MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... [MEOW] [THUNDER] [CAR ALARM BLARING] 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, AND I HEAR THE SOUND OF PEGS BEING SHAVED.
THAT MUST MEAN WE ARE COMING CLOSE TO THE END OF OUR WORK HERE WITH PETER FOLLANSBEE.
PETER.
HELLO, ROY.
THANKS FOR HAVING ME.
YEAH!
SO YOU ARE MAKING THE PEGS.
THAT MEANS WE CAN FINISH UP THIS WONDERFUL CHEST.
CAN WE TAKE A LOOK AT IT NOW?
WELL, YOU CAN.
NO, NO, NO.
STAY PUT.
THESE...YOU GO TO A LOT OF TROUBLE TO MAKE THESE.
SO YOU'VE GOT TO SEE WHERE THEY COME FROM AND WHAT THEY...
THEY AREN'T JUST LITTLE DOWELS THAT YOU DRIVE IN THE HOLES.
ARE YOU SAYING THE PEGS ARE IMPORTANT IN THIS PROCESS?
THE PEGS ARE... TO SAY THEY'RE IMPORTANT IS A GROSS UNDERSTATEMENT.
SERIOUSLY, THEY REALLY ARE THE CRUX OF THE WHOLE THING, AND THAT'S WHY I MAKE THEM, OUT OF THE BEST OAK THAT I HAVE.
WHEN I AM CUTTING STOCK TO LENGTH, IF I GET AN OFF-CUT LIKE THAT, THAT'S PRIZE MATERIAL.
THAT'S BEAUTIFUL, BEAUTIFUL.
THAT IS DEAD-STRAIGHT CLEAR STUFF, AND THAT WILL BECOME DOZENS OF PINS FOR KNOCKING THESE THINGS TOGETHER.
NOW, CAN WE SEE-- HOW DO YOU CLEAVE THIS?
YOU'VE GOT THIS GREAT CLEAVER HERE.
THIS IS GREAT, GREAT FUN.
SO THAT LITTLE WEDGE-SHAPED CLEAVER THERE IS THE ONE THAT'S GONNA BUST THEM.
THEY GO FLYING, THOUGH, IS ONE OF THE THINGS.
I'LL HOLD MY HAND HERE.
MAYBE NOT.
ALL RIGHT.
I WOULDN'T.
ALL RIGHT.
KIND OF.
ALL RIGHT.
LOOK AT THAT, HOW STRAIGHT THAT ROVE OR--HA HA!--SPLIT THERE.
JUST PERFECT.
WOW.
OK. AND THEN YOU JUST KEEP BREAKING THEM DOWN.
NOW, DO YOU DO THIS IN HALF AND IN HALF AGAIN?
IN HALF AND HALF AGAIN.
ALL RIGHT, AND THIS IS THE PRINCIPLE, THAT DID ALL OF THESE PIECES, THE PANELS, THE...
SO THIS IS WHAT I DO LATE IN THE DAY WHEN I'M TOO BRAIN-DEAD TO DO ANYTHING ELSE.
I MAKE A HUNDRED PINS OR SOMETHING AND LET THEM SET AROUND THE SHOP TO DRY, BECAUSE THE PINS WANT TO BE DRY, DRY, DRY.
ALL RIGHT.
AND I SHOULD SAY, YOU SAY AT THE END OF THE DAY AT THE SHOP.
PETER IS A JOINER AT PLYMOUTH PLANTATION, 17th CENTURY.
IT'S NOT 20th, NOT 19th, NOT 18th, BUT 17th CENTURY.
SO ALMOST ELIZABETHAN ERA WOODWORKING THERE.
SO YOU CAN NEVER HAVE TOO MANY OF THESE.
ANY STRAIGHT-GRAINED PIECE OF OAK, YOU KEEP IT, AND YOU SHAVE IT, AND YOU SPLIT IT INTO PINS.
AND IT HAS TO BE SPLIT IN ORDER TO KEEP THE GRAIN INTACT FOR THE STRENGTH.
ALL RIGHT.
SO NOW CAN WE LOOK AT THE CHEST?
NOW WE CAN LOOK AT THE CHEST.
ALL RIGHT.
VERY GOOD.
ALL RIGHT.
SO WE'RE GONNA SEE THIS WONDERFUL PANELED OAK CHEST THAT PETER HAS BEEN SHOWING US HERE.
WE DID THE FRAME LAST TIME, AND WE'RE GONNA SEE HOW TO DO THE PANELS AND SO FORTH NOW, AND AGAIN, ALL BEAUTIFUL RED OAK.
THE BEST STUFF ON EARTH.
AND RIVEN JUST...
THESE PIECES WERE MADE BY SPLITTING JUST AS YOU DID THE PEGS.
YOU CAN SEE THE WONDERFUL RAYS IN THERE.
THAT'S WHAT I'M LOOKING AT?
THESE FLECKS?
YEAH.
THAT'S THE MEDULLARY RAYS ON THE INSIDE OF THE TREE, AND THAT INDICATES THAT IT'S BEEN RADIALLY SPLIT THERE.
THAT'S THE RADIAL FACE OF THE LOG.
SO WE TALK ABOUT QUARTER-SAWN.
THIS IS QUARTER-RIVEN AND JUST DEAD-ON WITH THE GRAIN.
SO THAT MAKES IT WONDERFUL.
WELL, LET'S LOOK INSIDE.
JUST AS STRAIGHT AS CAN BE.
NOW, YOU'VE COMBINED THIS.
A LOT OF SURPRISES IN THIS.
THERE'S ACTUALLY, ON THE BACK HERE, A SAWN PLANK THERE.
ON THE FRONT WE'VE GOT WHITE OAK PANELS.
YEAH.
A LITTLE MIXTURE OF EVERYTHING IN HERE.
AND THEN DOWN IN THE BOTTOM, AGAIN, THEY'VE MIXED UP SAWN WOOD OUT OF PINE BUT CHOSE TO RIVE THE OAK.
SO THAT'S A SURPRISE TO ME.
YOU'D THINK IT WOULD BE ONE OR THE OTHER, YOU KNOW.
SOMETIMES IT'S OAK ALL THE WAY THROUGH, THE WHOLE THING SPLIT OUT OF AN OAK LOG, BUT HERE, UP IN NEW ENGLAND, THEY'RE USING THIS COMBINATION OF MILL-SAWN SOFTWOODS AND HAND-SPLIT OR RIVEN OAK.
AH.
IT WAS GORGEOUS.
WELL, LET'S SEE.
NOW THIS-- WE WANT TO TAKE A LOOK AT THIS BOTTOM AGAIN.
THAT'S THAT FLOORBOARD THERE.
AND THIS FLOORBOARD IS LIKE A KEYSTONE.
IT'S, UH...WEDGED LIKE THAT.
IT'S GOT TONGUES ON THE ENDS HERE.
NOW LET ME TAKE OUT ONE OF THOSE BOTTOMS HERE.
THEY ARE GROOVED.
HA HA.
YOU CAN SEE.
SO THEY'VE GOT GROOVES, AND THAT KEYSTONE PUSHES THESE TWO SIDE BOARDS TIGHT.
YEAH.
YEAH.
IT'S A PRETTY NICE WAY TO DO IT.
I'VE NEVER SEEN-- YEAH.
GREAT STUFF.
IT TAKES A LITTLE FUSSING AND FIDDLING, BUT YOU END UP WITH A NICE TIGHT FLOOR.
ALL RIGHT.
AND THEN ALSO WE HAVE THE TILL.
LET'S GET THAT OUT OF HERE.
THAT'S NOT HARD TO DO.
ALL RIGHT.
AND THAT FALLS OUT.
AND THIS IS THE PART YOU HATE.
NOW WE CAN TURN IT ON ITS BACK.
NOW, YOU SAY IT'S JUST A NUISANCE HERE.
IT JUST TAKES A LITTLE TRIAL AND ERROR TO FIT THE TILL.
ALL RIGHT.
SO I'M GONNA TRY AND PULL THIS APART NOW.
LET'S SEE IF I CAN HIT IT WITH A SHOE DOWN HERE.
AND THERE WE GO.
ALL RIGHT.
ALL RIGHT.
SO WE WANT THIS OUT OF THE WAY?
YES.
THAT OUT OF THE WAY, BECAUSE THIS IS A GOOD EXAMPLE OF WHAT WE'RE AFTER HERE.
WHAT WE'RE GONNA DO IS THIS PANEL BUSINESS.
SURE.
THAT BEVELED PANEL.
YOU CAN SEE IT RAISED IN THE FRAME THERE.
AND SO THAT'S SITTING IN GROOVES IN THESE RAILS AND IN THE UPRIGHT... STILE IT'S CALLED.
SO WE CAN SEE HOW TO DO THIS.
UH...FLAT ON ONE SIDE, AND THEN JUST BEVELED DOWN, WHATEVER IT IS IT LOOKS LIKE ON THIS SIDE, JUST TO MAKE IT FIT INTO THOSE GROOVES.
SURE.
IT COMES RIGHT DOWN TO A FEATHER THERE.
THAT'S...THAT'S A LITTLE DIFFERENT THAN WHAT I'M USED TO, THE MORE FORMAL KIND OF WORK.
SURE.
DIFFERENT FROM A RAISED PANEL.
THIS I CALL A... A BEVELED PANEL.
SO A RAISED PANEL IS MADE WITH... A PLANE.
WE USE A PLANE.
A PANEL-RAISING PLANE.
IT'S VERY FORMAL LOOKING.
I HAVE A DEDICATED TOOL FOR MAKING THESE BEVELED PANELS RIGHT HERE.
YOU HAVE A PANEL-RAISING AX.
I HAVE A PANEL-RAISING AX.
VERY NICE.
ALL RIGHT.
AND SO HERE I'VE GOT THE PIECE I'VE FLATTENED AT THE BENCH WITH AN AX AND THEN WITH THE PLANE.
SO THAT'S THE FACE OF MY PANEL.
AND NOW I NEED TO WORK THIS BEVEL DOWN TO FIT THE GROOVES.
HERE IT'S ALREADY BEGUN FROM THE RIVING PROCESS.
AH, OK.
SO IT JUST TAPERS DOWN THERE, AT THE CENTER OF THE TREE.
YOU CAN SEE HOW THE TREE GREW FAST AND THEN SLOWED DOWN AS IT GOT MORE MATURE.
THE RINGS GET TIGHTER.
ALL RIGHT.
SO I'LL JUST START A LITTLE BIT OF THIS BEVEL AROUND.
SET IT UP ON THIS CHOPPING BLOCK.
AND I DROP MY RIGHT LEG FAR BEHIND ME.
I'M RIGHT-HANDED.
AND MAKE THOSE DEPTH CUTS LIKE THAT.
THAT'S ABOUT AS HIGH AS I'LL GO.
AND THEN JUST DROP THE HATCHET DOWN INTO THOSE AND BREAK THOSE OFF.
AND YOU CAN SEE THAT BEVELING ROUGHED UP.
IT'S STARTING TO TAKE SHAPE THERE.
ALL RIGHT.
AND THEN SAME THING.
JUST FLIP IT END FOR END SO I CAN GO HOME WITH MY LEFT HAND AND, UM...
SO SHEAR IT DOWN THAT WALL WITH THE DEPTH STOPS IN THERE.
AND YOU'RE CHOKING UP ON YOUR AX FOR THIS CLOSER WORK.
NOW, THAT'S DOWN THE GRAIN.
WHAT ABOUT AT THE END GRAIN?
AT THE END GRAIN, I USUALLY DO THE TWO LONG SIDES FIRST, BUT IT'S THE SAME THING.
BUT THERE YOU'VE GOT TO MAKE SURE THE PANEL IS SUPPORTED ON THE STUMP.
WHY IS THAT?
BECAUSE IF THERE'S A HOLLOW IN THE STUMP, AND YOU'RE CHOPPING RIGHT THERE, YOU'LL CRACK YOUR PANEL APART.
AND THAT'S REALLY DISCOURAGING.
WELL, OFTEN WOULD YOU CARVE THESE PANELS AS WELL?
ON MOST OF MY CHESTS, THEY'RE CARVED ALL ACROSS THE FRONT.
SO ALL THAT CARVING WOULD BE DONE FIRST.
SO PEOPLE, WHEN THEY WATCH ME PICK UP THE AX ON THE CARVED PANEL, THEY'RE OFTEN NERVOUS.
UH, I'M... YOU JUST HAVE TO DEVELOP THE NERVE TO DO IT THIS WAY.
EXPERIENCE WITH THE AX THERE.
HOPEFULLY, YEAH.
OH, GEE.
LOOK AT THAT.
WELL, ALSO, YOU HAVE CHOSEN WOOD THAT IS JUST WONDERFUL.
I GUESS THAT'S REALLY THE FIRST SKILL OF THE JOINER-- PICKING THAT STUFF OUT THAT HAS THAT WONDERFUL GRAIN TO IT.
LOOK AT THAT.
YEAH.
I DON'T CARE IF IT'S RED OAK OR WHITE OAK.
I WANT IT STRAIGHT.
SOME PEOPLE SAY, "WHAT'S YOUR FAVORITE OAK?"
IT'S A STRAIGHT PIECE OF OAK IS MY FAVORITE.
THE TREES MATTER MORE-- INDIVIDUAL TREE AND THE WAY IT GREW.
THE SPECIES ISN'T AS IMPORTANT.
ALL RIGHT.
SO IS THIS READY TO PLANE, THEN?
THEN WE'LL-- YEAH, I CAN SHOW YOU A LITTLE BIT ABOUT HOW I PLANE IT.
OK. ALL RIGHT.
IT'S PRETTY CLOSE.
SO WE'LL DO THAT RIGHT OVER HERE.
I'LL GET OUT OF THE WAY.
AND WE'LL MOVE THESE PINS.
WE'LL NEED THOSE, WON'T WE?
WE'LL NEED ALL OF THIS STUFF.
SO I HAVE A LITTLE BENCH JIG THAT I USE BECAUSE WE'VE THINNED THAT DOWN.
IN MY SHOP, THE BENCH PLANING STOP IS IRON, AND THIS WON'T JAM AGAINST THAT.
SO I'VE MADE THIS LITTLE CONTRAPTION JUST WITH A CLEAT GLUED ACROSS THE SUPPORT BOARD.
YES, YOU'D BE TOO CLOSE TO THAT IRON, OBVIOUSLY.
YEAH, AND IF YOU DRIVE THAT INTO YOUR IRON PIECE, YOU'LL CRACK IT.
AND SO JUST ABOUT LIKE THAT.
AND THE SAME AS BEFORE.
WITH ANY OF MY PLANING STUFF...
THESE LITTLE PANELS ARE SOMETIMES TRICKIER THAN A LONGER ONE, BUT... YOU'RE REALLY HOGGING THAT OFF.
YEAH.
THERE I'M USING THAT, UM... FORE PLANE WE WERE LOOKING AT, WITH ITS CURVED IRON.
NOW, THIS IS REALLY TAKING BIG CHUNKS THERE.
LET ME SEE THAT UNDERSIDE, THE IRON, AS WE CALL IT.
THIS IS REALLY CAMBERED THERE.
YOU CAN SEE HOW IT'S ARCED LIKE A SECTION OF A CIRCLE THERE.
SO IT'S SCOOPING OUT THE WOOD AS YOU GO ACROSS IT.
YEAH.
NO CORNERS TO DIG IN.
SO YOU CAN TAKE THOSE BIG, THICK SHAVINGS.
YEAH, THAT'S A BIG OLD... THAT IS INDEED A BIG, THICK SHAVING.
AND AGAIN, THAT STRAIGHT-GRAINED WOOD IS VERY CONDUCIVE TO BEING ABLE TO WORK THAT WAY.
I'M NOT WORRYING ABOUT TEAR-OUT WITH GRAIN DIRECTION AND ALL THAT SORT OF STUFF.
BUT IT'S SO FUNNY.
OFTEN THE INTELLECTUAL WAY OF TALKING ABOUT THIS IS THE TRANSFORMATION OF NATURE INTO CULTURE, BUT IT LOOKS LIKE NATURE HAS DONE A GOOD BIT OF THE WORK, A LOT OF THE CULTURE WORK RIGHT HERE.
I ONCE HAD A WOMAN VISITING MY SHOP, AND SHE WAS FROM EUROPE AND LOOKED AT MY WORK AND SAID, "IT'S VERY ARTIFICIAL."
ARTIFICIAL?
AND I SAID, "I GET WHAT YOU MEAN, BUT MOST FOLKS WOULD NOT."
TELL ME NOW.
WELL, IT HAS "ARTIFICE" IN IT.
IT HAS BEEN MADE BY THE HAND OF MAN.
OK. AND YOU CAN SEE IT.
TODAY ARTIFICIAL IS, "WE DON'T WANT THAT.
IT'S AN ARTIFICIAL."
BUT IT'S A VERY 17th-CENTURY TERM.
EVERY CUT OF THE AX IS LEFT IN HERE, THE RIVING OF THE GRAIN OF THE TREE.
SO IT'S ORGANIC AS IT CAN BE.
SURE, AND SOME OF THAT WILL REMAIN IN THE FINISHED CHEST.
WONDERFUL.
WONDERFUL.
ALL RIGHT.
SO, NOW, THAT'S A PANEL.
HAVE YOU GOT A FRAME THAT WE CAN SEE?
YEAH, I HAVE A PANEL THAT'S ALL DONE, THAT YOU CAN LOOK AT THERE.
AND WE'LL FIT IT IN THIS TRAY.
BOY, THAT'S REALLY...
I LOVE THAT, THE WAY THAT'S REALLY ROBUST.
HA HA!
AND IT'S...
THERE'S A LOT OF SHAPE TO THAT ON THAT SIDE AND FLAT ON THAT UPPER SIDE.
YEAH, IT GOES DOWN TO A KNIFE EDGE ALL THE WAY AROUND.
IT'S A PRETTY NARROW GROOVE.
ALL RIGHT.
SO THIS IS PART OF THE FRAME.
NOW, THIS WOULD BE THE FRONT OF THE FRAME?
YEAH, BOTTOM AND TOP RAIL AND A MUNTIN.
SO IT WILL ULTIMATELY HAVE TWO OF THESE PANELS.
AND THAT SLIDES IN.
I THINK THIS ONE GOES IN HERE.
OH, YES, IT DOES.
ALL RIGHT.
AND SO NOW THIS IS FIT IN.
WE'VE BEVELED THAT ONE.
BUT THERE'S ALSO A DIFFERENT THING CALLED A CHAMFER, AND WHEREAS A BEVEL, GOES DOWN TO A KNIFE EDGE, I THINK A CHAMFER HAS A FLAT AND A FLAT.
OK. YEAH.
YOU WERE TELLING ME THAT DISTINCTION, AND IT MAKES SENSE.
I SAW THAT IN A BOOK SOMEWHERE.
SO LET'S SEE.
DO WE HAVE A CHAMFER WE CAN DO?
IT MUST BE TRUE.
IT MUST BE.
YEAH.
LET'S DO THE OTHER ONE OF THIS.
AND THESE ARE CALLED--AGAIN, THESE ARE CALLED COFFERS OR...
SOMETIMES CALLED A COFFER, A WAINSCOT CHEST.
I USE THAT PHRASE A LOT TO... AND WAINSCOT... THAT COMES FROM WAGON SIDES.
IS THAT-- I DON'T BELIEVE THAT, BUT SOME DO.
HA HA HA!
OK.
IT'S A VERY STRANGE WORD, BUT IT'S SOMETIMES AN ADJECTIVE, SOMETIMES A NOUN, BUT IT USUALLY MEANS FRAME AND PANEL WORK OR OAK WORK, BUT A WAINSCOT CHEST, WAINSCOTING ON THE WALL, WAINSCOT CHAIRS.
WELL, I KNOW A WAINWRIGHT IS A GUY WHO MADE WAGONS, I THINK.
BUT YEAH.
WELL, ALL RIGHT.
YOU'RE SKEPTICAL OF EVERYTHING.
I AM.
YOU ARE A SKEPTICAL GUY, I'LL TELL YOU.
WELL, THAT'S WHAT YOU HAVE TO BE.
YOU'RE A SCHOLAR.
SO YOU JUST PUT IN A STRUCK LINE INTO THAT.
YEAH, JUST TO MARK THE DEPTH OF THAT.
AND I CAN SEE IT DOWN HERE.
THERE'S A STRUCK LINE RIGHT IN THERE.
YOU DON'T WORRY ABOUT THAT.
I WORRY ABOUT NOTHING.
HA!
YOU DO, TOO.
IT'S JUST FURNITURE-MAKING.
I DON'T WORRY ABOUT THAT.
WELL, YOU WOULD WORRY ABOUT IT-- IF THEY DIDN'T DO IT, YOU WOULDN'T DO IT.
THAT'S RIGHT.
YEAH.
I FIND THESE MARKS-- AS WE WERE SAYING BEFORE, I FIND THESE MARKS ON OLD PIECES AND THEN HAVE JUST DEVELOPED MY OWN SET OF HABITS.
THAT'S THE NAME OF THE GAME.
ALL RIGHT.
DO IT LIKE THEY DID IT.
SO NOW I JUST WANT TO CUT THAT... CUT THAT, CHAMFER IT.
OK. HA HA HA!
THAT I ALMOST CALLED A BEVEL.
YOU CAN'T DO IT TILL YOU THINK OF THE WORD.
THAT'S RIGHT.
AND YOU CAN DO THIS WITH A SPOKESHAVE.
YOU CAN DO IT WITH A LOT OF TOOLS.
I JUST GRABBED THIS BIG CHISEL.
I HAD IT OUT FOR DOING THE PINS.
AND WHEN I DO SOMETHING LIKE THI, I WORK WITH THE BEVEL DOWN.
SO I FLIP IT OVER BEVEL DOWN AND... THAT'S THE SHORT FACE THERE.
YEAH.
AND I AM MAKING THIS MOVEMENT WITH MY LOWER BODY, DOWN IN MY FEET.
I'M HOLDING THE TOOL AGAINST MY ARM, AND THEN MY LEFT HAND IS HOLDING IT DOWN ON THE WOOD.
AND THAT JUST GETS YOU A SMOOTHER CUT.
IT'S ALMOST LIKE A PLANE.
YOU'RE SLIDING ALONG WITH THE BEVEL DOWN FIRST.
YEAH.
ALL RIGHT.
JUST SO I CAN SCOOP IN THERE.
SO YOU CAN CONTROL IT BETTER, I GUESS, BECAUSE YOU'RE LEVERING ACROSS A SMALLER FLAT ON THE CHISEL.
YEAH.
AND I GET IT CLOSE.
NOW, I WANT IT TO FADE IN HERE.
I DON'T WANT TO CUT A CHAMFER WHERE THAT MUNTIN MEETS.
OK.
SO THAT ONE, I AM GONNA MOVE THE TOOL MORE THAN MY BODY.
SO YOU'RE ROCKING THE BACK END AND SCOOPING.
AND THAT HAS TO BE BEVEL DOWN.
ALL RIGHT.
TO TURN THAT CORNER.
YEAH.
TO HIT THAT RADIUS.
AND THEN WHEN IT'S CLOSE, I CAN FLIP IT OVER.
AH, YOU'RE GETTING KIND OF A SKEW CUT THERE.
YOU HAVE TO.
YOU HAVE TO GET A SKEW.
BUT THAT'S GOOD IN ITSELF THERE.
AND I DON'T NEED IT DEAD-PERFECT STRAIGHT.
I DO WANT A WAY FOR DUST TO SHED OFF OF HERE.
THEN I JUST CLEAN THAT UP A LITTLE BIT MORE WITH THE CHISEL.
WELL, LET'S SEE WHAT IT LOOKS LIKE IN THE LIGHT, BECAUSE IT'S ALL ABOUT LIGHT AND SHADOW AND STUFF, BECAUSE RIGHT HERE, FLAT ON THE BENCH, IT DOESN'T LOOK LIKE MUCH, BUT WHEN WE GET IT UP LIKE THAT AND YOU CAN SEE THE SHADOW UNDER IT THERE, THAT REALLY STARTS TO PICK UP THERE, THE SHADOW LINES ON IT, ALONG WITH THAT WONDERFUL RAY FLECK.
BOY, GORGEOUS STUFF.
I ALWAYS LIKE TO LOOK AT FURNITURE, OUT OF MY PERIPHERAL VISION IN THE HOUSE, BECAUSE THAT'S WHERE YOU SEE IT HAPPENING.
AND THEN... OH, IT DRIVES ME CRAZY, BECAUSE THEN YOU'RE GONNA GO AHEAD AND CARVE ALL THIS STUFF.
THIS ONE ISN'T GONNA BE CARVED, BUT USUALLY-- IT WAS DIFFICULT FOR ME TO NOT CARVE ALL THAT BEAUTIFUL OAK THERE.
ALL RIGHT.
WELL, ARE WE TO THE POINT OF PEGGAGE NOW?
WELL, WE'RE GETTING THERE, ROY.
ALL RIGHT.
WE DON'T GET THERE TILL WE'RE ALL DONE WITH EVERYTHING ELSE, BUT WE'RE CLOSE.
NOW WE NEED TO MARK THOSE TENONS FOR THE HOLES FOR THE PINS.
OK. AND LET ME GET THAT HOLDFAST OUT OF THE WAY THERE.
SO THERE'S THE STILE.
AND I KNOW THESE TWO GO TOGETHER BECAUSE THAT SAYS 2 AND THAT SAYS 2, RIGHT?
ALL RIGHT.
OH, OK. OF COURSE, THE INSIDE.
2 AND 2.
2 AND 2.
ALL RIGHT.
SO THAT'S WHERE IT BELONGS.
AND IT GOES THIS WAY.
I GOT YOU.
THERE'S ALWAYS ONE, OF COURSE, FLAT SIDE THAT...
SO THAT GOES TOGETHER.
IS THAT GOING IN THERE?
YES.
GOT A MALLET?
I'M GONNA LET YOU DO THE MALLET.
IT'S OVER HERE.
I DON'T HARDLY NEED IT.
BUT NEVERTHELESS, YOU'VE CUT IT HERE SO THAT THAT SHOULDER, OF THIS TENON GOING IN THERE IS TOUCHING.
JUST AS IF MY FINGERNAIL WAS LONG, IT'S THE FINGERNAIL THAT TOUCHES, AND THERE'S A LITTLE BIT OF CLEARANCE ON THIS SIDE AND CLEARANCE DOWN UNDERNEATH DOWN THERE.
SO THAT THESE 17th-CENTURY JOINERS WERE JUST REALLY CONCERNED ABOUT GETTING THAT EDGE TIGHT.
SURE.
THAT'S ALL YOU NEE.
AND THIS TECHNIQUE THAT YOU'RE ABOUT TO SHOW US IS ONE OF THE KEYSTONES OF DOING THAT.
SURE.
PART OF... ANOTHER REASON FOR CUTTING THAT STUFF OUT OF THE WAY, THE BACK SHOULDER AND UNDERCUTTING THIS, IS IN ALL OF YOUR VARIOUS TEST FITS, YOU'RE ELIMINATING ALL THE POSSIBILITIES FOR HAVING A GAP HERE.
IT CAN ONLY--RIGHT, ONCE IT'S PULLED UP.
AND SO THIS IS ABOUT PULLING IT UP.
SO THERE'S THE TOOL I'M GONNA NOW MARK THAT WHAT WE CALL THE DRAWBORE.
I'M GONNA MARK WHERE THESE HOLES WILL GO ON THAT TENON.
SO YOU READY FOR THAT?
YEAH.
THIS IS WHAT MOXON WOULD CALL-- LET'S TURN THIS HERE.
HOLD IT.
OK.
I'VE GOT IT.
AND IT HAS TO BE UP TIGHT.
YEAH.
YOU WANT THAT SHOULDER UP WHERE IT'S GONNA BE.
AND I JUST TRACE RIGHT AROUND THERE ON THE TENON.
AND THEN WE'LL KNOCK IT BACK APART AND BORE THOSE HOLES.
ALL RIGHT.
SO THERE'S LOTS OF BACK-AND-FORTH IN THIS STUFF.
AND THAT'S PART OF WHY I LEAVE THAT STILE LONG, SO I HAVE SOMETHING TO KNOCK AROUND WITH A MALLET.
I SEE.
OK. AND GET THAT OFF.
AND YOU CAN SEE THE HOLES ARE ALREADY THROUGH THE MORTISED PIECE.
SO THERE'S THE SOCKET, AND THE HOLES GO ALL THE WAY THROUGH THERE.
FOR THAT TAPERED PIN.
ALL RIGHT.
SO THAT'S THAT.
BUT ON THE TENON, WE'VE JUST MARKED THOSE SPOTS VERY-- YEAH, I CAN SEE IT.
JUST WITH THE SCRATCHER THERE.
THIS IS THE OLD TECHNIQUE OF DRAWBORING.
ALL RIGHT.
SO...
SO THEN WE'LL TAKE THAT PIERCER, A LITTLE REAMING TOOL, NO LEAD SCREW, NO NICKERS OR CUTTERS.
IT MAKES A PRETTY WRETCHED HOLE, BUT IT'S THE TOOL THAT MADE THE ORIGINAL HOLE.
SO THAT'S WHAT I WANT.
I DON'T WANT A PERFECTLY ROUND HOLE.
I WANT ONE THAT LOOKS LIKE THEIRS DOES.
ALL RIGHT.
ALL RIGHT.
AND I'M GONNA MOVE-- IT'S IMPORTANT TO MOVE TOWARDS THE SHOULDER.
SO THIS DIRECTION?
IF I BORE IT OUT THAT WAY, I'M GONNA DRIVE MY PINS AND OPEN THAT JOINT UP WITH MY PINS, AND THAT'S REALLY EMBARRASSING.
YES, YES.
THAT WAS CALLED SLACK-BORING.
SO THERE YOU GO.
OH, LOOK.
IT DOES CUT JUST FINE.
ALL RIGHT.
THE NICE THING--IT COMES THROUGH THE BACK WITHOUT SPLITTING THIS THIN TENON.
A REGULAR AUGER BIT WOULD SHATTER THIS 5/16" TENON.
I HAVE ENOUGH PROBLEMS.
I DON'T NEED TO RUIN THAT.
HA HA HA!
NOW, IS THIS WOOD-- THIS HAS DRIED A GOOD BIT, BUT I CAN STILL FEEL A LITTLE BIT OF MOISTURE.
YEAH.
YOU WANT THE TENONS SOMEWHAT DRY.
I MEAN, WE DON'T NEED TO ACHIEVE BONE-DRY, LIKE A CABINETMAKER HAS, BUT I DON'T WANT THEM SOPPING-WET AT THIS STAGE.
OK.
SO THESE ARE THROUGH, BUT THEY'RE SLIGHTLY OFFSET BACK TOWARDS THE SHOULDER FROM THE ONES THAT ARE HERE IN THIS PIECE RIGHT NOW.
YEP.
ALL RIGHT.
SO, NOW WHAT?
WELL, THEN WE'D DO THE WHOLE SET OF THEM.
AND WE CAN MAYBE SEE... MM-HMM.
WATCH IT.
WANT TO DO A TEST HERE?
AND I DON'T KNOW HOW WELL THAT WILL SHOW UP, THAT OFFSET, IF YOU CAN SEE THAT LOOKING THROUGH THERE.
WELL, USUALLY, YOU KNOW, YOU HAVE TO REAM IT JUST A LITTLE BIT WITH A DRAWBORE PIN, IN ORDER TO GET CLEAR.
I JUST HAPPEN TO HAVE ONE RIGHT HERE.
SO WE COULD BACK THAT OUT A TOUCH.
AND YOU CAN SEE THE-- OH, THAT'S TOO MUCH.
NOW DRIVE THAT PIN IN THERE, AND YOU'LL SEE THE ACTION OF WHAT'S GONNA HAPPEN.
ALL RIGHT.
LET ME SEE.
LET ME SET IT DOWN.
OH, OK.
I ALREADY PULLED IT UP.
JUST THAT.
IT'S JUST THAT TINY BIT OF MOVEMENT.
SO IF I DO THAT OFFSET-- LET ME DO IT AGAIN HERE.
LET'S LAY IT DOWN FLAT, THOUGH, LIKE WE'RE REALLY DOING IT.
AND I'LL SET IT PRETTY CLOSE.
ALL RIGHT.
AND NOW THIS IS GONNA FEED INTO THAT OFFSET.
IT'LL JUST START TO SNAKE THROUGH THOSE TWO HOLES.
MM-HMM.
AND SHOULD PULL IT TOGETHER.
LOOK AT THAT.
ALL RIGHT.
AND SO DRIVE THAT IN.
SO YOU PUT THESE PINS IN TO PULL IT UP, AND THEN REPLACE THEM WITH THE WOODEN PEGS.
ALL RIGHT.
NOW, THIS IS WHY YOU SAY THESE PEGS HAVE TO BE SO GOOD.
HOW LONG IS A PEG LIKE THAT GONNA LAST?
[RINGING] WHAT HAVE YOU GOT THERE?
OH, A LITTLE PEG.
HA HA HA.
THAT PEG I TOOK OUT-- THAT'S A BEAT-UP PEG.
IT'S NOT BEAT-UP.
THAT PEG HAS DONE JUST WHAT IT NEEDED TO DO FOR THE LAST 350 YEARS.
I TOOK IT OUT OF A 17th-CENTURY NEW ENGLAND CHEST.
I VERY CAREFULLY-- DID YOU HAVE PERMISSION FOR THIS?
I OWN THE CHEST.
AND IT WAS IN A RESTORATION PROJECT.
AND I HAD TO BACK THAT OUT.
IT TOOK 45 MINUTES TO GET THAT 1 3/4" PIN OUT OF...OUT OF THE STILE OF A CHEST.
AND SO THAT OAK WAS IN THERE AND BENT LIKE THAT BEING PULLED INTO THAT SHOULDER.
SO MOXON'S DESCRIPTION IS ONE THING, AND THEN THIS IS ANOTHER.
SO WE KNOW THIS IS WHAT WAS GOING ON.
SO THIS IS GOOD FOR THE FIRST 350 YEARS THEN.
YEAH, AND THEN YOU'RE ON YOUR OWN.
HA HA!
OK. WELL, I'LL TELL YOU, LET'S GO AHEAD AND PUT THIS TOGETHER THEN AND TAKE A LOOK AT THAT BOTTOM.
I THINK THAT'S ALL WE HAVE LEFT, THAT INTERESTING KEYSTONE BOTTOM.
SURE.
AND I BET WE CAN GET THIS-- ALL RIGHT.
LET'S LEAVE THE TILL OUT.
JUST SKIP THE TILL.
I DON'T WANT TO FOOL WITH THE TILL.
I LIKE TO HAVE THEM, BUT I DON'T LIKE TO MAKE THEM.
YEAH.
ALL RIGHT.
SO THAT'S GOOD.
ALL RIGHT.
NOW IF WE TURN IT TOWARDS YOU... ALL RIGHT.
WE COULD SEE A LITTLE BIT BETTER DETAIL ABOUT THAT.
SO THIS WOULD BE ALL DRAWBORED AND PEGGED.
SURE.
THE FLOOR GOES IN AFTER ASSEMBLY.
AND ESSENTIALLY THIS IS A PANEL, BUT IT'S FREE ON ONE SIDE.
YOU DON'T HAVE IT, UH... THAT'S RIGHT, YEAH.
I'VE MADE IT OUT OF SOME RANDOM WIDTHS OF WHITE PINE, AND I'VE CUT THAT GROOVE.
THAT GROOVE IN THE BACKSIDE THERE.
YEAH.
SO IT'S BEVELED ON THESE TWO SIDES AND NOTCHED AROUND THE STILES.
SO THAT CAN COME ALL THE WAY TO ME.
WELL, IT'S JUST LIKE THE WAY THE PANELS FIT, EXCEPT IT HANGS OVER ON THIS SIDE, BECAUSE THIS RAIL HERE IS MADE HIGHER-- WE WOULD SAY IT'S UPSIDE-DOWN.
SURE, YEAH.
BUT THE BOTTOM OF THIS RAIL IS EQUAL TO THE TOP PART OF THE GROOVE IN THE SIDE RIGHT HERE.
ALL RIGHT.
SO THIS FITS IN LIKE THAT.
SO MAKING THE FLOOR REQUIRES AT LEAST TWO CONSECUTIVE THOUGHTS.
HA HA HA!
THAT'S SO TOUGH!
SOME DAYS IT'S A STRUGGLE.
ALL RIGHT.
AND NOW LET ME DO THIS HERE.
THIS IS PRETTY COOL.
THIS YOU HAVE GONE DOWN WITH A RABBET PLANE AND DONE THE SHOULDERS.
AND THEN JUST BEVELED THE BACK JUST LIKE WE DID THE PANEL, AN AX AND A PLANE.
A SIMPLE WAY TO MAKE THAT TONGUE.
ALL RIGHT.
SO THIS IS GONNA- UH.
FLIP IT.
FLIP IT?
OH, SORRY.
YOU'RE UPSIDE-DOWN.
AH, SO YOU SEE-- YOU ONLY DO WHAT YOU SEE.
YOU'VE NEVER SEEN ANYBODY PUT THIS IN UPSIDE-DOWN.
OH, I'VE SEEN EVERYTHING.
ALL RIGHT.
AND I'VE GOT A LITTLE, TINY MALLET HERE.
SURE, A SMALL ONE.
TO TAP THAT IN.
SHOULD GO RIGHT IN THAT GROOVE.
LOOK AT THAT.
AND THAT'S IT.
AND THAT LOCKS IT UP.
AND THAT EXPANDS THIS OUTWARD LIKE THAT SO THAT THE BOTTOM IS FITTING JUST FINE.
WHY DON'T YOU STAY HERE.
LET'S TAKE A LOOK AT THE PART THAT YOU DISLIKE THE MOST-- FITTING THE TILL.
ALL RIGHT.
SO HERE IS--IF WE TURN THIS AROUND ABOUT THIS WAY, I CAN SEE THAT TOP NOW.
SO YOU GET THAT TOP TENONED IN.
SURE.
SO I MAKE A CARDBOARD TEMPLATE TO WORK OUT... WORK OUT THOSE... HA HA HA.
OK.
BITS AND PIECES.
AND THEN THERE'S NOTCHES IN THE STILES AND IN THE INSIDE FACES OF THE FRONT AND REAR RAIL.
ALL RIGHT.
WELL, IT'S A FANCY...
WHICH ONE DID YOU SAY?
ONE OF THOSE IS WIDER THAN THE OTHER.
WELL, IT'S CUSTOM-FITTED.
I MEAN, THERE'S NOTHING-- DO YOU KNOW ANY MEASUREMENTS AT ALL IN THIS WHOLE PIECE HERE?
MAYBE A COUPLE.
HA.
OK.
SO THAT FITS IN THROUGH THERE.
AND WE'D CALL THESE DADOES ACROSS THE GRAIN.
I CALL THEM NOTCHES.
NOTCHES.
ALL RIGHT.
SO THIS WILL FIT IN HERE.
AND THIS TILL WOULD BE FOR HOLDING LITTLE VALUABLES AND SO FORTH.
SURE.
SMALLER STUFF THAT WILL GET BURIED IN ALL THE TEXTILES INSIDE THE CHEST.
ALL RIGHT.
AND MAINLY FOR TEXTILES.
BUT ONE OF THE THINGS IT MIGHT HOLD ARE THE HINGES.
DO YOU HAVE THOSE GIMMAL... YEAH.
AND THESE HAVE A NEAT NAME.
YEAH.
AND I HAVE... WELL, I'VE ALWAYS KNOWN THEM, BY THE TERM SNIPE-BILL HINGES, AND I FOUND A 17th-CENTURY DOCUMENT ABOUT THINGS TO BRING FROM ENGLAND TO THE NEW WORLD, AND IT SAID "GIMMOES" FOR CHESTS.
AND I STARTED TO TRACE "GIMMOES" AND CAME UP TO GIMMALS-- G-I-M-M-A-L-S. AH.
WHICH MEANS GEMINI, THE TWINS.
OH, NO KIDDING?
AND I HAVE TWINS AT HOME.
SO I ALWAYS CALL THEM GIMMALS.
YOU OUGHT TO NAME THEM AFTER THE TWINS.
BUT ANYWAY, THESE GO IN HERE.
LET'S TRY THAT ON THE LID NOW.
TO THIS IS GONNA GO IN HERE AT A DIAGONAL AND COME OUT THE TOP.
COME UP THROUGH THE LID.
UP THROUGH THE LID SO YOU CAN SEE THIS.
AND THEN THEY SPREAD LIKE A COTTER PIN.
AND THAT WILL DO IT.
AND THE OTHER THING YOU ALWAYS SAY YOU SEE IS WHERE A LOCK WAS, BUT THEY'RE ALWAYS GONE.
THEY'RE ALWAYS GONE.
SOMETIMES YOU'LL STILL HAVE THE ESCUTCHEON, BUT A LOT OF TIMES YOU'LL HAVE A LOT OF PRYING AND TORN-UP GRAIN AROUND WHERE THERE USED TO BE A LOCK.
WELL, WE USED TO BE HERE, BUT NOW WE'VE GOT TO GO.
SO PETER, PETER FOLLANSBEE, THANK YOU SO MUCH.
I APPRECIATE IT VERY MUCH.
AND WE'LL SEE YOU NEXT TIME HERE IN "THE WOODWRIGHT'S SHOP."
SO LONG.
LEARN MORE ABOUT "THE WOODWRIGHT'S SHOP" AND TRADITIONAL WOODWORKING ON OUR WEBSITE.
YOU CAN FIND US ONLINE AT pbs.org.
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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.