MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... [THUNDER] [CAR HORN HONKING] WHEN THE UNEXPECTED HAPPENS, STATE FARM HAS THE TOOLS TO GET YOU TO A BETTER STATE.
PROUD SPONSOR OF "THE WOODWRIGHT'S SHOP."
HEY, WELCOME BACK TO "THE WOODWRIGHT'S SHOP."
I'M ROY UNDERHILL.
SO GLAD YOU COULD BE WITH ME AGAIN TODAY BECAUSE WHAT COULD BE BETTER, THAN MAKING SOMETHING FOR SOMEONE YOU LOVE?
WELL, I'LL TELL YOU WHAT IT IS.
BUT FIRST LET ME SHOW YOU.
THIS IS THE FIRST THING I MADE FOR MY LITTLE DAUGHTER RACHEL WHEN SHE WAS ONE YEAR OLD, A LITTLE WALNUT CHAIR FOR HER TO SIT IN.
SO THIS IS WHAT SHE HAD WHEN SHE WAS LITTLE.
AND I'M STILL MAKING THINGS FOR HER.
IN FACT, I'M MAKING THIS, AND WE'RE GONNA SEE HOW TO MAKE THIS NOW-- A STANDING DESK BASED ON A PENNSYLVANIA SCHOOLMASTER'S DESK FROM ABOUT 1900.
NOW, I SAID WHAT COULD BE BETTER THAN MAKING SOMETHING FOR SOMEONE YOU LOVE?
MAKING TWO THINGS FOR TWO PEOPLE YOU LOVE.
SO I'VE GOT TO MAKE ONE OF THESE FOR MY DAUGHTER ELEANOR AS WELL.
BUT NEVERTHELESS, WE'RE GOING TO MAKE THIS STANDING DESK, AND IN TWO PARTS NOW.
SO TODAY WE'RE GOING TO WORK ON THE FRAME, THIS LOWER PART DOWN HERE YOU CAN SEE WITH THE DRAW-BORE PINS STILL IN PLACE.
WE'LL SEE HOW TO DO THIS, BECAUSE THIS IS THE BASIC LANGUAGE OF MAKING A TABLE.
ALL RIGHT?
AND THEN MOVING UP, WE'RE NOT GONNA DO THIS.
THESE ARE THE DOVETAILS, AND LORD KNOWS WE'VE DONE ENOUGH DOVETAILS.
WHAT I'M GONNA DO NEXT TIME WHEN WE GET TOGETHER IS WORK ON THIS.
THIS IS A TENONED AND MITER-CLAMPED BREADBOARD TOP THAT YOU SEE ON OUR SCHOOLMASTER'S DESK HERE.
YEAH.
SO WE ARE GOING TO SEE HOW TO DO THIS.
AND THIS IS A WONDERFUL THING THAT FRAMES THE WOOD HERE.
IT'S ALL HELD-- WELL, I'LL TELL YOU WHAT.
LET ME START TAKING IT APART, AND WE'LL SEE HOW THESE ARE DONE.
SO THIS IS WHAT WE'RE DOING NEXT TIME.
WE'RE WORKING ON THIS WONDERFUL CLAMPED TOP, AS WE CALL IT.
AND YOU CAN SEE IT HAS SPLINES THAT GO AROUND, END-GRAIN SPLINES AND TENONS THAT COME INTO THE ENDS HERE.
SO IT'S JUST THIS WONDERFUL, WONDERFUL CONNECTION WITH MITERED ENDS.
IT'S GREAT.
BUT THAT'S NEXT TIME.
WE'RE GONNA MOVE ON AND DO THAT LATER.
ALL RIGHT.
SO I'LL TAKE THIS TOP OFF.
AND YOU CAN SEE WHY I'M NOT FOOLING WITH THIS PART.
IT'S NICE, BUT IT'S JUST A DOVETAILED BOX WITH A BEVEL CUT OFF IT.
SO WE'RE NOT GONNA DO THAT RIGHT NOW.
WE'RE GOING TO MOVE ON TO THIS PART.
NOW, THIS IS, OF COURSE, DONE IN THE CLASSIC LANGUAGE.
YOU CAN SEE, THIS IS A TABLE, ISN'T IT, IF IT HAD A LID ON IT.
OR IT'S THE STAND FOR OUR... FOR OUR DESK.
AND IF YOU PUT THE BACK OVER HERE, IT'S A BIG CHAIR.
SO THIS IS A VERY BASIC CONSTRUCTION WE NEED TO SEE HOW TO DO.
WE'LL DO THE INTERSECTING MORTISE AND TENONS.
AND IF YOU LOOK, YOU CAN SEE ON THE END-GRAIN THE WONDERFUL PEGS AND THAT THEY COME ALL THE WAY THROUGH ON THE INSIDE.
YOU SEE HOW THEY PIERCE ALL THE WAY THROUGH?
SO THERE ARE TENONS DOWN INSIDE THERE, AND TWO PEGS EACH GOING THROUGH THAT CORNER JOINT.
NOW, ALL OF THIS IS YELLOW PINE AS WELL.
LOOK AT THAT BEAUTIFUL GRAIN THERE.
THIS IS YELLOW PINE, VERY EASY TO GET AND MAKE BECAUSE IT COMES FROM 2-BY-12's.
2-BY-12's.
PINE 2-BY-12's.
SO I'M GONNA TAKE THIS APART.
WE'LL SEE WHAT THOSE JOINTS LOOK LIKE HERE.
FIRST I'M GONNA TAKE THIS CORNER APART, AND YOU CAN SEE IT RIGHT THERE, THE...
HERE.
I'LL TAKE THIS OFF.
AND OF COURSE, IT'S GOT A LITTLE STRETCHER DOWN BELOW.
LET'S SEE IF I CAN TAKE THAT OUT.
LITTLE STRETCHERS.
THERE.
ALL RIGHT.
WILL IT STAND?
WILL IT STAND?
NO, IT'S GONNA BREAK.
YAH!
ALL RIGHT.
I'M GONNA SET THIS DOWN LIKE THAT.
ALL RIGHT.
THAT'S A LITTLE BETTER.
THAT'S UNDIGNIFIED FOR OUR SCHOOLMASTER'S DESK.
NEVERTHELESS, YOU CAN SEE THE JOINT THAT WE'RE GOING TO PUT IN HERE.
SO THIS IS THE CORNER JOINT.
AND YOU LOOK DOWN INSIDE THAT MORTISE THERE, YOU CAN PROBABLY--WELL, I DON'T KNOW IF YOU CAN SEE IT, BUT THEY'RE INTERSECTING MORTISES, LIKE, GOING THROUGH HERE.
SO IF I WERE TO TAKE A PENCIL AND STICK IT IN HERE, YOU CAN SEE THAT PENCIL COMING OUT ON THE INSIDE THERE.
SO THESE MORTISES INTERSECT.
AND THE TENONS ARE CUT AWAY ON TOP SO THAT THE MORTISE CAN STAY CLOSED, SO IT'S A PROPER MORTISE AND TENON AND NOT A BRIDLE JOINT.
BUT NEVERTHELESS, ALL THAT'S FINE, EASY TO DO, BUT THE THING IS THE SYSTEM, BECAUSE THIS IS BUILT WITH LEVELS.
YOU KNOW, THERE ARE THE STRETCHERS DOWN BELOW AND THEN THE TOP RAILS.
SO WE'VE GOT TO GET EVERYTHING LAID OUT IN THE SAME PLANE.
SO WE WORK SYSTEMATICALLY.
NOW, ABOUT THE WOOD--I'M GONNA SHOW YOU SOMETHING HERE BEFORE WE MOVE ON.
THIS IS ONE ALREADY MORTISED.
I'VE LAID IT ALL OUT.
AND EVERYTHING WAS GOING GREAT, BUT I HAD... WELL, YOU LOOK AT THESE TWO PIECES HERE.
DO YOU SEE HOW THESE TWO BOW?
ACTUALLY, ONLY ONE OF THEM BOWS.
THIS ONE IS STRAIGHT.
THIS ONE IS BOWED.
NOW, WHY IS THAT?
BECAUSE IF YOU LOOK AT THE GRAIN, IT'S OBVIOUSLY THE SAME PIECE OF WOOD, JUST SAWN APART.
WHY DID THIS ONE BOW AND NOT THIS ONE?
THIS ONE STAYED STRAIGHT.
THIS ONE WENT CROOKED.
WELL, I'M GONNA TURN IT AROUND.
YOU CAN LOOK AT THE END GRAIN HERE, AND THAT'LL TELL YOU EXACTLY WHY.
THE END GRAIN SHOWS HERE-- LET ME GET THE ORIENTED LIKE THEY WERE IN THE TREE.
AND REALLY, THIS GOES BACK TO THE TREE.
THIS IS THE ONE THAT STAYED STRAIGHT.
DO YOU SEE HOW EVENLY GRAINED IT IS?
THIS ONE IS DEEPER INTO THE CORE, AND IT HAD SOME WHAT WE CALL JUVENILE WOOD, VERY SHORT FIBERS IN THERE, JUVENILE WOOD.
AND THOSE FIBERS SHRANK UP ALONG THEIR LENGTH AND CAUSED THIS TO BOW.
SO HERE, THE EVEN-GRAINED ONE STAYED STRAIGHT.
THIS ONE, WITH JUVENILE WOOD ON ONE SIDE AND VERY NICE WOOD ON THIS SIDE WARPED BECAUSE OF THE DIFFERENTIAL.
WE RELEASED THAT TENSION, AND BOING.
IT WENT OUT OF WHACK.
SO, WE DON'T WANT TO DO THAT.
WE'RE GONNA START WITH ANOTHER ONE, SOME BETTER CUTS.
AND THESE ARE GREAT CUTS, BECAUSE THEY COME FROM THE OUTSIDE OF THESE 2-BY-12's USED FOR CONSTRUCTION.
AND WHEN THEY CHOOSE THE WOOD, THE LOG TO CUT FOR THESE, THEY'VE GOT TO GET THE BIGGEST LOGS, AND THEY'VE GOT TO CUT THROUGH THE CENTER OF IT.
SO ON THE OUTSIDE, YOU HAVE GOT THIS WONDERFUL QUARTER-SAWN STOCK.
THESE ARE ALL INCH-AND-A-HALF THICK.
AND I'M SQUARING UP THE BOTTOM.
NOW I'LL TAKE ONE OF THESE HERE.
THIS IS PROBABLY THE QUICKEST WAY, WHAT WE'RE GONNA MEASURE ACROSS.
THIS INCIDENTALLY WAS-- NOT INCIDENTALLY AT ALL.
BUT WAS DRAWN BY JOHN SHEA IN HIS BOOK ON PENNSYLVANIA FURNITURE.
SO WE RUN ACROSS WITH THE PENCIL FOR THE MORTISES.
SO WE GET ALL THEM AT THE SAME LEVEL.
SO THOSE ALL ARE MORTISES.
SO WE GANG-LAYOUT.
NOW WE'LL MOVE UP AND DO THE UPPER MORTISE.
THAT'S RIGHT HERE.
YOU ALSO SEE THAT THE ENDS OF THE POSTS ARE DIFFERENT LENGTHS.
ALL RIGHT, BUT THAT'S WHERE THEY'RE GONNA BE CUT OFF, ON THAT LINE.
ALL OF THIS, THESE ARE THE HORNS.
SO THIS IS EXTRA WOOD LEFT ON TO STRENGTHEN THE PIECE AS WE CHOP THIS MORTISE THROUGH.
SO WHEN WE CUT THROUGH, THAT KEEPS THIS FROM SPLITTING.
WE THEN SAW THAT OFF LATER.
SO ALL THE EXCESS GOES TO THE TOP.
ALL RIGHT.
LET'S GET ON WITH IT.
WE'VE ALSO GOT TO DO-- ALL RIGHT.
SO ALL OF THESE CAN GO BACK HERE.
WE'LL JUST KEEP OUT ONE.
SO WE JUST REPEAT IT 4 TIMES.
I WANT TO DO SOMETHING A LITTLE DIFFERENT HERE WHEN WE DO THE RAILS, AND I'LL JUST DO ONE BY EYE, BECAUSE I KNOW THE... AND THIS IS, AGAIN, OUR VERY NICE QUARTER-SAWN STOCK.
SO LINE THEM UP.
AND THESE ARE THE RAILS OF OUR TABLETOP OF OUR, UH... SCHOOLMASTER'S BENCH, OUR STANDING DESK.
ALL RIGHT.
AND THEY ARE-- I'LL TELL YOU WHAT.
WHY DON'T I MOVE THEM LIKE THAT?
I'LL SHUFFLE THEM, AND THAT WAY THEY'LL STAY TOGETHER A LITTLE BIT BETTER.
OK. AND LET'S JUST DO A SHOULDER, BUT INSTEAD OF USING THE PENCIL AROUND HERE, HERE IS WHERE WE SWITCH OVER TO THE KNIFE.
I HAVE A KNIFE BACK HERE.
WE'LL TAKE A KNIFE AND CUT THIS LINE HERE.
SO WE CUT THE LINE FOR THE TENON, AND I KNOW THAT TENON IS LONG ENOUGH.
I, OF COURSE, DO THE OTHER END, AND WE'D HAVE THIS LAID OUT THE SAME LENGTH.
NOW, WHY DO WE USE A KNIFE HERE INSTEAD OF A PENCIL?
BECAUSE THAT KNIFE IS THE START OF OUR CUT OF OUR TENON.
SO I'LL TAKE ONE OF THESE GUYS, AND SET IT HERE WITH THE BENCH HOOK, HOLD MY TRY SQUARE AGAINST IT.
I KNOW THIS IS GONNA BE MY FACE SIDE.
SO I MARK THAT.
ALL RIGHT.
AND I'VE GOT THE KNIFE CUT THAT I MADE FACING ME.
I TAKE THE SAME KNIFE, PUT IT BACK IN THAT LITTLE CUT, AND RUN THE CUT ACROSS.
ALL RIGHT.
AND OF COURSE, I'VE GOT TO MARK THIS AS THE TOP EDGE.
THAT'S NOT GONNA WORK.
I CAN'T GAUGE FROM THAT.
ALL RIGHT.
NEVERTHELESS, A COMPLICATION.
HERE WE GO.
SO NOW WE CAN COME BACK THIS WAY.
AND AGAIN, THERE'S MY KNIFE POINT.
LET ME SEE IF I CAN GET IN THERE.
ALL RIGHT.
SLIDE UP TO IT, AND KNIFE BACK ACROSS THE GRAIN IN THIS DIRECTION.
ALL RIGHT.
AND THEN WE'LL DO ONE MORE LITTLE BIT OF KNIFAGE HERE FROM THIS FACE.
AGAIN, LINING UP AND RUNNING THE KNIFE ACROSS.
NOW, ON THESE FACES, THIS KNIFE CUT IS JUST A STRAIGHT KNIFE CUT, BUT WE WANT TO MAKE IT A "V." WE WANT TO MAKE IT A VERTICAL SHOULDERED "V," OF COURSE.
AND THIS JUST GOES TO ALL TABLE-MAKING, CHAIR-MAKING.
IT IS UNIVERSAL.
YOU CUT THE KNIFE BACK.
SOME FOLKS DO THIS WITH A CHISEL.
AND THAT IS WHERE THE SAW WILL RIDE WHEN WE CUT THIS.
BUT DO YOU SEE HOW THE KEEPER EDGE... IS CUT WITH A KNIFE.
ALL RIGHT?
AND THAT WILL KEEP US FROM HAVING A ROUGH SAW CUT ACROSS THE GRAIN.
NOW, WE DON'T CUT THOSE LINES YET WITH THE SAW.
WE'RE GONNA GO AHEAD AND GET OUR GAUGE NOW AND LAY OUT THE MORTISES AND TENONS USING THE MORTISING GAUGE.
SAME OLD STUFF HERE.
WE HAVE A WONDERFUL LITTLE MORTISING GAUGE WITH TWO TEETH.
YOU CAN SEE THOSE TWO SHINY TEETH RIGHT THERE.
ALL RIGHT.
SO TWO TEETH.
WE TAKE THE MORTISING CHISEL, THIS VERY STOUT CHISEL, AND ADJUST THE TEETH SO THAT THEY DEFINE JUST THE WIDTH OF THIS CHISEL AND THEN OUR INSET THAT WE WANT ON OUR PIECE.
NOW I'VE GOT TO GO TO THE FACE SIDE OF OUR RAIL AND RUN IT AROUND.
ALL RIGHT.
AND THAT GOES ALL THE WAY DOWN THE END GRAIN.
WE'VE GOT TO SEE THE END GRAIN.
AND THEN HERE.
ALL RIGHT.
AND WE'RE GONNA PUT THIS ASIDE FOR A SECOND.
WE'LL GO AHEAD AND MARK OUR MORTISE.
BUT THERE WE ARE.
WE'VE GOT LINES ALL THE WAY AROUND TO SAW OUR TENON.
SO WE SUBTRACT WOOD FROM THAT.
AND WE'VE ALSO GOT TO SUBTRACT WOOD FROM OUR LEGS NOW.
WE'RE GONNA DO THE MORTISE AND LAY IT OUT USING THE SAME SETTING ON THE GAUGE.
SO THAT MEANS, OF COURSE, THAT WHEN WE DO THE TENON THAT GOES INTO THE MORTISE, THIS IS GONNA BE IN THE SAME PLANE.
IT WILL BE DEAD VERTICAL.
WE WON'T HAVE ANY OFFSET RIGHT THERE.
SO THIS WILL BE ALL THE SAME, BECAUSE WE'RE USING THE SAME SETTING ON THE GAUGE TO COME IN FROM THE FACE SIDE OF THIS ONE AND THE FACE SIDE OF THIS ONE.
ALL RIGHT.
SO THERE'S OUR MORTISE.
RUN IT ALONG.
WE'LL CHOP THE MORTISE FIRST.
ALL RIGHT.
AND IT MAY HAVE A LITTLE VARIABILITY IN IT, BUT THAT'S ALL RIGHT.
AS LONG AS WE HAVE THAT LINE TRUE, WE'LL TAKE THE WIDTH OF OUR MORTISE OFF OF THE... LET'S SEE.
WHERE'S MY HOLDFAST?
I NEED TO HOLD MY WOOD DOWN AS I WORK.
WELL, IF IT WAS A SNAKE, I WOULDN'T BE LOOKING FOR IT.
ALL RIGHT.
SO I'M GONNA USE THE ORIGINAL HOLDFAST, WHICH IS SITTING ON THE DARN THING.
WE'LL TAKE A MALLET, SIT UP HERE ON THE BENCH.
YOU'LL SEE OLD PICTURES, OF CARPENTERS WORKING JUST LIKE THIS.
AND I'LL SET THE CHISEL RIGHT BETWEEN THE LINES THERE, SIGHT THIS FOR VERTICALITY, AND EVEN SITTING LIKE THIS, I CAN SET IT QUITE VERTICAL BECAUSE I'M JUST IN THE RIGHT PLANE.
SO IT DIDN'T GO VERY DEEP THAT FIRST TIME.
BUT I CHOPPED THE SECOND TIME, IT WENT A LITTLE DEEPER.
AND I'M LISTENING.
[TAPPING] YOU'LL HEAR A VERY SLIGHT TONE CHANGE AS I ADVANCE.
[TAPPING] AND THE BEVEL LEADS THE MARCH DOWN THE LENGTH OF THE MORTISE.
AS I ADVANCE, THESE CHIPS COMING OUT, MAKE ROOM FOR THE CHISEL TO GO DEEPER.
SO EACH ONE MAKES ROOM FOR THE NEXT ONE.
SO REALLY WE ARE WALKING DOWN A DESCENDING STAIRCASE OF CUTS.
SO I'M MUCH, MUCH DEEPER.
AND THAT'S THE WHOLE SECRET-- GO DEEPER EACH TIME YOU DO THIS.
ANOTHER THING YOU CAN IMAGINE-- THIS IS IMPACT.
SO I AM SITTING ON TOP OF THE LEG OF THE BENCH.
THAT'S IMPORTANT, BECAUSE OTHERWISE, IT'LL STEAL THAT ENERGY.
IF YOU HAVE THIS IN THE MIDDLE OF THE BENCH BACK HERE, IT DEFLECTS, BUT NOW, OVER THE LEG, ALL THAT ENERGY IS GOING INTO THE CUTTING, ALL INTO THE WORK IN THE WOOD.
[TAPPING] ALL RIGHT.
NOW, THIS WILL ACTUALLY GO SO DEEP... THAT I AM AT THE FULL DEPTH JUST MARCHING ALONG LIKE THIS, CUTTING ACROSS THE GRAIN.
SO I'M STARTING TO BACK OFF A LITTLE BIT BECAUSE I DON'T WANT TO GO THE FULL DEPTH OF THE MORTISE AT ALL ON THIS FIRST ONE, BECAUSE WHEN I CUT THE SECOND ONE, IT WOULD... [TAPPING] BE CUTTING INTO THE VOID.
ALL RIGHT.
SO THAT'S A FULL MARCH ACROSS.
AND I LIKE TO SAY THERE'S NO PRYING IN WOODWORKING.
THERE'S NO PRYING IN WOODWORKING.
WELL, THERE'S NO PRYING OUT OF UNCUT WOOD.
SO HERE WE GO.
WE'RE GONNA GO BACK NOW THE OTHER DIRECTION.
NOW THE BEVEL IS TURNED AROUND THAT LITTLE SLOPED AREA, AND WE JUST MARCH BACK THROUGH THE DEBRIS.
AND...CHOP OUR WAY ALONG.
AND THAT MAY SOUND LIKE A FUNNY WORD.
SAY "CHOPPING"?
WHY AM I CHOPPING?
BUT WHEN YOU CHOP DOWN A TREE...
THE CUTTING EDGE GOES ACROSS THE GRAIN, DOESN'T IT?
WELL, THAT'S WHAT WE'RE DOING HERE.
ALL RIGHT.
AND AS FRANK KLAUSZ WOULD SAY, WE ARE DONE, MAN.
WE ARE JUST ABOUT THERE.
UH...UP TO THE EDGE.
AND HERE WE HAVE THAT FINAL CUT.
SO NOW AGAIN, WE CAN JUST TAKE OUT THE CUT WOOD.
WE DO NOT TRY AND REMOVE ANY WOOD THAT HAS NOT BEEN ALREADY FREED.
AND YOU'LL SEE IT'S QUITE DEEP, AND NOW IT'S DOWN TO WHERE WE WOULD INTERSECT THE OTHER ONE IF WE CAME BACK.
I'LL JUST TRUE THIS UP A LITTLE BIT.
AND WE'LL GO ON TO THE TENON.
UH.
LET ME GET THIS.
THERE WE GO.
SO THERE'S OUR END.
WE'VE CUT A NICE, CLEAN END DOWN HERE.
AND WE'LL CLEAN UP THE OTHER END AS WELL.
YEAH.
OOP.
OOP.
LET ME GET RIGHT ON THERE.
SO WE TAKE... [TAPPING] WHATEVER WE DERIVED, WHATEVER WE ENDED UP WITH ON THAT MORTISE THERE.
SEE THAT?
A NICE MORTISE.
THAT GOES DOWN.
AND AGAIN, WE ONLY CUT DOWN TO WHERE IT WOULD INTERSECT, THE MORTISE-- I'LL BRING ONE OVER HERE.
ONLY CUT THIS ONE DOWN TO THE DEPTH WHERE IT WOULD INTERSECT THE OTHER MORTISE.
SO IF YOU SEE RIGHT HERE WHEN WE CUT THIS SECOND ONE COMING IN, IT WOULD CUT INTO A VOID.
SO WE'RE GONNA CUT OUR NEXT MORTISE RIGHT HERE.
AND IT WILL SINK DOWN THE FULL DEPTH, AND WE'LL END UP WITH SOMETHING LIKE THIS, WITH INTERSEING MORTISES MAXIMIZING THE STRENGTH, AND, OF COURSE, WE BEVEL THE ENDS OF THE TENONS TO FIT IN THERE ALL THE WAY FLUSH.
SO ISN'T THAT ONE GREAT?
ALL RIGHT.
SO MORTISED.
ALL RIGHT.
NOW WE'VE GOT TO DO OUR TENON, AND WE LEFT THE TENON WITH JUST THE SHOULDERS, JUST THE SHOULDERS DELINEATED WITH THE KNIFE.
WE'RE GONNA TAKE...
EVENTUALLY TAKE THE LENGTH OF THE MORTISE IN THIS DIRECTION OFF OF THIS...
THIS RIGHT HERE, BUT FIRST WE'RE GONNA SAW THE WHOLE THING.
SO I'LL SET IT DOWN IN THE VISE WITH IT LEANING AWAY FROM ME, AND WE'RE GONNA RIP ALL THIS PINE.
NOW, IT SEEMS LIKE, OH, BOY.
THAT'S A LOT OF... A LOT OF CUTTING TO HAVE TO DO.
BUT WE'RE...WE DON'T HAVE TO GO VERY DEEP.
SO EVEN THOUGH WE'RE RIPPING A 4-INCH...
UH...THICK PIECE OF WOOD HERE, WE'RE NOT GOING--WE'RE ONLY GOING AN INCH-AND-A-HALF DOWN.
SO IT'S A HARD JOB, BUT WE DON'T HAVE TO DO IT FOR VERY LONG.
I'LL JUST DELINEATE THOSE LINES A LITTLE BETTER.
THERE WE GO.
OK. AND NOW WE TAKE THE TENON SAW AND SET IT IN, AND RIP IT DOWN.
ALL RIGHT.
AND I-- THERE WE GO.
ALL RIGHT.
AND I'LL JUST DO-- I THINK I'M JUST GONNA TAKE ONE CHEEK OFF HERE TO SAVE TIME, BECAUSE I WANT TO GET ON TO THE DRAW-BORING.
AND...THERE WE GO.
SO THIS COMES DOWN.
AND NOW WE CAN TURN IT VERTICAL.
SO I'VE SAWN TWO... DIAGONAL SLICES THERE.
NOW WE SET IT IN AND SAW OUT THE MIDDLE, VERY CAREFULLY WATCHING TO SEE THAT WE STOP WHEN WE COME LEVEL WITH THAT LINE, BUT ALSO NOT STOPPING TOO SOON.
AND WE'RE THERE.
ALL RIGHT.
SO NOW WE'LL CROSSCUT THAT OFF.
AND AGAIN, I'M JUST GONNA DO ONE TENON AND MOVE ON.
SO HERE WE GO.
AND I'VE GOT A LITTLE CROSSCUT HERE.
AND THAT FITS RIGHT IN THAT GROOVE WE DID WITH THE KNIFE.
ALL RIGHT.
AND I'M PUSHING WITH MY THUMB TO CHECK AND SEE IF WE'VE SEVERED THAT TABLET RIGHT THERE.
AND THERE WE GO.
OK.
SO WE DON'T WANT TO TAKE ONE-- WE DON'T EVEN WANT TO TAKE A HALF-STROKE TOO MANY, AND WE GO DOWN TO OUR TENON.
ALL RIGHT.
SO WE TAKE THAT COMPLETED TENON DEPTH OFF OF HERE, CUT THE OTHER SIDE, AND WE'RE GOOD TO GO.
BUT WE WANT TO GET ON TO THAT DRAW-BORING, BECAUSE I WANT TO DO IT OLD-SCHOOL.
BECAUSE WE'RE DOING AN OLD SCHOOLMASTER'S DESK, LET'S DO THE DRAW-BORING OLD-SCHOOL.
SO I HAVE A PIECE.
I WANT TO KEEP THIS ORGANIZED, OUR DEBRIS HERE.
AND DRAW-BORING IS A WAY OF USING AN ERROR TO YOUR ADVANTAGE.
ISN'T THAT NICE?
ALL RIGHT.
SO WE'VE GOT A PIECE THAT WE'RE GOING TO DRAW-BORE IN.
I'VE GOT TO KEEP MYSELF ORIENTED.
THIS IS THAT FORWARD EDGE.
THAT'S RIGHT.
ALL RIGHT.
SO WE'RE GOING TO DRAW-BORE BY PUTTING PEGS THROUGH...
THROUGH HOLES THAT ARE OFFSET.
SO HERE WE ARE.
I'VE GOT A MORTISE I KNOW THROUGH HERE ABOUT LIKE THAT.
AND I'LL DRAW OPTIMAL LINES FOR WHERE THE PEGS SHOULD GO, ABOUT THERE AND THERE.
BUT I'M GONNA PUT ONE PEG BELOW THAT ON THIS END.
SO THAT PEG IS BELOW.
THE OTHERS WILL COME IN ABOVE SO THE PEGS MISS EACH OTHER WHEN THEY COME THROUGH.
I'VE GOT AN OLD-TYPE AUGER HERE, AND WE'LL JUST BORE ON IN THAT SPOT.
AND...THEY'RE HARD TO GET STARTED.
THIS IS CALLED A NOSE AUGER.
VERY OLD.
THEY'RE NOT MADE ANYMORE.
YOU CAN USE A SPIRAL AUGER, OF COURSE.
BUT I'M CELEBRATING OLD-SCHOOL.
HERE WE ARE.
AND THAT GOES ON THROUGH.
ALL RIGHT.
AND AGAIN, YOU CAN SEE.
LOOK AT THAT BIT.
IT'S JUST...IT'S CALLED A NOSE AUGER OR A SHELL BIT.
UM...I THINK PEOPLE CALLED IT DIFFERENT NAMES IN DIFFERENT PLACES, BUT IT WAS REPLACED BY THE SPIRAL BIT LARGELY.
SO...GOING RIGHT ON DOWN.
NOW WE'VE GOT OUR HOLES THROUGH THE MORTISE DONE.
SO NOW WE'LL TAKE THAT TENON AND PUT IT INTO THAT MORTISE AND SEE HOW IT FITS.
ALL RIGHT.
IT'S GOING TO FIT UP JUST FINE.
WE'LL MAKE SURE THERE'S NOTHING HOLDING IT OUT.
[BLOWS], THERE'S NO JUNK IN THE TRUNK DOWN IN THERE.
AND I'LL DRIVE IT UP TIGHT.
[TAPPING] ALL RIGHT.
GOOD.
SO IF IT'S UP TIGHT-- AND I'M GONNA HOLD IT UP TIGHT.
A LITTLE BIT OF STUFF RIGHT IN THERE.
WOULDN'T THERE BE?
ALL RIGHT.
SO DRIVE IT UP TIGHT.
AND DRAW-BORING IS GOING TO COME THROUGH A LITTLE BIT CLOSER TO THE SHOULDERS OF THE TENON THAN WE WANT, IF WE WANT TO HAVE JUST A STRAIGHT-THROUGH.
WE'RE GONNA USE AN ERROR TO HELP US OUT.
SO WE'LL TAKE THE TENON OUT NOW, AND YOU CAN SEE HOW I'VE MARKED IT.
YOU SEE THOSE LITTLE POKEY MARKS?
ALL RIGHT?, THOSE POKEY MARKS ARE WHERE THE HOLE WOULD BE IF IT WENT STRAIGHT THROUGH.
WE'RE GOING TO, HOWEVER, BORE CLOSER TO THE SHOULDER OF THE TENON.
SO WE'RE GONNA COME BACK THIS WAY.
SO OUR HOLES WILL BE OFFSET.
NOW, THIS IS A REAL MATTER OF FINESSE WITH THIS AUGER.
IF YOU'RE USING A SPIRAL-POINTY AUGER, A SCREW-POINT AUGER, WE WOULD HAVE JUST PUSHED THAT SCREW-POINT AUGER BACK IN, AND THAT WOULD HAVE MARKED OUR CENTER POINT.
SO THERE WE GO.
THERE'S OUR TWO HOLES THROUGH THERE.
LET ME SHOW YOU WHAT THOSE LOOK LIKE.
AND THEY'RE OFFSET AGAIN TOWARDS THE SHOULDER OF THE TENON.
SO NOW WE CAN PUT THAT IN AND...[BLOWS] DRIVE IN THE PEGS.
BUT BEFORE WE DRIVE IN THE PEGS, WE'RE GONNA USE THIS THING.
THIS IS A DRAW-BORE PIN, A VERY OLD DRAW-BORE PIN, THAT TAKES MOST OF THAT LOAD OF THE DRAWING, AND AS IT PUSHES IN, BURNISHES THE HOLE.
SO YOU CAN SEE NOW WHAT THAT HOLE LOOKS LIKE, THAT LITTLE OFFSET WITH THE DRAW-BORE PIN HAVING PUSHED THROUGH THERE.
YOU CAN SEE IT'S A PRETTY DARN SMOOTH HOLE THROUGH THERE THAT WE CAN RUN OUR PEG INTO NOW.
IT PULLED A LITTLE LOOSE THERE AS I LIFTED IT.
SO TAKE OUR PEGS-- AND THESE ARE JUST TAPERED PINE PEGS-- AND GET THEM IN THERE.
THEY'VE GOT TO BE TAPERED SO THAT THEY GET ON THE OTHER SIDE OF THE OFFSET AND PULL THE TENON DEEPER IN.
OK.
SO THAT'S IT.
THAT'S PEGGED.
THAT'S OUR BASIC FRAME NOW.
LET ME SEE IF I CAN GET THIS TOGETHER.
I HAVE WRECKED THE TEACHER'S DESK.
NEVERTHELESS, WE'RE GONNA SEE, WHEN WE GET TOGETHER NEXT TIME, HOW TO DO THE UPPER PART HERE.
SO THIS GOES RIGHT HERE LIKE THAT.
THERE WE GO.
AND ESSENTIALLY TODAY, WHAT HAVE WE DONE?
WE HAVE MADE A TABLE.
SO WE HAVE LEARNED OUR TIMES TABLE.
NEXT TIME, WE'LL BUILD OUR DESK.
ALL RIGHT.
GOOD ENOUGH.
ALL RIGHT.
SO, THANKS SO MUCH.
WE'LL FINISH UP OUR STANDING DESK NEXT TIME RIGHT HERE IN "THE WOODWRIGHT'S SHOP."
SEE YOU THEN.
BYE.
LEARN MORE ABOUT "THE WOODWRIGHT'S SHOP" AND TRADITIONAL WOODWORKING ON OUR WEBSITE.
YOU CAN FIND US ONLINE AT pbs.og.
MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... [THUNDER] [CAR HORN HONKING] WHEN THE UNEXPECTED HAPPENS, STATE FARM HAS THE TOOLS TO GET YOU TO A BETTER STATE.
PROUD SPONSOR OF "THE WOODWRIGHT'S SHOP."
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 AT BOOKSTORES AND LIBRARIES.