Hollows & Rounds

ANNOUNCER: MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... [WIND BLOWING] [CAT MEOWS] [THUNDER] [CRASH] [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.

I'M VERY GLAD YOU CAN BE WITH ME AGAIN TODAY.

NOW, YOU KNOW, WHEN YOU GO TO AN ANTIQUE STORE, WHAT ARE THE TWO THINGS YOU'RE MOST LIKELY TO SEE?

ONE IS THESE VERY SIMPLE PLANES CALLED HOLLOWS AND ROUNDS.

THEY'RE BOUND TO HAVE THEM.

AND THE OTHER THING YOU'RE LIKELY TO SEE IS BILL ANDERSON THERE CHECKING THEM OUT, EH, BILL?

GOOD TO SEE YOU AGAIN.

ALL RIGHT, BILL.

NOW, THESE ARE...

THEY'RE COMMON AS THEY CAN BE, AREN'T THEY?

THEY'RE...THESE ARE VERY COMMON PLANES, AND THEY'RE QUITE SIMPLE IN THEIR DESIGN.

THEY HAVE NO DEPTH STOP, NO FENCE.

THEY'RE NOT USED IN ANY PARTICULAR SPRING ANGLE.

YOU'RE GONNA HAVE TO EXPLAIN.

ALL RIGHT.

NOW SHOW US WITH THAT OTHER... LET ME SHOW YOU HERE ON THIS OTHER PLANE RIGHT HERE.

THIS PLANE HAS A...

IT'S A FENCE.

ALL RIGHT.

AND THAT JUST KEEPS HOW FAR IN IT GOES.

HOW FAR IN IT GOES.

AND THEN IT HAS A DEPTH STOP, SO HOW FAR DOWN IT GOES.

UH-HUH.

AND THEN IT'S GOT THIS PROFILE, AND IT'S HELD AT A CERTAIN ANGLE TO HELP KEEP IT ON THE WOOD AND FOR A COUPLE OTHER REASONS AS WELL.

LET'S SEE THAT CUT THERE FOR A SECOND.

NOW, THIS IS AN OGEE PLANE, YEAH.

AND YOU'RE WORKING IN LOVELY CEDAR THERE.

YEAH!

THERE YOU GO.

BEAUTIFUL STUFF.

NOW, THESE PLANES, HOWEVER, DON'T HAVE ANY OF THOSE.

THEY'RE FREEFORM.

AND YOU KNOW, ONE OF THE ADVANTAGES OF THAT IS THAT THE PLANE CAN BE USED WHICHEVER WAY THE GRAIN IS GOING ON THE WOOD.

THIS PLANE IS RESTRICTED TO GOING TO THE LEFT FORWARD AND THESE, DEPENDING ON HOW THE GRAIN GOES, EITHER WAY.

SO YOU HAVE THE OPPORTUNITY OF WORKING WITH THE WOOD IN A MORE ADVANCED WAY, SO TO SPEAK.

I SEE.

SO IF THE GRAIN DIVES ONE WAY, YOU CAN COME BACK ON.

IF THE GRAIN DIVES, AND HOW MANY TIMES HAVE YOU RUN ACROSS A PIECE OF WOOD WHERE THE GRAIN DIVES?

ABSOLUTELY.

LET'S SEE HOW THESE WORK.

CAN YOU SHOW US THESE ON THAT YOU'RE CUTTING?

SO WE'VE GOT A PROFILE HERE WITH TWO CURVES, AN OUTSIDE CURVE AND AN INSIDE CURVE.

AND THAT IS CALLED AN... OGEE.

IT'S A VERY CLASSICAL MOLDING.

AND THESE PLANES HERE, AN INSIDE CURVE, THESE ARE ROUNDS.

THEY CUT A HOLLOW, THOUGH.

SO THEY CUT THE OPPOSITE OF THE WAY THEY'RE SHAPED.

MOST PLANES ARE NAMED BY THE WAY THAT THEY SHAPE A CUT.

LIKE A TONGUING PLANE LOOKS LIKE A GROOVE, BUT IT CUTS A TONGUE.

OR EVEN THE OGEE PLANE.

FOR EXAMPLE, CUTS AN OGEE.

BUT THESE PLANES HERE CUT FOR THE OPPOSITE OF WHAT THEY ARE.

SO YOU WORK THESE TWO TOGETHER BACK AND FORTH TO FAIR OUT THE TRANSITION FROM ONE PART OF THE CURVE TO THE OTHER PART, LIKE THAT.

SO YOU COULD DO THIS "S" SHAPE HERE DOWN THE ENTIRE LENGTH OF A MOLDING IF YOU WANTED TO.

AND BY COMBINING DIFFERENT ONES-- I MEAN, BECAUSE THESE ARE-- THERE ARE MILLIONS OF THESE, MILLIONS OF THESE DARNED THINGS.

AND WITH THIS PLANE HERE, YOU CAN CUT A SINGLE PROFILE WITH A SINGLE PLANE, AND THAT'S IT.

WITH THESE, YOU HAVE NO RESTRICTIONS ABOUT THE SHAPE OR KIND OF DESIGN ELEMENTS YOU MIGHT WANT IN YOUR MOLDING OR WHATEVER.

COMBINE A BIG AND A SMALL?

A BIG AND A SMALL AND DIFFERENT... AND OTHER PLANES AS WELL, SO... WELL, IT SEEMS TO ME, IN ORDER TO DO THIS, ONE WOULD NEED A WHOLE LOT, AND YOU ARE THE MAN WITH A WHOLE LOT, AND I DON'T EVEN WANT TO APPROACH THIS, BECAUSE THIS IS, LIKE, THE HOLY GRAIL...

THIS IS THE LEANING TOWER OF PISA OF PLANES.

OF PLANES HERE.

THIS IS A FULL SET OF PLANES.

A FULL SET.

ALL RIGHT.

FROM ONE THROUGH 18, AND THESE PLANES ARE PARTICULARLY NICE IN THAT THEY HAVE A STEEP BED ANGLE HERE FOR THE IRONS.

SO THIS IS NOT SO... NOT 45 DEGREES, BUT ACTUALLY KICKED UP A LITTLE HIGHER.

55 DEGREES.

SO THEY'RE WHAT'S CALLED A MIDDLE PITCH.

AND THIS IS THE NUMBER ONE HERE?

A HOLLOW.

SORRY.

ROUND.

AND HERE IS THE NUMBER ONE HOLLOW.

JUST TINY, LITTLE... AND YOU CAN SEE ALSO THAT ANOTHER CHARACTERISTIC-- OH, LET ME GET ONE OUT, BECAUSE I THINK THIS IS GREAT.

THEY'RE SKEW-IRONED.

THIS IS NOT THE REGULAR SQUARE ACROSS, BUT IF YOU LOOK AT THE... YOU GOT THAT HELD THERE?

I DON'T WANT IT TO COLLAPSE.

IF YOU LOOK AT THAT IRON, DO YOU SEE HOW THE IRON, AS WE CALL IT, IS NOT AT 90 DEGREES TO THE THRUST OF THE PLANE?

IT'S SKEWED BACK SLIGHTLY LIKE THAT.

AND THIS MAKES THE PLANE USEFUL FOR ACROSS THE GRAIN, ON THE ENDS OF BOARDS, AND ALSO FOR MORE FIGURED GRAIN.

AND CUTS SMOOTHER.

AND NOW, YOU SAY THIS IS A FULL SET.

NOW, MORTALS LIKE ME HAVE HALF SETS.

WE HAVE JUST THE EVENUMBERS.

BUT THIS ONE, SEE RIGHT THERE, THAT IS A WHAT?

A NUMBER...

IT LOOKS LIKE A 19.

15.

ISN'T THAT A 15?

YEAH.

A 15.

AND YOU SAY THAT RELATES TO THE SIZE...

THE 15 RELATES TO THE WIDTH OF THE PROFILE OF THE PLANE.

AND YOU SEE THAT THEY... ALL THESE PLANES HAVE AN ARC, A SIMPLE ARC, AND THAT ARC THERE IS MEASURED IN SIXTEENTHS OF AN INCH.

SO THAT'S FROM THERE TO THERE.

AND THEN DOWN THE RADIUS IS AN EQUILATERAL TRIANGLE FROM THERE, IN SIXTEENTHS OF AN INCH...

UNLESS IT ISN'T.

HA HA HA!

OK. BECAUSE DIFFERENT MAKERS... LET ME SEE IF I'VE GOT THIS GOING BACK IN THE RIGHT WAY.

HERE YOU GO.

ALL RIGHT.

JUST LIKE THAT.

YEAH.

WOW.

ANOTHER SUCCESS.

YEAH.

WELL, I DON'T WANT TO KNOCK THIS THING OVER, BECAUSE THIS IS A WONDERFUL, WONDERFUL SET.

BUT LET'S TAKE A LOOK.

I'M GONNA GO AROUND AND GET...

I'M GONNA GET OUR CHALKBOARD HERE TO SEE IF I CAN EXPLAIN THIS AS I UNDERSTAND IT, THE WAY THIS WORKS HERE.

SO IF I WERE TO DRAW A LINE, JUST A BASELINE HERE, AND FROM THAT POINT DO AN EQUILATERAL TRIANGLE.

SO THERE'S AN ARC THERE.

AND THEN I'LL DO ANOTHER ARC HERE, AGAIN THE SAME DISTANCE.

SO YOU'RE LOOKING FOR A CENTER POINT HERE TO DRAW YOUR ARC FROM.

AND THEN FROM THAT POINT RIGHT THERE, I DRAW AN ARC, AND THAT'S WHAT IT IS.

SO THERE'S THE EQUILATERAL TRIANGLE RIGHT THERE.

THE IMPORTANT THING ABOUT THIS...

THIS CURVE RIGHT HERE IS THAT THAT WIDTH RIGHT HERE OF AN EQUILATERAL TRIANGLE IS THE SAME AS THE RADIUS OF THE CIRCLE THAT THAT PLANE CUTS.

SO YOU CAN TAKE THE MEASUREMENT OFF OF A DRAWING OR OFF A PIECE OF MOLDING, YOU CAN MEASURE THAT AND KNOW WHICH SIZE PLANE TO USE TO REPRODUCE THAT MOLDING.

UNLESS YOU CAN'T BECAUSE THE MANUFACTURER USED A DIFFERENT... A LITTLE BIT DIFFERENT...

BUT THEY'RE ALL CLOSE TO THAT, AREN'T THEY?

AND TO DO, IF I WANTED TO DO AN OGEE, RUN THAT LINE OUT A LITTLE MORE AND AGAIN SET AN ARC EQUAL TO THAT LINE.

SO THERE'S ONE ARC.

THERE'S THE OTHER ARC.

AND FROM THAT POINT, COME DOWN, AND THERE WE HAVE TWO OF THOSE CIRCLES.

THAT MAKES AN OGEE, AND IF I TURN IT THIS WAY, I THINK--LET'S SEE IF I CAN MAKE A MOLDING LIKE THAT.

AND THERE'S A MOLDING ON YOUR CROWN RIGHT THERE.

THERE YOU GO.

AND, UH... WELL, YOU WOULDN'T LEAVE THAT LINE IN THERE.

THAT WOULD NOT BE GOOD WOODWORKING.

BUT THERE YOU GO.

SO THAT'S AN OGEE, AND YOU'VE GOT A PLANE THAT DOES THAT RIGHT HERE.

THIS IS THE PLANE THAT CUTS THE OGEE JUST LIKE...

THE FILLET RIGHT HERE, SPRING LINES RIGHT THERE, AND THEN THE PROFILE LIKE THAT.

BUT WE'RE GONNA DO THIS.

YOU'RE GONNA ACTUALLY SHOW US NOT HOW TO MAKE THE MOLDING, BUT HOW TO MAKE THE PLANE... WE'RE GONNA MAKE AN OGEE PLANE THAT I'VE BEEN WORKING ON.

USING THESE TOOLS HERE, OK.

SO LET'S SEE.

I'VE BEEN WORKING ON LAYING OUT AND DESIGNING AN OGEE PLANE, AND WITH A PROFILE SIMILAR TO THE ONE WE HAVE HERE.

AND IT LOOKS LIKE YOU'VE GOTTEN PRETTY WELL UNDERWAY.

THAT'S FLIPPED AROUND.

AND THIS IS IN POPLAR NOW, IS THAT RIGHT?

THIS IS IN POPLAR.

JUST EASIER TO WORK WITH AND TO SORT OF LAY THINGS OUT.

BUT YOU SEE I'VE GOT THE PROFILE LAID OUT HERE.

I'VE GOT SPRING LINES LAID OUT HERE TO HELP DESIGN WHERE THE PROFILE SHOULD BE.

I'VE ALREADY CUT THE HANDLE ON THIS.

THAT'S THIS CUTAWAY PART UP HERE, CALLED THE HANDLE.

RIGHT THERE, AND THE OTHER THING I DID IS I ALREADY SAWED, WHILE THE STOCK WAS SQUARE, I SAWED OUT THE...

THE BED ANGLE AND THE BREAST HERE SO THAT I COULD TAKE ADVANTAGE OF THE SQUARENESS OF THE STOCK TO MAKE THOSE SAW CUTS.

I SEE.

OK.

BUT YOU DO THAT BEFORE-- YOU DID THAT EVEN BEFORE YOU TOOK THIS RABBET OUT?

RIGHT.

IT WAS ALL SQUARE.

AND I LEFT ALL THIS WASTE IN SO THAT I COULD USE THAT AS SUPPORT FOR SHAPING THE PROFILE.

OH, VERY CLEVER.

BUT YOU TEACH MAKING PLANES.

I'M TEACHING MOLDING PLANES, YEAH, SO...

SO YOU FIGURED THIS OUT PRETTY MUCH.

THESE ARE THE LINES, THEN, FOR THE WEDGE AND THE IRON CUTTER TO GO IN THERE.

WE'RE GONNA SEE HOW TO CUT THE PROFILE.

BUT AGAIN, IN POPLAR.

WE'RE JUST TESTING THIS.

THIS WILL NOT BE A FINISHED PLANE.

ALL RIGHT.

WELL, LET'S GET THAT CEDAR OUT OF THERE.

THE...THE WOOD THAT WE WOULD NORMALLY USE WOULD BE BEECH, AND IN EUROPE, BEECH WAS THE, UM...

UH...ABOUT 70% OF THE OVERSTORY OF WOOD THERE.

SO IT'S PLENTIFUL.

IT'S A STRAIGHT-GRAINED STABLE WOOD.

WELL, THIS IS A BEECH PLANE RIGHT HERE, THE ONE YOU'RE GONNA USE.

THIS IS A SOPHISTICATED RABBET PLANE?

A VERY SOPHISTICATED RABBET PLANE, SKEWED.

UH-HUH.

SKEWED IRON DOWN THERE, SO THE CUTTER-- LET ME TAKE THAT SHAVING OUT OF THERE.

BUT YOU CAN SEE THE CUTTER RIGHT THERE IS AT AN ANGLE TO THE THRUST, JUST LIKE THE MOLDING PLANES WE WERE LOOKING AT.

AND THERE'S THE FENCE, ADJUSTABLE, AND... A DEPTH STOP.

UH-HUH.

AND I'VE LAID OUT ONE RABBET HERE ALREADY.

THE GOAL HERE ON LAYING OUT THIS PROFILE FOR A MOLDING PLANE IS TO BLOCK OUT AS MUCH MATERIAL WITH SIMPLE SQUARE PLANES SO THAT WE CAN GET RID OF THE WASTE BUT STILL KEEP A REFERENCE SURFACE HERE FOR WHEN WE USE OUR MORE COMPLICATED TOOLS.

SO A VERY SYSTEMATIC APPROACH.

AND I'VE DONE ONE RABBET HERE, AND WE'LL GO AHEAD AND LAY OUT A SECOND RABBET BASICALLY THAT TAKES OUT THAT BIT OF WASTE RIGHT IN THERE.

AND I'VE ALREADY SET THIS PLANE UP FOR THAT PURPOSE.

NOW, WHEN YOU'RE USING A RABBET PLANE LIKE THIS OR ANY SORT OF PLANE FREEHAND, YOU WANT TO KEEP YOUR RABBET, YOUR GROOVE SQUARE TO THE SURFACE.

IN OTHER WORDS, NOT TILTED.

DON'T TILT OVER.

ALL RIGHT.

BECAUSE THIS WILL KEEP CUTTING PAST THE DEPTH STOP IF YOU TILT.

IF YOU TILT, YEAH.

THE WHOLE POINT OF THIS IS THAT YOU'VE GOT...

VERY PRECISELY MEASURED STEPS DOWN, ALWAYS WORKING FROM A REFERENCE SURFACE, FIRST THIS ONE WHEN YOU DID THE OTHER ONE, NOW YOU'RE USING THAT SECOND SURFACE.

I'VE GOT THE PROFILE ON BOTH ENDS OF THIS STOCK SO I KNOW.

I CAN CHECK FROM BOTH ENDS, TRY AND KEEP IT SQUARE.

IS THAT IT?

THAT WAS QUICK.

SO THAT'S ABOUT IT.

THAT'S PRETTY MUCH... AND YOU CAN SEE, THOUGH, HERE'S THE PROFILE.

WE'VE TAKEN OFF A WHOLE LOT OF WASTE MATERIAL.

LET ME USE MY LITTLE IN-BUILT DIGITAL MICROMETER RIGHT HERE AND LAY OUT A STRIKE LINE.

WE'RE GONNA TAKE OUT THIS MATERIAL RIGHT DOWN THERE, WHICH IS THE DEPTH STOP.

AND AGAIN, THIS IS WHAT WE'RE AIMING FOR.

THIS IS THE FINISHED PLANE RIGHT HERE.

SO YOU'RE GONNA DO THIS SHOULDER, THE DEPTH STOP, RIGHT THERE.

AND I'M GONNA USE A LITTLE RABBET PLANE HERE.

YOU CAN SEE, A PLANE WITH IRON ALL THE WAY ACROSS.

AND THIS IS A PLANE YOU MADE.

I MADE THAT.

AGAIN OUT OF BEECH.

AMERICAN BEECH, THOUGH.

AMERICAN BEECH, YEAH.

ALL RIGHT.

THERE YOU GO.

AND THE WAY TO START A RABBET IS TO SORT OF TILT THE PLANE OVER AND FOLLOW A GAUGE LINE OF SOME SORT OR A PENCIL LINE.

YOU'RE USING YOUR FINGERS.

AND USE YOUR FINGERS AS A FENCE TO SORT OF GET IN THERE AND GENERATE A SHOULDER THAT YOU CAN WORK AGAINST.

YEAH.

AND AS WE GO DOWN, WE'LL START TO TRY AND ANGLE THE PLANE TO FOLLOW THE SPRING LINE OF THE LAYOUT HERE.

SPRING LINE'S HARD TO UNDERSTAND IF YOU'RE NOT SEEING IT, BUT THAT'S-- YOU TILT THE PLANE OVER IN USE IN ORDER TO...

EXACTLY.

MAKE IT CUT PROPERLY, AND A LOT OF REASONS FOR THAT.

SO...I'LL WORK AT BOTH SPRING ANGLES, THIS ONE HERE AND THIS ONE HERE, WORKING THAT FENCE DOWN.

LOOK AT THAT.

AND THEN... HA HA.

THAT'S FUNNY.

WE SAID THIS PLANE DOESN'T HAVE A FENCE AND THAT THE HOLLOWS AND ROUNDS DON'T HAVE A FENCE, BUT YOUR FINGERS ARE THE FENCE.

SO YOU HAD THE FENCE.

YOU HAD THE FENCE.

THE THING ABOUT MAKING A PLANE IS YOU'VE GOT TO FOLLOW THE LAYOUT LINES.

OTHERWISE, YOU JUST WIND UP WITH A PIECE OF WOOD AND A PIECE OF METAL AND...

INSTEAD OF A TOOL.

THIS PROFILE HAS GOT TO BE STRAIGHT ALL THE WAY FRONT TO BACK.

IT'S GOT TO BE STRAIGHT AND EVEN.

SYSTEMATIC.

UH... A LOT OF THIS IS JUST BY EYE AND EXPERIENCE ABOUT GETTING THESE ANGLES JUST RIGHT.

SO WE'RE GONNA SWITCH TO ANOTHER TOOL NOW.

SO THAT'S STEPPED IN, WE'D SAY, OR BLOCKED IN.

IT'S BLOCKED IN, AND YOU CAN SEE HOW MUCH OF THE WASTE WE'VE TAKEN AWAY.

SO I'M GONNA COME THROUGH WITH A... OH, THAT LOOKS GREAT, YEAH.

OUT-CANNELLED GOUGE HERE.

IT'S BEVELED ON THE OUTSIDE FACE THERE.

OK. AND THE CURVE THAT I'VE SELECTED FOR THIS GOUGE IS A LITTLE BIT TIGHTER THAN THE CURVE OF ANY ONE OF THESE CURVES THERE.

SO I CAN WORK IN HERE AND NOT WORRY ABOUT HITTING THE SHOULDERS, AND WHAT I'M GONNA DO IS JUST USE THIS TO REMOVE WASTE AND GET AN IDEA OF REALLY WHAT'S GOING ON WITH THE GRAIN, BECAUSE I'M GONNA COME IN HERE WITH A PLANE, AND I WANT TO KNOW WHICH DIRECTION TO RUN MY PLANE, AND I WANT TO BE ABLE TO READ THE GRAIN PRETTY...PRETTY WELL.

SO THAT SPLITTING AHEAD OF THE TOOL IS ACTUALLY USEFUL TO YOU IN TELLING YOU THE GRAIN.

IT LETS ME KNOW WHAT'S GOING ON.

YEAH.

SO USUALLY YOU TRY AND AVOID THAT SPLITTING, BUT HERE IT'S, UH...HELPFUL.

I'M JUST TRYING TO KNOCK OUT WASTE HERE UP TO A POINT WHERE I'M CONFIDENT ABOUT GOING TO THE HOLLOWS AND ROUNDS.

I'LL TAKE OFF--OOPS.

OOP.

GET THIS OTHER ONE HERE.

NOW, THIS IS THE... A LITTLE BIT DOWN HERE.

LET ME MAKE ONE MORE GAUGE LINE RIGHT HERE REAL QUICK.

THIS IS THE TOP OF THE FILLET ON THE PLANE HERE.

SO I WANT TO GO BELOW THAT LINE.

SO I'LL JUST TAKE OUT JUST A LITTLE BIT OF A HOLLOW RIGHT IN THERE.

I'M LOOKING AT THE SIZE OF THE SHAVING AS I GO ALONG, TRYING TO KEEP THAT CONSTANT.

I'M CONSTANTLY RAISING THE HANDLE OF THE CHISEL AS I GO ALONG TO KEEP THE CUT GOING.

NOW, YOU'RE DOING THIS ON A RELATIVELY SHORT PIECE HERE, THIS MAKING A MOLDING PLANE.

IF YOU'RE DOING A BIG LONG MOLDING, SAY, LIKE FOR A ROOM, YOU'D DO THE SAME THING, GOUGE IT IN, BLOCK IT IN?

IN FACT, IF YOU LOOK AT THE OLD WRITINGS THAT PEOPLE HAVE... PLANE-MAKERS FROM WAY BACK...

THE FIRST THING THEY SAY WHEN YOU START CUTTING A PIECE OF MOLDING, GRAB YOUR GOUGE.

SO...

GRAB THE OLD...

GRAB YOUR GOUGE.

USE THIS ROUND PLANE TO TAKE OUT ALL THE INEQUITIES THAT WE'VE GENERATED WITH THE, UM...

UH...GOUGE.

AND AGAIN I NEED TO USE MY, UH...

UH, FINGERS HERE AS A FENCE TO SORT OF KEEP FROM RUNNING OFF THE EDGE, AND I'M WORKING ACROSS THE FULL ARC OF WHAT I'M DOING HERE TO GET THAT CURVE SMOOTH.

WE'LL DO A LITTLE BIT OF THAT.

AND THEN THIS HIGH SPOT HERE WE'LL TAKE OFF WITH THE HOLLOW LIKE SO.

MM-HMM.

AND LIKE YOU SAID ABOUT, IF THE GRAIN IS RECALCITRANT, CHANGING-- WE'LL COME BACK THE OTHER WAY.

YOU TURN BACK AND COME BACK THE OTHER WAY.

OK. AND, UH...

THERE'S THE HOLLOW MAKING A ROUND.

HA HA.

THE HOLLOW MAKING A ROUND.

SO WE WORK THAT THROUGH.

AND THEN, AS I SAID, WE'LL... WE'LL TRY AND FAIR THESE OUT JUST A LITTLE BIT.

AND AGAIN, THESE ARE...

IT LOOKS LIKE THIS IS A NUMBER 9.

THIS IS A NUMBER 9.

YOU'RE GETTING TO SHOW OFF THAT YOU HAVE A FULL SET, BECAUSE HALF SETS ARE ONLY EVEN NUMBERS.

I CHOSE THESE PLANES BASED ON CURVE.

YOU'RE ACTUALLY LAYING THE PLANES UP AGAINST THE... UP THE CURVE.

YOU'RE NOT SHOWING OFF THEN.

WELL, I COULD BE SHOWING OFF.

YOU COULD BE.

YOU NEVER KNOW.

YEAH.

BUT ANYWAY, YOU'RE TRYING TO MATCH IT TO THAT CURVE DOWN THERE.

WE'RE GONNA MATCH IT TO THAT CURVE.

AND WHEN I'M CLOSE THERE, I'LL TURN TO ONE MORE TOOL HERE REAL QUICK.

OH, YEAH.

NOW THIS IS COOL, TO GO FROM VERY... FROM THE GOUGE TO THE PLANE TO THIS, A FIXED SCRAPER.

I THINK YOU NEED TO OPEN THE VISE MAYBE ONE MORE TURN THERE.

IS THAT RIGHT?

YEAH.

THERE YOU GO.

NOW YOU'RE IN.

SO THIS IS A...A SCRATCH STOCK DEVICE HERE TO HOLD MY PLANE AND HOLD IT IN HERE NICE AND STEADY.

SO YOU'VE GONE FROM THE CRAFTSMANSHIP OF RISK, AS THEY SAY, WITH YOUR...WITH THIS THING DOWN TO THE PLANE, WHICH IS MORE CERTAIN, AND THIS THING IS WAY CERTAIN.

SO I'VE MADE A SCRATCH STOCK JUST FROM A PIECE OF TOOL STEEL.

YEAH.

ALL RIGHT.

IT'S A SCRAPER.

YEAH.

IT'S REALLY A SCRAPER.

AND...AND I MADE A LITTLE CRADLE TO HOLD THIS IN, AND I CAN ADJUST IT WHICHEVER WAY.

AND I TEACH A LOT OF MOLDING PLANE CLASSES.

SO, UM...MY STUDENTS DON'T ALWAYS MAKE THE SAME PROFILE, AND THIS WAY, I CAN COME THROUGH-- BECAUSE IT'S ONLY GONNA MAKE THAT ONE SHAPE.

IT MAKES THAT ONE SHAPE.

EASY FOR YOU TO CORRECT AND BRING AROUND.

IT ALLOWS ME TO SMOOTH OUT AND GET THE SHAPE TO EXACTLY THE PROFILE THAT I ACTUALLY WANT.

ALL RIGHT.

AND AGAIN, IN BEECH, THIS WORKS EVEN BETTER, BECAUSE THE POPLAR IS EVEN A LITTLE SOFT.

AND THE BEECH BURNISHES AS IT CUTS SO IT MAKES A REALLY NICE... NICE SURFACE.

BEECH IS WHAT THIS WOULD BE DONE IN.

WE'RE JUST FIDDLING WITH THE POPLAR.

COULD WE SEE THE REST, THOUGH, OF THE...THE PROCESS OF CUTTING OUT THAT THROAT THERE?

WELL, AS I SAID, WE'VE ALREADY GOT THE BED AND THE BREAST.

THIS IS THE BED, AND THAT'S THE BREAST.

WE'VE ALREADY GOT THAT CUT OUT, AND WE USE THAT AS SUPPORT FOR CUTTING THE PROFILE.

AND NOW I'LL JUST CHOP THIS WASTE MATERIAL OUT.

AND, UM...

I GOT IT.

YEAH.

ALL RIGHT.

I'LL GET ME A CHISEL, TOO.

THIS IS ALREADY SAWN.

IT COMES OUT...

PRETTY QUICKLY.

IT'S SO SYSTEMATIC, THOUGH.

YOU'VE GOT TO GET THE MOLDINGS ON THE BOTTOM CUT ONLY AFTER... NOW I'M GONNA COME THIS WAY?

ALL RIGHT.

YEAH.

SO WE'RE BASICALLY JUST FLATTENING OUT THIS PART HERE.

AND THEN WE'LL ACTUALLY CUT A SQUARE MORTISE STRAIGHT DOWN TO THE BOTTOM OF THE CHEEK HERE.

AND THAT'S GONNA OPEN UP A PLACE FOR US TO GO AHEAD AND, UH... AND THIS IS WHAT YOU ARE TALKING ABOUT.

THIS ONE IS ACTUALLY IN BEECH.

SO...AND THAT'S THE MORTISE YOU MEAN.

BASICALLY, YOU SQUARE THIS UP.

AND WE'RE OPENING UP A PLACE THAT WE CAN DRILL DOWN INTO TO MAKE THE MORTISE FOR THE WEDGE AND THE IRON.

AND HERE'S...OK.

THESE ARE YOUR STEPS FROM YOUR TEACHING HERE.

YOU'VE GOT THE... AND I'VE PREPPED THE TOP HERE FOR 3 HOLES, AND I'VE GOT SOME SIGHT LINES.

AND SO I'LL DRILL HERE, AND THEN I'LL USE A SERIES OF TOOLS LIKE CHISELS, FLOATS, AND WHATNOT.

PLANE MAKERS HAVE A LOT OF TOOLS.

A LOT OF TOOLS.

AND MAKE A NICE LITTLE SQUARE MORTISE, A TAPERED, ANGLED SQUARE MORTISE ALL THE WAY DOWN.

NOT YOUR MOTHER'S MORTISE, BUT, UH...

RIGHT.

ALL THE WAY ON DOWN.

BUT, YEAH, IT'S TIGHT IN THERE.

THE NARROWER IT IS, I THINK A LITTLE HARDER TO CUT THERE, BECAUSE YOU'VE GOT TO GET IN THERE AND CHISEL THAT OUT JUST DEAD-FLAT.

COULD WE SEE NOW-- LET'S GO BACK TO THE, UM...

UH, THE OGEE PLANE, THE ONE THAT WE WERE LOOKING AT MAKING, AND JUST SEE HOW THAT WORKS.

BUT I'M GONNA SEE THAT AGAIN.

[COUGHS] EXCUSE ME.

I HAVE CEDAR ALLERGY.

AND WE'RE GONNA SEE HOW THAT PLANE WORKS AND HOW TO TUNE AND SET AND ADJUST ONE OF THESE THINGS HERE.

SO THIS IS THE OGEE PLANE, AND IS IT CUTTING ABOUT RIGHT?

DOES IT SOUND GOOD?

YOU WANT TO GET A NI... WE'RE DOWN PRETTY CLOSE TO THE END OF THE PROFILE ON HERE.

BUT YOU CAN SEE, A NICE FINE SHAVING.

A LIGHT-SOUNDING SNICK AS YOU GO ALONG, AND A GOOD SURFACE.

HAS THIS HIT THE DEPTH STOP YET NOW?

IT'S PRETTY CLOSE THERE.

YEAH, I THINK SO.

ALL RIGHT.

LET'S BRING THAT DOWN.

HAVE I GOT THE PLANE HERE?

BRING THIS DOWN.

YOU SEE WHAT HAPPENS.

YOU CAN'T CUT ANYMORE.

SO YOU HAVE TO GO AND JUST SURFACE THIS.

BECAUSE THE DEPTH STOP HAS ENGAGED.

THERE WE GO.

SO THERE'S A REGULAR TRYING PLANE.

NOW HE'LL TRY THAT PLANE AGAIN.

WE'LL GIVE THIS THING A... YEAH.

IT'S GONNA CUT A LITTLE BETTER NOW BECAUSE HE DOESN'T HAVE THAT DEPTH STOP ENGAGING.

SO HE CAN RUN THAT MOLDING ON DOWN.

NOW, WHAT I'M GONNA ASK YOU TO DO, IF YOU WOULD, IS KNOCK THIS THI APART AND SHOW US HOW YOU ADJUST THIS, BECAUSE ONCE YOU GET ONE OF THESE THINGS-- WE'LL LOOK AT SHARPENING AND ADJUSTING.

THAT'S THE BIG KEY.

WHEN YOU GET READY TO KNOCK THIS APART, YOU MIGHT BE TEMPTED TO HIT THIS RIGHT HERE, BUT THAT WOULD NOT BE-- YEAH, TAKE A MALLET AND HIT THE END OF THAT.

BECAUSE OTHERWISE, WHAT'S IT FOR THERE?

BUT YOU DON'T?

ABSOLUTELY.

THE BEST WAY TO TAKE THESE OFF IS TO WHACK THE NOSE OF THE PLANE SMARTLY... ON THE EDGE OF THE STOP.

YEAH.

AND THAT KNOCKED IT ALL LOOSE.

SO THE WEDGE IS LOOSE, AND THE IRON IS LOOSE.

AND IT'S CALLED THE "IRON" WHY?

IT'S CALLED THE IRON BECAUSE IT'S MOSTLY IRON AND IT'S GOT A LITTLE BIT OF STEEL ON THERE, JUST ON THE FACE SIDE.

IT'S LAMINATED STEEL.

IT'S VERY THIN, A VERY THIN LAYER OF STEEL.

AND THE BODY OF IT IS IRON.

SO RESPECTING THAT IN, YOU ALWAYS CALL IT THE IRON.

ALL RIGHT.

SO SAY WE'VE GOT THIS OUT AND WE WANTED TO SHARPEN IT, HOW WOULD WE DO THAT?

AND I SEE YOU'VE GOT A LITTLE SLIPSTONE.

MOST TIMES WHEN YOU'RE SHARPENING, UH...UH...UH...TOOLS, YOU WILL BRING THE TOOL TO THE STONE AND SHARPEN LIKE SO, BUT REALLY IN THIS CASE, WE'RE GONNA HOLD THE TOOL TIGHT AND BRING THE STONE ACROSS.

AND REALLY, YOU CAN SEE, I'M USING A SLANTING, SLIDING... YOU'RE NOT GOING STRAIGHT DOWN.

TECHNIQUE.

I DON'T WANT TO RUN A GROOVE INTO MY BEVEL HERE.

I WANT TO MAKE A NICE SMOOTH CURVE ALL THE WAY AROUND.

I MAY SOMETIMES GO A LITTLE BIT LIKE THIS ON THE OUTSIDE CURVES, BUT ON THE INSIDE CURVES, I'M WORKING ALL THE WAY THROUGH THE PROFILE LIKE THAT.

I WANT THE BEVEL TO BE BASICALLY FLAT AND STRAIGHT AND ABOUT TWICE AS LONG AS THE THICKNESS OF THE STOCK RIGHT THERE.

SO THIS SHOULD BE TWICE THE THICKNESS RIGHT THERE.

OR 2 1/2 TIMES.

THAT GIVES A GOOD BEVEL LENGTH.

THIS SIDE OVER HERE OULD BE FLAT.

SO DEAD-FLAT BUT POLISHED.

IT'S TEMPTING TO WANT TO WORK IT OVER TO GET THE EDGE, BUT DON'T.

FLAT.

WELL, THE OTHER THING PEOPLE DO-- I KNOW YOU GET ROUNDED ON THIS FACE HERE INSTEAD OF DEAD-FLAT, SO THEY HAVE TO PUSH THE PLANE DOWN REAL HARD.

YOU NEED TO HAVE A DISCIPLINE OF WORKING YOUR BEVEL FLAT AS YOU'RE SHARPENING IT.

IN ORDER TO GET IT TO CUT.

AND SO IT'S JUST LIKE MY FINGERNAIL RIGHT THERE IS NOT ENGAGING.

I'D HAVE TO PUSH THE PAD OF MY FINGER DOWN.

ABSOLUTELY.

SO MAKE SURE THIS IF FLAT SO THAT THE CUTTING EDGE IS WHAT'S TOUCHING AND ALL BEHIND IT IS RELIEF.

ALL BEHIND IT.

ALL RIGHT.

SO, NOW WE'VE GOT IT SHARP, AND WE HAVEN'T ABUSED IT.

NOW YOU'RE GONNA SHOW US HOW TO SET IT UP.

WE'RE GONNA PUT IT BACK IN THE PLANE BODY SO IT REGISTERS AGAINST THE LEFT SIDE OF THE... OF THE, UH...

UH...CHEEK THERE.

AND WE'LL PUT E IRON BACK IN HERE.

AND I HAVE MY FINGER RIGHT ON THE IRON RIGHT HERE SO THAT I CAN TELL THAT THE IRON IS INSIDE.

YOU'RE NOT GONNA CUT YOURSELF?

WELL, I'M NOT GONNA CUT MYSELF.

I DON'T WANT TO DO THAT.

BUT I WANT THE IRON INSIDE.

I'LL SNUG IT OVER TO THE LEFT CHEEK A LITTLE BIT.

AND THEN I'LL SET THE WEDGE WELL.

AND NOW I KNOW THE IRON IS SHY, AND I'LL GO AHEAD AND START ADVANCING IRON, HITTING THE WEDGE.

USING JUST A LITTLE HAMMER.

AND THEN TESTING IT AND SO ON AND SO FORTH.

AND JUST SORT OF CREEP UP TO... A PERFECT... HA HA HA!

WELL, THAT'S JUST WHAT IT TAKES.

AH.

THERE YOU GO.

NOW, THAT'S A LITTLE-- THAT'S A LITTLE HEAVY.

IF YOU WANT TO BRING IT BACK...

SO YOU WENT A LITTLE BIT TOO FAR, AND YOU COULD HEAR THAT.

IT WAS CUTTING A LITTLE BIT MORE THAN YOU WANTED.

NOW, THAT SOUNDS RIGHT.

SO TAKING A... AND YOU COULD ADJUST THIS, OF COURSE, FOR A FINER CUT TOWARDS THE END AS WELL, COULDN'T YOU?

HAVE A COARSE CUT TO ROUGH IT IN?

IN THE BEGINNING.

A FINER CUT IN THE END.

AND ALSO A LOT OF TIMES, YOU'LL PLANE DOWN THE TOP SURFACE A WEE BIT ON THE LAST...

WHEN YOU FINALLY GET THE PROFILE DONE AND TAKE ONE MORE STROKE WITH A FINE SET ON THE IRON AND CLEAN UP ANY INEQUITIES YOU MIGHT HAVE GENERATED AS YOU WERE PUSHING THROUGH.

THOSE INEQUITIES WILL CATCH YOU.

NOW, ONE THING IS ALSO, YOU'RE USING THE HOLLOWS AND ROUNDS.

YOU CAN USE THESE TO FIX A PROBLEM WITH A MORE COMPLEX PLANE.

SO IT'S NOT JUST FOR MAKING THE WHOLE THING, BUT FOR SOLVING PROBLEMS.

SAY THE GRAIN WAS BAD.

SEE HOW THAT WOULD WORK.

I WANTED TO WORK OUT A PORTION OF THIS RIGHT HERE THAT I WASN'T QUITE SO HAPPY WITH.

BECAUSE IF THE GRAIN WILL TURN, YOU DON'T HAVE PERFECT GRAIN, THAT'S IT.

IT MAY COME BACK AND SAY, "WELL, ACTUALLY, GRAIN GOES THIS WAY HERE."

AND I SEE ANOTHER THING YOU DO IS RUB THE BOTTOM WITH A CANDLE TO KEEP IT WAXED OR SOMETHING LIKE THAT.

WHERE IS OUR CANDLE?

OH, I CAN'T HOLD A CANDLE TO IT BECAUSE OUR-- THERE YOU GO-- YOU'RE GONNA RUB A CANDLE ON THE BOTTOM.

AND THAT NOT ONLY KEEPS THE WEAR AND TEAR DOWN, BUT MAKES IT CUT MUCH EASIER.

SO THERE YOU GO.

GIVE ME ONE MORE WHACK THERE.

ALL RIGHT, BILL, THIS IS WONDERFUL.

WELL, OUR...HA HA HA!

YOU KNOW, I TELL YOU, AS WE GO AROUND, BILL, OUR TIME GROWS HOLLOW.

SO I THANK YOU.

HOLLOWS AND ROUNDS.

I APPRECIATE IT, BILL ANDERSON.

AND THANK YOU FOR JOINING US.

ROY UNDERHILL HERE IN "THE WOODWRIGHT'S SHOP."

MAY THE GRAIN BE WITH YOU.

SO LONG.

ANNOUNCER: LEARN MORE ABOUT "THE WOODWRIGHT'S SHOP" AND TRADITIONAL WOODWORKING ON OUR WEBSITE.

YOU CAN FIND US ONLINE AT pbs.org.

MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... [WIND BLOWING] [CAT MEOWS] [THUNDER] [CRASH] [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.