Is a thinner kerf saw more accurate? Does that make a skinny saw better? After all, we associate thin with accurate, such as thin pencil lines or thin gradations on a rule.

Accurate sawing means a clean, neat kerf that consistently splits the layout line, with the kerf in the waste wood. This comes from teeth of appropriate design and pitch for the task that have a small, consistent amount of set. Further, the saw plate must be produced straight and stay straight throughout cutting. The sides of the teeth should also be cleanly free of burr.

The sawyer must employ good mechanics, aided by good tooth geometry, saw balance, hang angle, and other mechanical factors. With all that on your side, you can physically sense true cutting, split the layout line, and visually monitor the progress with accuracy.

But is thinner kerf width, per se, more accurate? I don’t find this to be so. As an example, my .012″ plate Japanese rip dozuki holds no advantage in accuracy by virtue of its thinner plate over my .018″ plate Western dovetail saw. In fact, because of other factors, I find the latter is more accurate. Yes, this is an apples-to-oranges comparison but my eyes and hands can tell that factors other than plate thickness are the deciding ones in determining relative cutting accuracy between these saws.

Similarly, my carbide tip bandsaw blade makes a considerably wider kerf than my steel blades but it cuts more accurately. We also don’t think of thin kerf table saw blades, whatever their other advantages, as being more accurate than standard kerf blades.

Now, I’m not saying get a dovetail saw with a .042″ plate, nor that thin plate saws are necessarily bad choices. I do think confusion arises in assessing and choosing saws because thinner plates are sometimes associated with other factors that promote accuracy such as nicely set fine teeth, or comparing a good quality thin Japanese saw with a poorly made thicker Western saw.

Within limits, however, one ought not assume that, all else being about equal, a thinner plate is more accurate. In some cases, contrary to the assertions of some vendors, it may be less accurate.

There are many factors that produce an effective, accurate saw. You may, for various reasons, prefer a thinner plate saw. But I suggest don’t get charmed by skinny saws. Rather, consider the whole picture, I’d say, and see how the saw really saws.

In saw descriptions and discussions, there is often the implicit assumption that a thinner saw cuts proportionately faster than a thicker saw. At the risk of setting this up as a straw man case, the assumption goes that, as an example, with all else being theoretically equal, a .012″ plate will cut twice as fast as a .024″ plate. Further, it follows that a thin-kerf saw has, within limits, this distinct advantage, assuming that its other sawing parameters can be controlled to maintain good function.

This would be analogous to a 24″ wide swath of snow being twice as hard to push as a 12″ swath, all else being equal. However, I don’t think saws work like that!

Let’s think about what a saw tooth does. A rip tooth cuts and plows the wood at the bottom of the kerf. In this, kerf width is probably roughly proportional to the effort, and thus inversely proportional to speed. At the sides of the kerf, the tooth shears the wood, and there the task is approximately the same regardless of kerf width.

The crosscut tooth severs the wood fibers at the sides of the kerf where, again, the task is approximately irrespective of kerf width. At the bottom of the kerf, where it is a lesser task of shuffling away the broken wood, the work is probably about proportionate to the kerf width.

Thus, in both cases, especially crosscutting, this simple idealized analysis suggests that, all else being equal, twice the kerf width does not mean half the sawing speed. It is not like pushing snow.

In reality, all else is never equal, of course, and the dynamics are surely more complicated than described here. Nonetheless, this way of looking at it at least gives some basis to explain my real world observations using many saws that, within limits, thinner kerf saws do not seem to give a proportionate advantage in cutting speed over thicker kerf saws.

Again, my argument is against this as an assumption that may be made by some when comparing saws. This is applicable in comparing among Western saws, and generally comparing Western with Japanese saws.

Further, as plate thickness is reduced too much, especially in Western saws, disadvantages ensue. Among these, depending on other design parameters, is a tendency to distort in the heat and action of sawing. Also, energy intended for cutting seems to get wasted in vibrating the skinny saw plate, somewhat akin to action of a thin or poorly supported plane blade.

In summary, skinnier is not as attractive as it might seem. It is important to look at the whole picture when choosing saws.

Next: Ah, but is the thinner kerf saw inherently more accurate, all else being equal? Does that make skinny better?

The NWA’s 23rd Annual fine woodworking Showcase, attended by 5000-6000 woodworking enthusiasts each year, will be held Saturday and Sunday, March 29-30, 2014 at the Saratoga Springs City Center in Saratoga Springs, NY.

The event features:

• Lots of free classes and demonstrations to help you broaden your woodworking skills.
• A large trade show with tools and materials from national manufacturers and local suppliers for exhibit and sale.
• An exhibit of over 500 pieces of woodwork by amateurs and professionals ranging from small accessory items to large furniture.

This year, as one of the featured demonstrators, I will present two topics on each day, Saturday and Sunday: “Hand Planes – Choices, Set Up, Use,” and “Drawer Fitting – Steps To Success.” The demo schedule is here. Of course, I will also be around for chatting, questions, and enjoying the Showcase.

Heartwood readers, I hope you have a chance to attend and I will see you there. Saratoga Springs is about 30 miles north of Albany, NY. If you are there but don’t happen to attend my presentations, please do say hello anyway.

Sometimes in woodworking, especially in unusual constructions, there comes a deflating realization that things would be a lot easier now if a different turn was made several steps earlier in the process. It’s not an abject mistake but it is time for the fix-it crew.

Here are several notable tools among the many whose modest bearing belies their performance in the clutch.

The pair of left and right-handed crank-neck 3/8″ skew chisels get into vertically and horizontally restricted areas to remove small amounts of wood that are preventing parts from fitting well. Widely available and inexpensive, I find them more useful than straight skew chisels.

For precise paring in more accessible locations, long paring chisels allow much finer control than a regular bench chisel. Using the dominant hand at the back end, the tool’s length allows fine control of the attack angle of the edge to produce clean cuts.

The Japanese azebiki saw has short, curved rip and crosscut edges. It’s great for starting cuts on a flat surface, and for getting into restricted areas. I adjust the set to a bare minimum on my saw.

The very flexible .020″ hand scraper is easier to use than thicker scrapers to clean up localized surface defects that can arise in the late stages of building from planing tearout or handling dings.

I’m almost embarrassed to say how often I use the little 1″ x 2″ .016″ mini scraper for fix-ups. I keep some edges with a hook and some without, and use it pulling, pushing, angled, skewed, or even flat against a surface to solve all sorts of problems.

The low-profile ratcheting driver is another tool that I might be lost without. It accepts 1/4″ hex-shank bits and can be used for driving and, patiently, for light drilling when necessary. With this tool and with a right-angle attachment for a power drill, it is very handy to have shorty drill bits available.

Of course the most important tool in a jam is the one on your shoulders. Pause, step back, collect, think, and be optimistic – there’s probably a solution!

These practical Japanese toolboxes with characteristically clean design and clever functioning are based mostly on Toshio Odate’s article in the October 1995 issue of American Woodworker magazine, pages 58-59, available online.

Overall dimensions of my version are 32 1/2″ long, 13 1/2″ wide, and 10 3/8″ high. The primary wood is quartersawn Douglas fir, obtained as dimensional 1-by stock. The tight grain reminds me of the raked sand in a Japanese zen garden.

The sides and ends are assembled much like Odate’s but using deep thread screws instead of nails. The lower edge of the end “handle” is undercut with a 15° bevel to help the four fingers grab it reliably for lifting the box while the thumb comes over the top end piece. I added a like-sized piece below it onto the main end piece for extra rigidity.

The bottom is 3/8 Baltic birch plywood fit into a rabbet, glued, screwed, and nailed. I preferred the plywood to avoid seasonal dimensional conflict posed by a solid wood bottom fixed cross grain to the end pieces. True, nails allow some give but the modern material avoids the risk of splits and is strong. Eight hard plastic feet will minimize abrasion wear on the bottom as the boxes are inevitably slid on hard floors.

For the top, I similarly went modern with cherry veneered 3/4″ plywood. I found it by chance on sale but I like its looks with the Doug fir. The plywood allows a tighter tolerance between the top and the sides than would be possible to maintain with solid wood. The sliding-lock top is based on the traditional version as described by Odate, but with a very clever wedge lock described by George Snyder in an article on the Woodcraft blog. (Thanks to Wilbur Pan for the link.)

I added contoured undercuts on both edges of both top battens to make the top easier to handle for insertion and removal.

I’ve had the Odate article bookmarked on my web browser for years, so I’m glad I finally got around to building these boxes. The decision to use plywood for the top and bottom, and the wedge lock for the top resolved my reservations with the traditional design as presented by Odate. Then, finding the beautiful Doug fir got me building.

These toolboxes will no doubt see plenty of rugged use but with their bombproof construction they should be up to the job. They were fun to build.

The visual beauty of wood, its warmth to the touch, and lovely sound properties are so enticing that we might neglect the variety of pleasing scents many species have to offer. Smells are registered deep in the primitive brain in the limbic system where they are associated with memories and emotions, so this is a powerful aspect of wood.

When recently working with some nice quartersawn Douglas fir, the aroma brought me back to my youthful days of projects in humble fir plywood and the simple joy of making things. Continuing to nowadays, the particular scent of a species released by its sawdust and shavings is part of the experience of woodworking and thus, in my mind, part of the personality of the piece.

I think of, as examples, the shop being filled with the aromas of walnut or spicy Port Orford cedar or even the unmistakable horse barn smell of zebrawood. Using canarywood recently for the first time was a pleasant olfactory surprise.

Unfortunately, the aromas then usually disappear under layers of finish, unavailable to the end user of the piece. Of course, with most work, especially things like tables, there’s no getting around that. However, in some casework there is an opportunity to add a wonderful aspect to the piece that will be enjoyed for years to come.

Consider using aromatic woods, left unfinished, for interior drawer parts, case back panels or partitions, and box linings. The “cedars,” sassafras, and even pine are some options.

By the way, I avoid using oil or oil-varnish finishes on the interior of cabinetwork. A light application of a hard-drying varnish or thin shellac are better choices.

Pictured above are, from top to bottom, quartered Doug fir, canarywood, Claro walnut (left), Port Orford cedar (right), and zebrawood. But you have to meet the woods in person for the full experience.

The Veritas Shooting Sander uses the principle of shooting – a guided vertical cutter is pushed to engage a work piece that is stably oriented by a surface and a fence – but uses sandpaper instead of a plane blade as the cutter. It’s simple and useful.

Though it certainly is not intended to replace shooting with a plane and a good shooting board, I’ve been so far finding it handy for odd-shaped parts that cannot be fully backed by a conventional shooting board fence, and for small parts.

As we would expect from Veritas, the tool is well made and thought out. The accurately made anodized aluminum extrusion body and the nifty adjustable wooden handle are good reasons to forego a shop-made attempt at this low-cost tool.

The shooting board I made for it is straightforward but there are a few fine points. The base is 3/4″ MDF, 23″ long. The work surface is 7 3/4″ wide with a nice straight edge against which the sander runs. The track for the sander is 2 1/8″ wide with a 1″-wide outer guide rail.

The work surface must be elevated at least 9/32″ above the track surface for the sandpaper to meet the lowest part of the work piece. I made the work surface from two pieces of MDF (just what was handy) for a total thickness of 11/32″, which gives a little margin for error when applying the sandpaper to the tool. That is, the bottom edge of the work piece is sure to be within the width of the sandpaper, even if I don’t apply the PSA paper to the tool perfectly accurately.

The fence is about 1 3/8″ high, screwed down 3 1/2″ from the end of the board with slightly oversized clearance holes that allow fine tuning for squareness.

Break in the shooting board just as you would for a plane shooting board by running the sander along the edge of the work surface so that a tiny width of sandpaper, say 1/16″, cuts a miniscule rabbet along the edge of the work surface. Then screw down the 1″-wide guide rail on the outside of the track so it is snug against the sander for the full length of the track.

A generous amount of oil-varnish finish toughens the MDF surfaces. Finally, I waxed the track. It all works well.

1 1/4″ wide adhesive-backed sandpaper strips are used for this tool. These are most economically made by slicing 2 1/2″ Klingspor PSA abrasive roll paper down the middle of its width. The paper strips that Lee Valley supplies are Klingspor’s.

After removing the first piece of sandpaper from the tool, I cleaned the residual adhesive off the tool with a citrus-based remover, but did not then clean off the slightly greasy residue of the remover. I found that subsequent sandpaper stuck plenty well enough and left hardly any residual adhesive when removed.

The tool is very easy to use but there are a few caveats. The sandpaper leaves grooves that are surprisingly deep for a given grit. That is simply because the tiny grits on the sandpaper are running in the same tracks over and over, unlike with regular hand sanding where the slight variations in movement erase most of the tiny grooves.

The work goes slower than shooting with a plane, especially since sandpaper seems to cut slowy on endgrain. Also, the thickness (height) of the work piece is limited to just under 1 1/4″.

The tool can be used ad lib to sand odd angles without using the fence by holding the work piece very firmly and offering its edge at the desired angle (such as indicated by a scribed line) to the sander running in the track.

All in all, this so far has been a worthwhile addition to the shop. My sense is that it will increasingly become a valuable quick “problem solver” tool that I’m very glad to have.

Come on, woodworking isn’t really so hard to do. Just have all your stock flat, straight, and square, cut to the layout line, and never make a mental error. Everything will go just fine.

Just kidding.

But starting saw cuts accurately does help to make woodworking, especially joinery, go much better. “Well begun is half done” is true for this task. Accordingly, it is worthwhile to explore nuances of technique.

Laying the saw teeth on the wood and pushing without any guidance is generally too unreliable. So the left (free) hand is set on the wood and a finger, usually the thumb, contacts the saw plate above the toothline to provide stabilization.

This can be done with the thumb alone, but it is more stable when the side of the index finger is placed against the pad of the thumb while the hand rests on the work piece. However, the thumb pad tip is squishy, so it works better if it is also firmed by pressure from the index finger.

Even better is to angle the thumb a bit to the left so as to engage the hard thumbnail tip against the saw plate. The index finger acts to not only stabilize the set up but to help bring the saw teeth to the proper place to start the cut and fine tune the placement.

I find that using the thumb knuckle is less controllable since it is not on the most distal portion of the finger.

Below, with this angle of the thumb, only the soft tip will contact the saw plate.

Below, I’ve re-angled my thumb so the nail will contact the saw plate. This will vary depending on the angle of the cut, sight line considerations, wrist flexibility, and even the length of the nail. In some situations, it may be too awkward or impossible.

Is this getting too punctilious, picky, or perhaps persnickety? I don’t think so. These are the bits of technique that are not mentioned in books but can make a real difference in work. Though these finger configurations work for me, the key point is to work out the details to suit your hands and the circumstances of the task to achieve the control and ease that is part of good craftsmanship.

How and where would you start this saw cut? Do you start at the near or far end of the board, or attempt to score the entire width on the first stroke? Do you drag your Western saw backward or push your Japanese saw forward to preliminarily score the wood?

This is no small matter. Accurately starting the saw cut is probably the most critical manual step in dovetailing, especially when sawing pins that have been laid out from previously cut tails.

Without a doubt, the smoothest and most accurate method for me is to slightly raise the handle of my Western push saw and start the rip cut at the far end of the board. A Japanese pull-cut saw would be started at the near end. This also works for the crosscuts at the sides of the tail board, as well as for sundry other woodworking cuts.

Though I am empirically convinced of this, let’s explore why.

As the saw teeth approach the top surface at the far corner of the wood with the saw handle raised, the rake angle is effectively relaxed (a greater “negative” rake), which makes for a less aggressive and more controllable entry into to wood. Approaching from the near corner (with the saw handle lowered) would effectively increase the rake angle, creating a positive “hook” rake, which is aggressive and tends to catch and jump on all but the softest woods.

Now, the degree to which one should raise the handle varies with the saw, the wood, and personal feel. If the saw is held too flat on the wood, it may skid on the end grain as you try to engage too much wood at once. Held too steeply, the saw tends to catch the far corner of the wood. Goldilocks this – experiment with your saw and the particular wood at hand. A generally light touch, letting the saw do the work, is part of all this, of course. Bad Axe saws may come filed with a helpful relaxed rake at the toe, which must be taken into account.

As a bonus, this method, applied to either Western push or Japanese pull saws, deposits the sawdust away from, not into, the line that the saw is advancing upon.

Some woodworkers like to start a push saw at the near end, reasoning that this pushes down the fibers, much like planing with the grain. I find that factor is outweighed by the rake factor, making that approach less reliable for me.

Likewise, I find that starting the cut by dragging/pushing the saw opposite to its normal cutting direction tends to make the saw skid and creates a kerf with a scalloped bottom that tends to catch the teeth when they are then propelled in the normal direction. It seems to me a generally mushy technique that is unnecessary with a good quality saw.

When we start a usual rip or crosscut on the flat surface of a board held horizontally, knee on the board, we are doing much the same as starting the dovetail cut in the manner that I prefer, though with a more aggressive angle, and the added advantage of sawing the fibers “down” when ripping. In fact, some people like to start the dovetail cut at the near side of the board with the saw held at an extremely low angle simulating ripping a board with a big ripsaw. The problems with that, in my opinion, is the business end of the work piece must be less rigidly held quite far above the vise jaw, and you have to start by following two lines at once.

The key point is to recognize the importance of a good start to the saw cut, experiment, and find what works best for you. Much of good craftsmanship is built on recognizing and managing the critical junctures of procedures.

And that, of course, leads to happy woodworking.

First, the tips:

The cutoffs from thick curved cuts on the bandsaw will probably prove useful, so think twice before trashing them. With a little cleaning up, they can become clamp blocks, sanding blocks, or supports under the work pieces for hand tool work.

Camellia oil oxidizes very little but enough to make it somewhat gummy after a long time in a tool oiler or on the surface of infrequently used tools. Since adding a generous amount of vitamin E oil, an antioxidant, to my storage bottle of camellia oil, the problem has been all but eliminated.

After just a few weeks, the magnetic-mount LED work light from Lee Valley has become a shop favorite. I always use it for bandsaw work where the powerful magnet keeps it stable while the 18″ flexible neck stays put. At the workbench, it is easily set up for joinery work by using the mounting plate with the 3/4″ post in a dog hole. It is also invaluable for creating a low raking light for surface finishing tasks.

I find this simple bandsaw push stick (above) handy and safe. The key is the hacked-up tip that grips a corner of the work piece. The tip is self-renewing as it gets passed into the moving blade (so my fingers won’t), until the stick gets too short, when it takes only a minute to make a new one.

Now, the irritations:

While A2 steel certainly has merits, it dulls differently than O-1, often with minute chip-outs, even with higher secondary bevel angles. I am also convinced that it must be very difficult to manufacture consistently with regard to carbide grain size, because I have some durable A-2 blades that almost never chip out and some that do so much more often, despite all being from highly regarded makers.

Jorgensen’s otherwise excellent #37 series heavy-duty bar clamps come with soft orange pads that leave oily stains on the wood when tightened hard. (On sanded mahogany in the photo below.) The stains do seem to get obscured by oil or varnish finishes, but are a risk and annoyance better avoided. The manufacturer acknowledged the issue when I contacted them, but I have seen no changes in the product in the more than one year since. I replaced the OEM pads with Bessey pads on the screw end and thin adhesive cork on the fixed end.

This one goes in the DAMHIKT file. I think I’d work outdoors in single digit temperatures rather than do topside routing of MDF in the shop, at least when a router dust collection attachment is impractical. It’s just not healthful.

Another one: Non-tapered sliding dovetails longer than about 3 or 4 inches should be considered a major risk factor for insanity. This was a situation where a tapered sliding DT would not work, but some things are just not meant to be.

It’s all OK though, because making things continues.