Lee Laird

Lee Laird has enjoyed woodworking for over30 years. He is retired from the U.S.P.S. and works for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at lee@lie-nielsen.com or follow him on Twitter at twitter.com/is9582

Jun 092017
 

In a previous article I wrote about updating a honing guide board so it would work with my new  Lie-Nielsen Honing Guide, and to make sure the angle blocks match the reality of my new tool. In this article, I’ll try to provide enough basic information so that anyone reading this can hopefully glean enough to start using the Honing Guide and the Honing Guide Board, for repeatable sharpening and honing.

First, lets talk about what all the rectangular blocks on the Honing Guide Board are for, and how it all works. On one edge you’ll see I have one block for 25-degrees, 30-degrees, and so on up to 40-degrees. These are the most commonly used angles in my shop, but there is still a block for 45-degrees on the left side, and one for 20-degrees on the back of the board. When you put a plane iron (or chisel for that matter) into a honing guide with its bevel facing down (towards the side of the honing guide that has the wheel), the cutting edge of the tool will make contact with the block for whichever angle I’ve chosen (30-degrees this time), while the front side of the honing guide is up against the front edge of the Honing Guide Board (Note: the protruding iron is also laying flat on the board between the block and the edge)

While the iron and guide are against their respective surfaces, tighten the honing guide so the iron is held securely. You have just set your iron for a specific angle. Each and every time you go through this process, as long as you have the cutting edge up against a block, the honing guide against the board’s front edge (as well as keeping the iron flat on the board), you will get repeatable results, like I mentioned earlier.

Before you let a tool touch a honing stone, make sure it is flat! An out-of-flat stone will transfer its shape to whatever you are sharpening and it is much easier and quicker to flatten the stones than to work to remove all the steel needed to get a tool back to flat.

Before I start sharpening, I put some dark Sharpie onto the bevel of the tool, just so I can confirm I’m sharpening at the correct angle.

With a splash of water on my 1000-grit stone, I set the honing guide’s wheel down onto the stone first, gently letting the iron’s cutting edge touch the stone. I set the iron/honing guide at the far end of the stone, with the iron’s cutting edge away from me. With no real downward pressure, I pull the iron/honing guide combo towards me. Just one stroke. Pick up the iron/honing guide and look at the iron’s bevel. Was the Sharpie removed from the existing micro-bevel?

If not, like you can see, take the iron/honing guide and move to the block for the next higher angle (35-degrees in this instance), slightly release the pressure on the honing guide, and then re-tighten when the cutting edge is against the block, as well as the honing guide against the front edge of the board. When I tested the setup with it set at the 35-degree block, all of the Sharpie was removed from the micro-bevel, with my one stroke test.

Since all of the Sharpie was removed, this indicates we have the correct angle to match the previous sharpening, and we can proceed to work on our 1000-grit stone and then our 8000-grit stone.

There are times when you purchase a new iron, where they may intentionally blunt the iron for safe shipping. I bring this up as some folks like to tell themselves that they should take ten strokes on the bevel, and then move to the next stone. Is this a good idea? I’ll let you decide, but I find a better method is to only shift to the next higher grit stone (1000-grit to the 8000-grit, for instance) when you can feel a burr all the way across the iron, on the back side of the bevel. To feel for this burr, hold the iron vertical with its cutting edge at the highest point, and this part is critical, you always move your finger lightly from low to high. (Note: You never want to move your finger along the cutting edge from side to side. This latter move can cut you extremely quickly.) If you do not yet feel a burr, you should go back to the 1000-grit stone and continue working until you do. Move to the 8000-grit stone when you feel a burr on the full width of the iron.

After you complete the sharpening/honing on both the 1000-grit stone and then the 8000-grit stone, the back of the iron also needs some attention. I use the David Charlesworth method called the ruler trick, where I use a very thin metal ruler laid along one edge of the 8000-grit stone.

The iron is removed from the honing guide for this, and placed so it is across the stone’s width, while resting on the ruler. Since the honing of the bevel created a small burr on the back of the iron, start with the cutting edge just hanging off of the stone, and move it straight back, so the cutting edge comes onto the stone, but no more than ¼” or so.

I repeat this process a couple of times, then shift to moving the iron up and down the stone, while the iron is still laying across the stone, and riding on the ruler. This creates a very small micro-bevel on the back of the iron, which only takes a few moments, taking the place of all the time spent honing the whole back of the iron, which literally has taken me hours.


Lee Laird has enjoyed woodworking for over 30 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW

Nov 282016
 

It’s hard to believe we are already coming back around to Christmas again, as 2016 has raced past us. I’ve come up with a few things for my wish list – likely things you may also enjoy having in your shop (or garage, or little closet…) Let me also wish each and everyone a safe and happy holiday season!

Ikedame Dozuki Saw – As many will already know, I was shown Japanese hand tools at a very early age, and I regularly use this type of saw.  This is a very fine saw, with a blade thickness of .012” and a kerf of .018”.  This saw is sharpened to excel at crosscutting wood, and will leave a beautiful surface. As with all saws, remember to let the weight of the saw do the work, and you will find it both fast cutting and easy to control. If you apply extra force, even with the stiffened back spine, you will likely fight against it diving off of the intended line.

Hock #80 Scraper Blade – 2-¾” HC – While there are other blades available for the #80 Scraper, and some work just fine, this Hock blade will hold its edge for much longer. I also tend to use this blade without a Scraper Body, and I’ve always preferred to use a thicker scraper blade when hand held. When I work with figured maple and Claro walnut, there are times when a super sharp scraper is called for, and most of the time I keep the burr to a minimum, if I apply one at all. If you need to convince yourself, take a freshly sharpened chisel, hold it vertical (cutting edge down, and the bevel facing yourself), and then lean the handle away from you by about 15-degrees. Hold the chisel down near the bevel, and with a light touch on the wood, move it away from yourself. You may find you need to angle the handle further away, or slightly less, but you should find it does a great job when working a very focused area. Whichever way you decide to use this blade, I’m sure you will be very satisfied.

Vesper Double Square Set – I have a few different squares, and some are quite nice, but there is something special about Vesper’s squares. I believe this has to do with the personal attention to a product, versus large companies with large staffs. Besides the quality and accuracy, the varying blade sizes and the shape of the head are all contributing factors. These provide the widest range of flexibility that I’ve seen, and when I make some of my hand-cut dovetails, the narrow blade is such a valuable tool, whether they are through dovetails or blind.


Lee Laird has enjoyed woodworking for over 30 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW

Oct 202016
 

Christmas gifts can cause a fair level of uncertainty, possibly even leaning towards angst, on the part of the giver. Are we sure whatever it is that we are looking at is something that will really  “fit” the intended recipient? Someone on a list out there (family/friends/significant others) might even fall into the category of “extremely difficult to buy for”. So what to do?

(**Spoiler alert for family members reading beyond this point in the article before Christmas!)

We decided earlier in the year that we would make gifts for everyone on our list this Christmas, some of which will blend woodworking, leatherworking as well as metalworking. I’ve been honing my knife making skills (some may have seen a few of these on my Instagram  account @LeeLairdWoodworking, or my personal blog) which is tying together woodworking and metalworking, and since a knife needs a protective sheath, the leatherworking. I created a pattern for both blade and handle that was pleasing to my eyes and felt good in the hands, and started each knife with just a blank of wood and a rectangular piece of metal.

1-handle-blank-w-only-outline

A blank of Claro Walnut, with the outline from my handle pattern, drawn on to show the intended grain orientation I wanted.

2-initial-cutting-of-blade

Here I am cutting the knife blade out and used a hacksaw to make the major cuts.

3-blades-treated-sans-handle

Two blades after heat treating.

4-curly-maple-w-cherry-n-walnut

Three knives, in Cherry, Curly Maple and Claro Walnut.

5-knives-in-leather

Knives in their leather sheaths.

Most of the work I performed with these different mediums was with hand tools, other than using my powered grinder for the initial bevels on the blades. As you might imagine, there is a fair amount of time and sweat involved in working these materials from the rough blanks to the finished and functional knives. Perhaps some of this time and effort will show through to each recipient, increasing the perceived value or just making it that much more special.

My wife is also making Christmas gifts this year, and they are a blend of media as well. She created chopsticks for her recipients, choosing and working with different types of woods, as well as making embroidered carry pouches. I got her a Bridge City Chopstick Master last Christmas (by her request) and this helps facilitate the process, but don’t think for a moment that you won’t need to apply your effort and sweat to have a great set of chopsticks!

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Two sets of finished chopsticks on top of the Chopstick Master, with the included hand plane towards the back.

We’ve imbued lots of work and love into our gifts. I hope everyone has a wonderful and safe Christmas!


Lee Laird has enjoyed woodworking for over 30 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW

Jun 172016
 

As the summer is rapidly approaching (although with quite a wet lead-in for some of us), I went through my bookcase to see what books I wanted to queue up for any slow periods, and possibly during any travel. I have a decent range of topics from which to choose, so I either try to pick something that is associated with some current work, or those that are new (to me) or haven’t had attention in some time. So with that, let’s get to my woodworking reading list:

  1. The Essential Woodworker (Revised edition) by Robert Wearing, Published by Lost Arts Press in 2010 – This is a book that was written as a “Pre-Textbook”, to help those who hadn’t obtain the school-provided woodworking basics, or is working alone (not having gone through an apprenticeship or other development process). Even if you have been woodworking for many years, there is still value in this book, as most that have not embarked on a formal learning path (myself included) can have gaps in their skills/knowledge. This is an enjoyable read.
  2. Japanese Woodworking: A Handbook of Japanese Tool Use & Woodworking Techniques by Hideo Sato, Published by Hartley & Marks in 1987 – I’ve had an interest in Japanese tools and the range of their building designs and methodology since I was a young teenager, and this was one of the earlier woodworking books I purchased. This book provides a good foundation on the Japanese tools and their care, characteristics of wood, layout and different types of joints and their uses. It has been a while since I’ve read through it, and it never seems to fail that I’ll find some nugget I’ve either forgotten or that escaped me on previous reads. This book was originally written in Japanese in 1967 and was translated into English in 1987.
  3. Shoji, How to Design, Build, and Install Japanese Screens by Jay Van Arsdale Published by Kodansha International in 1988 – While this is another book on Japanese woodworking, and has some very slight overlap regarding the tools and usage, it is quite focused on an area of design that adorns many Japanese houses (if you ever have the chance, go to Japan and check out some of the traditional housing). The Shoji Screen is used in many different ways and forms, and adds interest and beauty to any house no matter how plain or extravagant. This book goes into great detail and provides design elements, information on wood, paper and tools, instruction on creating a simple Shoji and possible uses, as well as sources for supplies.
  4. Woodwork Joints by Charles H. Hayward, Published by Sterling Publishing, Co. in 1979 – This book is relatively small, but it is chocked full of information regarding how to create joints from the basic to the complex, as well as the application. The explanations of the joints are assisted by illustrations, both photos and diagrams. This is a great “little” tome to have around.

Find more great Woodworking Books and Plans at the Highland Woodworking website.


Lee Laird has enjoyed woodworking for over 30 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW

Mar 302016
 

The spokeshave can be a very valuable tool to have in your kit, and I have a technique of sorts that you may wish to try, especially if you are struggling or have ever struggled with this tool.

Before I share the tip, lets briefly go over a few things that in my mind are mandatory if you expect to get a good result from the spokeshave.

First, the blade needs to be as wickedly sharp as you can muster, but this doesn’t mean you need to spend 10 hours at the sharpening/honing stones. I hone the bevel first on a 1000-grit water stone, using my Lie-Nielsen Honing Guide, and stop as soon as I can feel a burr on the back of the blade. I shift over to my 8000-grit water stone and take a few passes on it, stopping when the cutting bevel is polished like a mirror. The back of the blade is handled without a honing guide, but I rest the portion farthest from the cutting edge on a thin ruler that I place on the 8000-grit water stone. This slight elevation focuses the stone to work out at the cutting edge. You can stop on this side when you feel the burr is gone, and you have a mirror-polished band at the cutting tip.

With this, we have what is awfully close to a razor sharp blade, and takes all of a minute or so. To set the blade to a good starting point, I like to rest the sole of the spokeshave on a board I know to be flat and insert the blade so the cutting edge is also touching the board. Some like to apply a little pressure on the back edge of the blade, while applying pressure with the thumbscrews or screwdriver (or possibly other methods), depending on your spokeshave. I don’t usually apply this pressure, as I’d rather start with a shave that isn’t cutting, than start with one that cuts too deep.

So that is the basic setup.

With my spokeshave setup exactly as I described above, I was working on a piece that had some reversing-grain the other day, and I had what I’ll call a couple of struggles. I got a great surface on all but a couple of little spots, but when I went in to clean those up I started to get some chatter which left some parallel wavy lines on the surface. I tried everything including skewing the spokeshave to the point where the body was almost perpendicular to the standard orientation, but this didn’t resolve all issues. I decided to change my approach a bit, and I tried to add absolutely nothing extra to the weight of the spokeshave while I was using it. I was using a super-light touch, and I noticed it was providing a nice smooth improved surface, but there were still a few little blips.

I tried one last thought, which was to just barely keep the “toe” (spokeshave body section just in front of the cutting edge) engaged with the wood, but an almost imperceptible lift of the rear of the tool. I found I was able to micro-adjust my cut from the full cut, to nothing at all, based on how much of this little lift I employed. I kept my thumbs on the “toe” area, which seemed to make the control that much better.

Touching a colored pencil against the “toe” of the spokeshave.

Touching a colored pencil against the “toe” of the spokeshave.

This is a very touch-oriented technique, as you can probably tell, but it was like I had some crazy magic going on. The surface was as close to flawless as I can recall obtaining with my spokeshave, even on my previous “best day.”

I expect I’ve probably “used” this technique before, without having the conscious aspect that I do now. I find it interesting that we can perform a certain task, at a decently high level, but really not completely understand how we accomplish this. While this isn’t really a great analogy, it might be like trying to teach someone to throw a baseball, which to many seems like a “so what” statement. If you ever coach really little children, you might find out just how much thought it takes to convey all of what is going on during a throw.

I hope you enjoyed this article and find it helps you obtain better control and results from your spokeshave. Please let me know if you have any questions or comments.


Lee Laird has enjoyed woodworking for over 30 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW

Mar 032016
 

I recently received my new Lie-Nielsen Honing Guide and a couple of their available accessory jaws, which I discussed in my The Plane Facts: The Lie-Nielsen Honing Guide article posted last week.

If you, like many of us, have previously been using one of the inexpensive guides with a honing board, you will need to make another board. The dimensions of the Lie-Nielsen Honing Guide are different enough that each 5-degree incremental angle stop on previous boards will not work (but feel free to measure what you have, to confirm for yourself).

For my new honing board, I used an 11” x 13” piece of Baltic Birch Plywood, which lasted nicely on my previous honing board. For the stops, I raided my scrap-bin and found some Maple that was between 1/2”-3/4” thick (which wasn’t critical). Packed in with the new honing guide is a basic information sheet from Lie-Nielsen providing the distance for each of the stops, from 20-degrees up to 50-degrees, in 5-degree increments. I cut the maple into lengths around 2” and pre-drilled holes at each end with holes large enough so that the threads on the screws I used wouldn’t engage in the stop. This prevents the stop being held up off of the base, which can occur if the screw is engaging both the stop and the base.

All of the stops are cut to size and laid out on the plywood.

All of the stops are cut to size and laid out on the plywood.

I made a line where the front edge of each stop belonged. Next, I clamped a straight piece up against the line, which really helps prevent the stop from accidentally shifting any direction but sideways, which won’t effect the projection of the tool or the angle.

The location for the 45-degrees stop is highlighted with the red arrow.

The location for the 45-degrees stop is highlighted with the red arrow.

The straight block is clamped against the line to facilitate proper orientation.

The straight block is clamped against the line to facilitate proper orientation.

The 45-degree stop is installed precisely where intended.

The 45-degree stop is installed precisely where intended.

I used two longer pieces of the same Maple to house the area where the stone will be used. I pre-drilled again and inserted two end screws to make sure the stop stayed aligned, and then put in the rest of the screws. Since I use a couple of different types of stones, I left about ¼” extra beyond the length of my longest stone, which I made some cross-wedges to keep from moving. With two styles of stones, I also made a ¼” Baltic Birch Plywood removable plate that fits between the stone stops. My Shapton Glass Stones are quite short in comparison to most other stones so they need the boost.

First set of wedges cut to retain stone.

First set of wedges cut to retain stone.

Wedges engaged with good results.

Wedges engaged with good results.

Here is another set of wedges I made for a bit more control, along with the honing guide, and the elevating plate for the Shapton stone.

Here is another set of wedges I made for a bit more control, along with the honing guide, and the elevating plate for the Shapton stone.

The accessory jaws are shown on the left in this photo, along with the completed honing board and guide.

The accessory jaws are shown on the left in this photo, along with the completed honing board and guide.

After all of the stops on the top surface were completed, I installed another scrap-bin piece on the underside at the edge closest to the user. I made sure the screws wouldn’t go all the way through the plywood and located them so they also wouldn’t run into any screws used for the stops on the top surface.

Red arrows flank the stop on the bottom surface.

Red arrows flank the stop on the bottom surface.

I hope you enjoyed the article, and thank you for checking it out. Please let me know if you have any questions or comments.

CLICK HERE to read Lee’s blog entry on how he used the board.


Lee Laird has enjoyed woodworking for over 25 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW

Feb 252016
 

I recently bought the new Lie-Nielsen Honing Guide.

Lie-Nielsen Honing Guide

Lie-Nielsen Honing Guide

Along with the Honing Guide I also bought two of the seven additional sets of jaws designed for this guide. These jaws increase its functionality, beyond the included “main” jaw set, for Lie-Nielsen’s blades and chisels. There is a disclaimer that lets one know that if it isn’t a Lie-Nielsen tool then they don’t guarantee the Honing Guide will necessarily work, but after a very limited test with “other (read non-Lie-Nielsen) chisels and blades in my kit, so far so good (for specifics, see last main paragraph).

Ok, so lets get into the meat of this article, which is the actual Honing Guide, and what makes it different. The Honing Guide is machined from stainless steel, has a bronze bearing and brass nut. The precision and materials lift this up to an extremely high level, and since you can disassemble the guide into its basic pieces, you can replace any piece if it happens to foul somewhere in the future. This may seem like no big deal, but this really does present the owner with the ability to easily keep it working throughout their woodworking life, and then pass it down to future generations.

The jaws on this Honing Guide are made so you can easily remove them and then attach another set of jaws in their place, specific for certain Lie-Nielsen tool blades or chisels, while retaining perfect alignment.

Guide (red arrows identify the current jaws) with extra jaws.

Guide (red arrows identify the current jaws) with extra jaws.

Red arrows are pointing to attachment screws on each jaw.

Red arrows are pointing to the captured attachment screws on each jaw.

The set of jaws that comes with the Honing Guide will cover a wide range of their core tools, from most of the plane’s (bench, low-angle bevel-up and most block planes) blades/irons to 1/4” – 3/4” bevel edged chisels. I bought the Chisel Jaw set, which handles the 1/8”, 3/16” – 3/4” range of bevel edged chisels, as well as their Long Jaw set. The Long Jaw set handles their spokeshave blades, shoulder plane blades, #610, #10 ¼, #85 and the attachment screws are offset towards one end, providing up to 30-degrees with the jaws facing one direction, and up to 40-degrees with them in the opposite orientation. In addition to these, there is a Mortise Chisel jaw set, a 30-degree skewed jaw set (this type of jaw set is offered separately in both left and right to handle blades/irons for their #98/99 side-rabbet planes), and an 18-degree skewed jaw set (also offered separately in both left and right for their #140 Skew block planes).

I made a Honing Board for this new Honing Guide, as its dimensions are different from the ubiquitous “Eclipse-style” guides, so the distance for each stop is also different.

Lie-Nielsen vs. Old Record (Eclipse style).

Lie-Nielsen vs. Old Record (Eclipse style).

The Honing Guide is packaged in a small clear plastic case, which has very little extra room but luckily there is just enough to fit a small information guide that has the stop-distance information (provided in both Imperial and Metric) for 20-degrees up to 50-degrees.

So far I have honed a number of Lie-Nielsen tools, starting with the blade for the #8 (don’t worry, it really does open wide enough to securely hold this giant blade),  #62, #60 ½, #102, and the 3/4” Bevel Edged Chisel. The knurling Lie-Nielsen used on the Honing Guide’s brass nut (what you turn to tighten or loosen the guide’s grip on a tool), transmits the twisting energy quite well, while still feeling comfortable to your hand(s). Oh, and your fingers really are what you should use to tighten the Honing Guide for any blade/chisel. The deep-cut groove in the brass nut’s end (as well as the opposite end of the threaded shaft) is only there to assist in removing the brass nut, which is required to completely disassemble the Honing Guide.

Tested tools with honing guide.

Tested tools with the Honing Guide.

I mentioned earlier that I also tested this Honing Guide on some “un-confirmed blades” and one last item that totally amazed me. The blades I tested were from an old Stanley #6 and #3, which really doesn’t have anything about them that would suggest they wouldn’t work, but they needed honing. As expected these worked wonderfully in the new guide. The last item I tested was a hand-made Japanese chisel that I bought when I was over in Japan in 2001. This chisel has what I call a standard profile, which means it has thick, square-edged sidewalls, as compared to a dovetailed style (triangular-shaped cross-section that some honing guides handle easier). I hone this type of chisel in the traditional manner, so it has one large bevel (read that as no micro-bevels), as the experts believe this provides the best edge as well as support to limit chipping of the hard-steel layer. I confirmed this chisel presented squarely from the guide and there was adequate projection to match the existing bevel. This worked beautifully and produced exactly what I expected: an incredibly sharp chisel. To be clear, this is just one of many Japanese tool brands and I’m in no way saying this guide will work for all Japanese tools! This guide worked great on what I personally tested, and there is at least hope that other tools may fair similarly.

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I hope you enjoyed the article, and thank you for checking it out. Please let me know if you have any questions or comments.

Find out more information or purchase the Lie-Nielsen Honing Guide at Highland Woodworking.

Check out this video of Thomas Lie-Nielsen, founder and CEO, explain the features and versatility of the Lie-Nielsen Honing Guide:


Lee Laird has enjoyed woodworking for over 25 years. He is retired from the U.S.P.S. and worked for Lie-Nielsen Toolworks as a show staff member, demonstrating tools and training customers. You can email him at LeeLairdWoodworking@gmail.com or follow him on Twitter at twitter.com/LeeLairdWW