH ON-- AND YOU CAN SEE HOW THE GLUE KIND OF SQUEEZING OUT A LITTLE BIT.

THIS LOOKS REAL NASTY NOW.

WE'LL BE ABLE TO CLEAN IT UP A LOT LATER.

OKAY, AND NOW WE'RE GONNA NEED ANOTHER PIN.

ALL RIGHT, AND I'M READY WITH THE HAMMER.

LOOK AT THIS.

JUST RIGHT ALONG THAT EDGE.

DON'T HIT ME.

THANK YOU.

SPLENDID.

ALL RIGHT, DID I GET IT?

OH, NO, ACTUALLY, THAT WAS MY FAULT.

I DIDN'T EVEN PUT IT ON THE EDGE.

ALL RIGHT, LET'S TRY AGAIN.

OKAY, YOU'RE GOOD.

ALL RIGHT, THERE WE GO.

ALL RIGHT, NOW, OKAY.

SAVED BY THE BELL.

ALL RIGHT, NOW THE NEXT FEATURE-- OF COURSE, WITH THAT TECHNIQUE WE CAN THEN PUT ON THE LIGHT STRIP, THE DARK STRIP, AND THEN THE LIGHT STRIP.

AND YOU CAN DO THIS IN AS MANY PIECES AS YOU NEED, JUST BUTTING THEM TOGETHER.

JUST BUTT THE JOINT.

DON'T WORRY ABOUT SOMETHING FANCY.

THAT'S RIGHT.

SO FAR WE'VE GOT JUST THE OVAL AND JUST SOME LITTLE TINY STRIPS AROUND IT.

THAT'S RIGHT.

BUT THIS, THIS IS DIFFERENT.

NOW WE HAVE THE BANDING.

AND THIS IS CALLED CROSSBANDING, IS THAT RIGHT?

YEAH, THAT' BECAUSE OF THE FACT THE THE GRAIN IS ORIENTED IN A CROSS FASHION.

IT'S PERPENDICULAR TO THE LINE OF THE CURVE.

DOES THAT MAKE SENSE?

YES, THE STRAINS ARE LONG-GRAIN, BUT THIS IS CROSS-GRAIN AND CALLED CROSS BANDING.

THAT'S RIGHT; THEREFORE CROSSBANDING.

SO NOW WE'LL MOVE THIS GLUE OVER HERE.

[laughs] ALL RIGHT.

THIS IS-- AND SO YOU'RE REALLY-- YOU'RE NOT TRYING TO CHANGE THE WAY SEATON DID THIS, BUT REALLY REPLICATE HIS WORK.

NO, REALLY TRY TO REPLICATE IT.

SO WE'RE ABLE TO LOOK NOT AT THE ORIGINAL BUT LOOK AT PHOTOGRAPHS.

AND THIS IS SORT OF OUR WAY OF FIGURING HOW HE WAS ABLE TO PULL OFF THIS DECORATION.

OKAY, OKAY.

SO NOW YOU GOT TO DO THAT CROSSBANDING.

NOW WE HAVE TO DO THE CROSSBANDING.

SO NOW WE HAVE TULIPWOOD.

OOH, OKAY.

OH, THAT'S PRETTY.

IT'S A PRETTY WOOD.

BUT, BOY, THIS STUFF IS SO GRAINY.

AND HERE'S THE ISSUE ON HAVING TO CUT ON THE END GRAIN.

OH.

YOU SEE HOW SMALL THIS PIECE IS.

WE'RE GONNA HAVE TO BRING IT OVER HERE JUST TO SHOW IN CONTEXT.

ALL RIGHT.

OH, MY GOODNESS, OKAY.

IN ORDER TO KEEP THAT BANDING PERPENDICULAR, YOU DON'T WANT TO DO THIS IN LARGE PIECES, BECAUSE IT WILL LOOK STRANGE.

ALL RIGHT.

SO YOU DO THIS IN SMALL PIECES THAT ARE JUST GONNA BE TACKED ALL AROUND.

I GOT YOU.

BUT YOU'VE GOT THE TRIM THEM FOR THE CURVE.

AND THIS MEANS YOU'RE TRIMMING FOR THE END GRAIN.

TRIMMING END GRAIN TO A CURVE.

OH, BOY.

NOW, MARK AND I BEING MUSICAL INSTRUMENT MAKERS, HARPSICHORD MAKERS, WE HAVE A FEW SPECIALTY TOOLS THAT ARE UP OUR SLEEVE.

ISN'T THAT A NICE PLANE?

OH, IT'S CURVED ALONG THE BED DOWN ITS LENGTH HERE.

THERE'S THIS SLIGHT ARC TO IT.

YEAH, HAVING THAT SLIGHT COMPASS CURVE IS GOING TO ALLOW ME TO TRIM THAT EDGE NICE AND NEAT.

BOY, THIS STUFF IS TENACIOUS.

REALLY?

OH, MAN.

THAT'S A GOOD CUT THERE.

BUT YOU CAN SEE WHERE THE CURVE OF THE SOLE IS HELPING TO MAKE THE CURVE.

AND THAT WOULD ABOUT FIT ON A PLACE LIKE THAT.

RIGHT, ON A PLACE LIKE THAT.

WE CAN MOVE IT OVER HERE.

LET'S SEE IF I CAN JUST HOLD THAT THERE.

I MIGHT BE ABLE TO SEE WHAT'S GOING ON.

YEAH, OKAY, I SEE RIGHT THERE.

AND AGAIN, YOU'RE TRYING TO GET THE EDGES NOW.

YOU GOT TO GET THE EDGES AT RIGHT ANGLES TO A TANGENT TO THE OVAL.

THAT'S CORRECT.

SURE.

AI-YI-YI.

NOW THIS IS A LOT OF THINGS HAPPENING ALL TOGETHER ONCE YOU'VE GOT THAT CURVE FITTED AND YOU KNOW KNOW WHERE IT'S GOING TO GO.

NOW I NEED TO MOVE HERE.

ALL RIGHT.

AND WHAT IS THIS?

THIS IS YOUR BENCH HOOK HERE.

THIS IS MY BENCH HOOK.

OKAY, SO TRIM THE EDGE FIRST TO KIND OF GET AN IDEA OF THE ANGLE FIRST WITH A CHISEL.

SO WE'RE JUST GONNA MAKE-- SO YOU'RE JUST EYEBALLING OFF OF YOUR ARC THERE REALLY.

ALL RIGHT, OKAY.

AND THE IDEA IS TO KEEP THE SEAMS RUNNING ALONG WITH THE GRAIN SO THAT THAT WAY, THE SEAMS DON'T SHOW BY RUNNING PARALLEL.

NOW, WHAT I'VE DONE IS DRIVEN A NAIL INTO THE BENCH HOOK SO I CAN USE IT AS A BRACE.

AND THEN USE MY PLANE-- THAT'S ANOTHER LITTLE TEENY PLANE.

YEAH, UH-HUH.

WE GOT LOTS AND LOTS OF LITTLE DELICATE TOOLS HERE.

HELPS TO BE A VIOLINMAKER.

BECAUSE WE'RE DELICATE GUYS, YEAH.

OKAY, SO NOW WE CAN TRIM.

AND HERE'S THE BEAUTY OF THIS.

YOU CAN SEE I CAN BRACE AGAINST THE NAIL.

OH, SO IT BECOMES A PIVOT POINT.

SURE, ABSOLUTELY, SO YOU CAN JUST TRIM NICE AND NEAT.

OH, MAN.

YOU'LL HAVE A CLEAN EDGE.

PUTTING IT IN PLACE LIKE ON THIS HERE AND EVEN BRINGING ANOTHER PIECE JUST TO SHOW THIS MAY NOT BE, YOU KNOW, QUITE SO-- OH, MY, BUT THAT'S NOT BAD.

YEAH, SO THOSE COULD START TO BUILD A-- SO YOU'RE BUILDING UP A RING OF JUST CROSS-GRAIN, JUST END GRAIN GLUED TO THAT BAND.

MAN, OH, MAN.

AND THAT'S WHY YOU NEED THAT PAPER THERE.

THAT'S WHY YOU NEED THAT PAPER, RIGHT.

SO ALL I'M INTERESTED IN RIGHT NOW WILL BE-- AND THIS IS WHERE WE CAN KIND OF GET NICE AND DIRTY.

OH, YOU'RE GONNA DO IT WITH YOUR FINGER?

YEAH, JUST TOUCHES OF GLUE, A LITTLE BIT THERE.

OKAY, LET ME PUT THAT THERE, RIGHT THERE.

AND A LITTLE BIT OF GLUE.

YOU NEED SOME ON THE END GRAIN TOO?

'CAUSE YOU'RE GONNA TRY AND GLUE IT TO THE BANDING.

ACTUALLY, YOU'RE RIGHT.

THANK YOU FOR THE REMINDER.

JUST A TOUCH THERE.

MY GOSH, 'CAUSE THAT'S ALL THAT'S GONNA HOLD IT.

NOW, I'M PUTTING IT ON TOP TOO, BECAUSE, SEE?

YEAH, BUT WHY?

THIS COULD STILL HAVE THE CAPACITY TO WANT TO BOW ACROSS THE GRAIN IF I PUT THE GLUE JUST ON THE UNDERSIDE.

OKAY.

OKAY?

SO ALL I'M GONNA DO RIGHT NOW IS SIMPLY PRESS IT ON AND LEAVE IT THERE FOR A MINUTE.

THAT'S ALL YOU NEED TO DO.

REMEMBER, ALL YOU'RE INTERESTED IN IS PUTTING IT ON THE PAPER.

ALL RIGHT.

IT'S NOT WOOD-TO-WOOD.

ALL YOU'RE DOING IS JUST ASSEMBLING THIS WHOLE PATTERN DIRECTLY ON THE PAPER.

AND THAT'S GOOD ENOUGH.

OKAY, AND THEN JUST FIT MORE AND MORE-- AND THEY JUST FIT MORE AND MORE OF THEM AROUND.

WOW.

WHEN YOU'RE DONE-- I WAS GONNA SAY, YOU GOT YOUR HOT GLUE-- IT'S IN THE WATER JACKET THERE, SO IT'S STAYING KIND OF WARM.

SO IT STAYS KIND OF WARM, AND WE'RE FINE THERE.

SO WHEN WE'RE DONE, OKAY-- LET'S SEE.

MOVE THIS AROUND HERE.

YEAH, LET'S DO THIS REAL QUICKLY.

AND TRADE HIM.

OKAY, WE'RE FINE.

ALL RIGHT.

YEAH.

LOTS OF STUFF, LOTS OF JUGGLING AROUND.

SO HERE WE ARE.

NOW, WE CHANGED WOODS HERE AGAIN.

LIKE I SAY-- DID I SAY EARLIER WE WERE TRYING TO PRESERVE MAHOGANY?

WELL, GUESS WHAT?

WELL, THESE ARE YOUR SCRAPS OF MAHOGANY.

SCRAPS OF MAHOGANY WE HAD.

BUT HERE YOU CAN SEE HOW WE'VE CREATED THE BANDING.

BUT NOTICE, THE OUTER EDGES ARE REAL, REAL ROUGH.

WE GLUED THESE ON OVERSIZE, BECAUSE NOW WE NEED TO COME BACK AND CUT THAT OUTER EDGE INTO A CONCENTRIC OVAL.

I GOT YOU.

AND THAT WAY, WE'LL BE ABLE TO ATTACH THE LIGHT, DARK, LIGHT, THE SECOND SET OF BANDINGS.

I THINK I FOLLOW.

YOU'VE GOT TO CUT THIS EVEN.

SO IS THAT BACK TO THE ELLIPSOGRAPH?

YOU BET.

AND THAT'S MARC'S BABY.

MARCUS, ALL RIGHT, YOU HAVE THAT READY.

ALL RIGHT, SO WE'VE GOT BASSWOOD AND MAHOGANY ON THIS ONE.

SO I'LL RESET MY ELLIPSOGRAPH.

FIRST I'LL CENTER IT UP ON MY PIECE AS I DID BEFORE.

YOU TRY AND REGISTER IN THE SAME PINHOLES THAT YOU HAD?

YES, THAT'S EXACTLY RIGHT, AND TRY TO GET IT BACK AS ACCURATELY AS YOU CAN.

BUT IT IS ALSO TRUE, AS YOU COULD WELL IMAGINE, THAT IN THE PROCESS OF MAKING-- CUTTING OUT THE OVAL AND TRIMMING IT, IT'S GOING TO GET A LITTLE OUT OR PERFECT TRUE.

SO WHAT I'LL DO IS, I'LL SET IT SO THAT OUR CROSSBANDING WILL END UP BEING SOMETHING LIKE 3/8 OF AN INCH I THINK IS ABOUT RIGHT IN ITS WIDTH, YOU KNOW, SO NOW I'LL CHECK IT.

YEAH, I'LL CHECK IT JUST TO BE SURE THAT WHEN I GET TO THE OTHER SIDE HERE IT'S BALANCED PROPERLY.

AND IF THERE'S A LITTLE DISCREPANCY, I CAN-- YOU'RE JUST TRYING TO AVERAGE IT OUT.

AVERAGE IT OUT-- AND YOU FREQUENTLY SEE A LITTLE BIT OF CHANGE IN THAT.

I'M GLAD TO HEAR YOU SAY THAT THERE'S THAT FUDGE FACTOR THROUGH THIS.

IT ALL LOOKS SO HARD AND LIKE YOU HAVE TO BE TOTALLY PRECISE.

BUT REALLY, IF IT WORKS BY EYE, YOU'RE BUILDING UP AN EYEBALL-T0-EYEBALL FIT.

IN FACT, IT'S QUITE ARGUABLY NICER THAT WAY.

IT'S AN OLD ARGUMENT, AND WE'LL TALK ABOUT IT OVER A BEER.

ALL RIGHT, VERY GOOD.

SO LET ME SEE.

I'M ANXIOUS.

I'M GONNA GET THIS ON OVER THERE-- WE'LL DRAW IT AROUND JUST LIKE THIS.

ALL RIGHT.

SO I'M GONNA LET EDWARD CONTINUE ON THIS THING, 'CAUSE YOU'VE STILL GOT A-- WE'VE GOT A LITTLE BIT HERE TO FINISH THIS UP.

RIGHT, ALL YOU HAVE IS, NOW THAT YOU'VE MARKED THE CONCENTRIC OVAL, AND YOUR LINES ARE THERE, WE CAN SAW AWAY A LOT OF THIS EXCESS WITH A FRET SAW JUST TO GET YOU DOWN TO YOUR BASIC LINE.

BUT NOW YOU STILL NEED TO CLEAN THAT UP.

AND SO WE NEED TO COME BACK.

AND HERE WE'RE GOING TO RAISE THE PIECE UP.

HERE COMES THE PLANE AGAIN.

AND WE'RE JUST GONNA SHOOT.

OKAY, SO THE SAME PRINCIPLE YOU USED IN MAKING THE STRINGING OF LETTING THE SIDE OF THE PLANE BE A RIGHT ANGLE.

EXACTLY RIGHT.

SO YOU CAN DO ALL YOUR FINAL TRIMMING.

EVERYTHING'S NICE, NEAT, SQUARE.

NOW WE'RE GONNA TAKE THIS, AND WE'RE GONNA CREATE A NEW WORK BOARD WHICH, FIRST OF ALL, HAS TO BE WAXED DOWN NICE AND NEATLY, BECAUSE WE'RE GONNA USE THIS NOW TO ASSEMBLE THE REST OF THE DECORATION AROUND THE EDGE OF THE OVAL, JUST DO IT DIRECTLY ON THAT WAXED BOARD SO NO GLUE HOLDS.

I GOT YOU.

SO THIS OUTER DECORATION YOU SEE HERE, LIGHT, DARK, LIGHT, THAT CORRESPONDS TO THAT OUTER DECORATION, GHT, DARK, LIGHT.

YOUR OVAL ASSEMBLY IS NOW COMPLETED.

ALL RIGHT.

BUT WE STILL HAVE ONE MORE THING TO DO.

SEE ALL THIS WORK HERE WITH THE MITERS AND THE OPPOSITE GRAINING?

WHAT DO YOU DO, FIT THAT INTO A SPACE?

NO, NOT AT ALL.

THAT WOULD BE WAY TO DIFFICULT.

SO WE'RE GOING TO ACTUALLY GO TO ANOTHER WORK BOARD.

BOY, I WISH IT WAS THAT EASY IN THE SHOP.

[laughs] TAKE OUR OVAL, PUT IT IN PLACE.

SEE, THESE PIECES HAVE BEEN SPOT GLUED.

THE MITERS HAVE BEEN CUT AND REINFORCED WITH GLUE-COVERED PAPER.

YOU'RE GONNA PUT YOUR MITER IN PLACE.

TAKE AN AWL AND SCRIBE AROUND THE EDGE NICE AND NEAT.

YOU'VE GOT YOUR CURVES NOW MARKED ON THESE.

YOU CAN CUT THEM OUT.

THEY'RE GONNA FIT LIKE A DREAM.

AND SO JUST LIKE YOU SAID, YOU START FROM THE MIDDLE AND WORK YOUR WAY OUT.

WORK YOUR WAY OUT.

ALL RIGHT, BUT YOU STILL GOT TO WORK YOUR WAY DOWN A LITTLE BIT.

YEAH, SEE THOSE IRREGULARITIES?

WE'RE GONNA NEED TO TAKE A LOT OF THIS DOWN, AND MARC'S GOT THOSE TOOLS RIGHT HERE.

WHAT DO YOU GOT?

TOOTHING PLANE, ESSENTIAL.

SO THIS IS LIKE A SCRAPER WITH TEETH ON IT.

WITH MANY LITTLE TEETH.

AND SO IT JUST IGNORES EVERYTHING ABOUT THE GRAIN.

AND IT CUTS A PERFECTLY FLAT SURFACE.

I WOULD BE SO SCARED TO DO THAT.

OH, MY GOSH.

AND THEN WHAT DO YOU?

FOLLOW THAT WITH A SCRAPER?

WITH A CABINET SCRAPER, YEAH.

I HAVE A BIT OF A CABINET SCRAPER.

AND THIS THING-- YOU HAVE A GOOD HOLD ON IT.

ALL RIGHT.

[scraping noises] AND THAT GOES RIGHT OVER THE GRAIN.

BEAUTIFUL STUFF, WONDERFUL.

MARCUS HANSON, THANKS SO MUCH.

WE SURE APPRECIATE IT.

ED WRIGHT.

GLAD TO BE HERE.

THANKS FOR JOINING ME.

AND THANKS FOR BEING WITH US.

WE'LL SEE YOU NEXT TIME HERE IN THE WOODWRIGHT'S SHOP.

SO LONG.

(announcer) LEARN MORE ABOUT THE WOODWRIGHT'S SHOP AND TRADITIONAL WOODWORKING ON OUR WEBSITE.

YOU CAN FIND US ONLINE AT: Captioning byCaptionMax www.captionmax.com [upbeat fiddle music] (male announcer) MAJOR FUNDING FOR THE WOODWRIGHT'S SHOP IS PROVIDED BY: (male announcer) WHETHER YOU'RE HELPING THEM LEARN HOW TO WALK...

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OR TEACHING THEM TO DRIVE.

(girl) SORRY.

OH, YEAH; I'M THERE.

WHEREVER YOU ARE IN LIFE, STATE FARM IS THERE, PROUD SPONSOR OF THE WOODWRIGHT'S SHOP.

(female announcer) WE ARE PBS.

(male announcer) ROY UNDERHILL IS THE AUTHOR OF THE WOODWRIGHT'S GUIDE: WORKING WOOD WITH WEDGE AND EDGE, AS WELL AS OTHER BOOKS ON TRADITIONAL WOODWORKING, ALL PUBLISHED BY THE UNIVERSITY OF NORTH CAROLINA PRESS AND AVAILABLE IN BOOKSTORES AND LIBRARIES.