#&@$*%!!

For a few weeks, there have been technical troubles with this blog. Error messages appeared over the header, the blog was inaccessible at times, some text was corrupted, and, most frustratingly, I could not even access the administration dashboard. My web host, whose name I shall kindly omit from the discussion (yes, that is smoke you see coming out of my ears), has, after an exasperating delay, corrected most of the problems, which by the way, they created. Some issues remain to be fixed, but at least I am now able to post.

I apologize to readers who visit this site to enjoy useful woodworking information and discussion, especially those whose comments may have been lost in the shuffle. This little post is just intended to let you know that things should be back on track soon and I will continue to try to bring you quality content.

As always, thanks for reading, and happy woodworking.

Rob

In the two previous posts, note the orange-colored handles on the Nicholson, Corradi, and Iwasaki tools. These are labeled “Disston” but, as far as I can tell, are no longer manufactured. I last bought some at least several years ago, I’ve forgotten from where, and have about eight in use and a few spares. Disston called them “Stronghold” handles as seen in this ad from 1930. They came in five sizes, from #1, the smallest, through #4, and the long, thin #0 for use with taper files for saw sharpening. The #3 is good for a 10″ rasp or file.

There are three relief slits at the front of the handle which is surrounded by a steel spring ferrule. This construction grips the tang of the rasp well, prevents extension of the built-in slits, and makes the handle reusable because there is some flexibility to the bore. Best of all, these handles feel just right in my hand.

I wonder if one of the hand tool manufacturers such as Lie-Nielsen or Lee Valley would be interested in making these handles if patent issues could be cleared. By the way, I do not have the Disston handles on my Auriou rasps only because I am unable to remove the less comfortable original handles despite lots of pounding.

Rasps are used more effectively if one adopts the attitude that this truly is a tool to be used with sensitivity. The rear hand (on the handle) supplies power and direction while the forward hand aids control with a light hold. Push to cut, disengage with a slight lift, retract, and repeat. The rasp is angled to the direction of push (remember the teeth are in diagonal rows), but avoid a pronounced sideways motion which will make the teeth slice into the wood across their width, causing the tool to grab and create deep scratches in the wood.

Adjust your push and pressure to the grade of the selected rasp which is based on the stage of the shaping process. Flip freely from the flat side of the rasp to the convex side depending on the contour of the work. As you get closer to finishing, lighten your touch. Use the weight and stiffness of the tool to sense lump and bump irregularities as you fair the curves of the wood. As with all woodworking, good adjustable lighting helps a lot.

For purchasing 10″ half-round rasps for fine furniture making, the subject of these posts, here are some suggestions. You can try out tools prior to making your choices at shows, some stores, Lie-Nielsen Hand Tool Events, woodworking schools, or your friends’ shops.

• Low budget: Shinto + one medium lower cost hand-cut or maybe a Nicholson
• Middle ground: Shinto + one hand-cut such as an Auriou #9 or #11
• Better still: Shinto + #9 Auriou + #13 Auriou, and use a medium/coarse lower cost rasp that you may have acquired earlier for rougher or less critical work

Moving up the rasp food chain to the hand-cut variety reveals the true capabilities of rasps. These have teeth that are cut (“stitched”) into a polished steel blank by a skilled craftsman using a metal pick and a hammer. The teeth are cut in diagonal rows but the handmade process introduces an important bit of randomness in their placement which creates a tool with control and smoothness in use that is unmatched by machine-made rasps.

It is the feel on the wood and the feedback through the woodworker’s hand which makes these rasps so effective. The teeth cover the surface across the entire width, typically at least 1-1/4″ in a 10″ long model, helping to give a direct sense of where the tool is cutting. Because these tools are used for shaping, their superb sensitivity in the hand is paramount.

There is an increasing number of hand-cut rasps available but I will comment only the Auriou brand which I have used for several years. I use the 10″ #9 and #13, a combination which has been marvelously effective in shaping legs, one of my favorite things to do in the shop. They’re not cheap but have proven well worth the investment. Here are two sources: Lie-Nielsen and TFWW. Here is a close-up of the #9 and #13 teeth. Click to enlarge.

It pays to store rasps so they don’t bang against each other, and keep them clean with the method described here.

Here is a list, not necessarily exhaustive, of other hand cut rasps available. Also, here is a suggestion to Popular Woodworking, Fine Woodworking, and the other woodworking magazines: this would be a good topic review, especially since there is a considerable range of prices. In the meantime, reader comments are welcome.

• Liogier
• Gramercy
• Blu-Dan
• Dragon
• “Hand-cut” from Lee Valley
• “Hand-cut French rasps” from The Best Things (Logier)

Another tool that is not a conventional rasp but deserves mention in this discussion is the Iwasaki float (“rasp” in at least one catalog) which is effective for shaping. I like my 8″ x 3/4″ “fine” flat Iwasaki. It is essentially a very sharp float with discontinuous arc-shaped teeth, which make the cutting action smoother. When I’ve tried conventional float files on repeated occasions, I found them grabby, though admittedly this was probably due to my inexperience. Nonetheless, the Iwasaki felt good right away.

The Iwasaki is useful in the late stages of shaping to clean up surfaces, and it can even be used to take a bit off tenon cheeks with good control. They are also available in convex profiles. Here is a close up, click to enlarge.

Rasps seem to be looked down upon by some fine woodworkers as less sophisticated than edge tools for shaping. I disagree. I own and use spokeshaves, specialty planes, and gouges. All of these tools have a role in shaping. An excellent quality rasp allows a skilled craftsman to execute just as much control and sensitivity as any of the edge tools. They work!

Next: Disston handles, some technique, and suggested rasp sets to own.

Woodworkers are fortunate now to have many more choices in quality rasps than were available in the recent past. Here we will look primarily at the workhorse configuration found in most furniture makers’ shops, a 10-inch half-round (one flat face and convex across the width of the other) 7/8 to 1-1/4 inches wide.

First, let’s dispense with rasps which have their teeth cut by machine in neat rows, sometimes referred to as “wood rasps.” These low-cost hackers should be considered DIY tools unsuited for fine furniture making. The problem is the uniform rows cause too many teeth to catch the wood at the same time and depth, sink in, then come away with an abrupt tearing of the wood. Though this effect can be reduced by angling the rasp and adjusting the stroke, a better solution is to get a better rasp. As an analogy, imagine if raindrops hit you in tight groups of eight, instead of the random scattering of real rain. You get just as wet in both cases, but you would feel intermittent strong impacts in the first case (like uniform rows of teeth), instead of the steady smooth shower of real rain (like quality rasps with irregularly distributed teeth).

Probably the most bang for the buck (about 25 of ’em) of any shaping tool in the shop is an unusually constructed rasp, the Shinto “saw rasp.” These are made from hard hacksaw-like blades melded together in a pattern that presents irregular phalanxes of teeth to the wood. Both sides are flat, one coarse, one medium. I prefer the model without the auxiliary handle which handles much like a regular rasp. It is a fairly rough tool, but the cutting action is surprisingly controlled. There is very little clogging and the tool lasts seemingly forever. I use mine early in the shaping process, and it is a great tool for mockups. This is also a way to save your best rasps from unnecessary wear. I wish the company made a version with the medium cut convex along the length and/or width.

Now let’s look at two brands of machine-made rasps with irregular tooth distribution, a key factor in producing a controlled smooth cut.

The Nicholson #49, and the slightly finer #50 have been old standbys, and, for a long time, about the only alternative to row-toothed rasps. The current crop, according to what I read, is made in Brazil and the quality has gone down. I still use my old USA-made pair and though they are good rasps, they are not what I reach for first. They are barely 7/8″ wide and teeth do not cover the full width. I prefer a rasp 1 1/4″ wide for general shaping. Though surpassed by better options, especially hand-cut rasps, these still might meet your needs at a low price. I don’t fine much difference in action between the #49 and the #50, so you could do well with just one of them. A close-up of the teeth my #49 and #50 (not the current production), click to enlarge:

Corradi “Gold” rasps are lesser known but excellent tools which are different in character from any others I know of. The machine cut teeth are densely packed in a wavy pattern which effectively presents the teeth randomly to the wood, giving a very controlled steady cut that feels almost like coarse sandpaper on a stick. My 10″ x 1-1/4″ #8 and finer #10 leave the least scratches of any rasps I’ve ever used. Not particularly aggressive, they come into play in the later stages of shaping. They tend to clog relatively quickly but clear easily. The Corradis have earned a solid role in my work but, as a matter of personal preference, do not have the special feel and feedback of the top-quality handcut rasps. A close-up of the teeth of the Corradi #8 and #10, click to enlarge:

Coming up: handcut rasps, handles, some technique, and more.

The machine’s 7 1/2-inch blade, powered by a motor claimed to develop one horsepower, could cut 1 5/8″ thick wood on a table 14 inches deep. Its shipping weight was all of 31 pounds. Sears was selling it for $70 in 1970, and though now it hardly seems an enviable tool, back then I wanted it.

While returning home from competing in high school indoor track meets in New York City during the winter months, I would get off the public bus and browse the tool department at the local Sears store as I waited for a ride to complete the trip. I studied that little saw and imagined exactly how I could use it to make things from wood that would exceed my basement output at the time. I had been carrying in my head a scene from a few years earlier when I saw a man, a real woodworker, cut parts for a box I was making. He used a cabinet saw to do this more easily and precisely than I could ever hope to by hand. Much later, in recollection, I could identify his machine as a Unisaw.

Oddly, having now found, through the wonder of the internet, a picture of that little saw in a pdf of the 1969 Sears catalog, I clearly feel a glimmer of that long ago desire. (Page 26 of the catalog, bottom right corner.) I never bought the saw. But I kept making things from wood, and it’s OK now, life worked itself out and I’ve got a very nice top-of-the-line cabinet saw along with lots of other tools. The love, and that’s just what it is, love, endured and evolved.

It must be about push and pull. The way life is, we spend so much of our time and energy pushing ourselves to do the things that must be done. No complaints, and all that. There are, though, a few special things that call to us. These pull us and don’t let go, not for a long time, maybe never.

Heed that pull. Follow, if you can. It’s your soul calling – and it’s important.

Happy woodworking.

There are lots of ways to store hand tools. Among these are drawers and cabinets under the workbench, open shelves and pegboard systems, a large lidded joiner’s chest, Gerstner-style chests, steel mechanic’s chests, and wall cabinets. Some woodworkers may even feel comfortable with their tools simply scattered about the shop and constantly shifting places.

Why store your tools in an enclosed unit? Tools work best when they are kept free of debris and rust. An ordered, safe place for tools improves your efficiency. In short, your tools are valuable and deserve their own place.

This series has described my approach; it works for me. It is neither perfect nor original, but it does have a solid rationale and will hopefully be useful for ideas as readers make or alter their own set ups.

Here is a summary of the underlying concepts in this tool cabinet.

1. Space economy:

• Small footprint; use of airspace (For me, this is the biggest advantage of this design.)
• Outer surfaces, top, and stand are put to use
• Efficient use of room inside the cabinet

2. Accessibility and convenience:

• Majority of tools can be reached directly without shifting other tools out of the way
• Little or no bending
• The cabinet is placed next to the workbench
• Wide-open presentation of the tools provides mental access to them
• No need to use separate saw guards and tool sheaths

3. Flexibility:

• Layout is easily changed as tools are added or retired
• Generally logical storage
• Storage conflicts are resolved based on the frequency of use and protection required by the tool 

4. Practical:

• Simple, undandified aesthetic
• Simple construction
• Inexpensive
• Durable

This tool cabinet with its many features substantially adds to my ease and clarity in the shop. Most important is to set up your tool cabinet and your shop to suit, to the extent possible, how you prefer to work. In this way your environment contributes to your ease and efficiency, and ultimately, to the quality and joy of your work.

The six drawers are very simply constructed. Half-inch poplar 5-ply is used for the front, sides, and back, and 1/4″ maple-faced plywood for the bottom. The sides and bottom are glued and screwed into rabbets in the front piece. The back is butt-jointed to the sides. The bottom extends out from the sides and is screwed to the sides and back from underneath.

The bottom runs, with a little paraffin, in 1/4″ x 1/4″ dadoes in the cabinet side and the center partition. The piano hinges get in the way of the dado but no problem, just hacksaw out tiny squares in the hinge to clear the way. The drawers have not failed in 25 years. 

Let’s take a look inside.

The upper right drawer contains small planes, layout tools, and coping and fret saw blades. Notice the compartments on each side for plane blades, pairs of which are stored with their beveled faces together. The bottom of the drawer is lined with Zerust material, a soft rubbery mesh which emits harmless corrosion-inhibiting vapor. This material is grippy like a router mat and so prevents tools from shifting, bumping, and rattling when the drawer is open and closed. It lines all the drawers.

Next below, the rasp drawer is the most engineered of the group. 1/8th-inch MDF slats are held in the slots of stick-on plastic divider holders. The spaces so constructed are wide at one end and narrow at the other to make maximum use of the room in the drawer. The divisions can easily be rearranged and, of course, have been many times. 

Next below is the most jumbled drawer containing machine accessories such as wrenches, tiny parts, router template bushings, and so forth. The top drawer contains sets of coping and fret saw blades (hand tools) in plastic tubes, but this drawer has power jig saw blades in the same type of tubes. This is an example of my preference to group tools by general class, when practical.  

The three drawers on the left side also each contain logically grouped tools. The top left drawer has metal files, small diamond hones, metal cutters, and so forth, while the drawer below it has adjustable Starrett squares and other layout tools, and below that are drilling accessories.

The storage – divided or free-form – is appropriate to the tools. Thus, spanner wrenches get jumbled together, tiny shims get stored in a plastic box, while edge tools, rasps, and precision layout tools get the protection they need.

Next: summary and conclusions.

Three adjustable 3/4″ pine shelves are held with 1/4″ plastic locking shelf supports. The top of the drawer bank and the bottom of the case effectively make a total of five shelves. Let’s take a look, starting at the top shelf.

The photos show the mere 3 inches of space above the top shelf on which are stored mostly chisels, along with some knives. To the right is a gaggle of screwdrivers. Each chisel and knife is protected in a pocket of a leather tool roll that has been cut lengthwise along its midline and positioned at the rear of the shelf. I know my tools well enough to recognize each one by its handle end.

The next level down – the top of the drawer bank – holds small planes, scrapers, and spokeshaves. Each plane’s parking space is delineated by a thin strip of wood held in place with just two small brads. Of course, as you would guess, these are easy to reposition. Card scrapers are held in a piece of 2×4 into which kerfs have been sawn along the grain.

Notice the safe storage of the 24″ Starrett straightedge in a slot that has been table-sawn into the edge of the top shelf. In the second photo, the little keeper tab has been rotated out of the way and the straightedge is partially withdrawn. The photo, below, shows the same storage for an 18″ Starrett combination square blade. The small block sitting on the shelf, to the right of the yellow tape measure, is used to withdraw the straightedges. A rare-earth magnet is inset into the end of the block and covered with duct tape to prevent metal-to-metal scratching.*

Also notice the Cortec rust inhibitor cup, one of two in the cabinet, stuck onto the back panel under the top shelf.

The next shelf, my favorite, holds most of my major planes in the same type of parking spots described above. Unfortunately, the jointer and the two jacks have to be stored along the length of the shelf and therefore are exceptions to the desirable arrangement of unblocked access to each tool. It’s not much of an issue though, because I don’t use the jointer, parked in the back, nearly as frequently as the jacks, whose parking spaces are interchangeable.

The lower two shelves hold, in no special system, all sorts of items including drill bits, tapes, mallets, and tool documentation. Here it is practically impossible to have direct access to everything, but I do prioritize access based on how frequently I use the items. The 30-drawer, plastic small-parts chest holds small screws and lots of little tools and parts that would otherwise tend to get misplaced.

Next, a look at the drawers, simple and practical.

*[This straightedge storage tip may seem familiar; I submitted it to the December 2008 Popular Woodworking.]