A strip of 0.020″-thick plastic shim stock, about 1/2″-wide and the full length of the stone, facilitates the Ruler Trick. The plastic is the same thickness and width as the 6″ steel ruler I had been using, but the blade slides on it more smoothly, and it allows use of the full length of the stone.

I lightly and uniformly scuffed the bottom of the plastic with 80-grit sandpaper, stroking perpendicular to the direction of the blade motion used in executing the ruler trick. I used fine sandpaper to soften the corners of the long edges of the plastic where the top meets the sides. This preparation, plus the low friction of steel on plastic, makes this plastic “ruler” surprisingly stable on the stone.

The Ruler Trick, taught by David Charlesworth, removes the “wear bevel” of a plane blade with greater speed and accuracy than by working the back of the blade fully flat against the stone. In other words, it helps in the necessary task of accurately creating two planes of steel that meet at a sharp edge. It is useful for nearly all plane blades but particularly valuable, almost essential, for bevel-up blades.

With the blade elevated on one side of the stone by 0.020″ and the edge reaching 2″ across the stone from the inner edge of the plastic “ruler,” an angle of only about 1/2° is created on the “flat” side of the blade. [tan^-1 (0.020/2) = 0.57°] This amount has no significant effect on the bevel angle of the blade, nor on the attack and clearance angles of bevel-up and bevel-down planes. The facet is very narrow, perhaps 1/32″-wide, created with just a few strokes on only the finest stone.

[Addendum, February 14, 2018, updated: I received the April, 2018 (#238) electronic issue of Popular Woodworking magazine today, and note in the “Tricks of the Trade” section on page 12, a reader contributed essentially the same “trick” to the magazine as I have described here on my blog. He used plastic from a milk jug. His trick also appeared in the November 2016 PW.

The PW contributor obviously came up with the idea independently of my writing. I do believe I also came up with the idea independently, but now I think it’s possible that I was influenced by what I probably saw earlier in the November 2016 issue. I really am not sure. Therefore, I credit Jonathan White, the PW contributor, for the idea.]

This simple jig makes it easy to produce highly accurate tenon shoulders on the table saw. Admittedly, it is a nicety, not a necessity, but I have been delighted with the consistently excellent results from it.

The special feature is that both edges of the fence are used, in turn, to register the work piece. This allows you to work from a single reference edge of the rail. This is hand-tool style – you do not assume the two edges of the rail are exactly parallel. Yes, they probably are, close enough at least, but I like potential errors to cancel whenever I can. Setting up a jig like this means I only have to be dead on once – when I make the jig.

This means that the edges of the fence must be absolutely parallel to each other. They are, within a thou.

Also, a sled is a generally more accurate way to crosscut on the table saw because the work piece does move against any surface. Of course, the miter slot must be accurately parallel to the blade for this jig, or for any device that slides in the miter slot, to work well.

Making the jig

The overall dimensions of the jig are 21″ x 14″.

Trim the UHMW strip to a snug fit in the miter slot, and then attach it to the 3/4″ MDF base of the sled using screws entering through the top. Locate the runner so that there is a little bit of the base extending to the right beyond the blade. Then, trim the right edge of the sled by sliding the base in the miter slot. The other three edges of the base are not critical; cut them only for a neat appearance.

The fence is 3/4″ MDF, 2 1/2″ wide. Stable, quartersawn hardwood is probably a better choice of material because it is easier to trim straight and square, but I got lucky when ripping this piece of MDF so I used it. Using 1/4″-20 flat-head bolts through the bottom of the base, attach the fence square to the right edge of the base. T nuts make it easier to tune the angle now, or later if needed.

Neatly add PSA 220-grit sand paper to both working edges of the fence. The big knob in the middle helps in maneuvering the sled.

In use

A stop block is easily added to my VSC table saw fence. Mark the reference of edge of the rail. Adjust the blade height. Remember to readjust the blade height if you are making a tenon that is not centered on width of the rail.

Cut one shoulder . . .

and then the other, using the same reference edge of the rail.

You also can make the little “connecting” (edge) shoulders with this jig on the table saw. However, errors can creep in. When the rail is held on its long edge, it can register differently against the stop block than when it is held on its face. This will result in the end shoulder(s) not aligning with the face (main) shoulders. So, I often prefer to do these by hand, which is easy.

As always, there’s more than one good way to get the job done.

Tenon shoulders must meet stringent standards to produce a good joint – straight, at the correct angle to the length of the rail (usually 90°), accurately paired on both sides of the joint to meet the surface around the mortise, and in position to make the length of the rail fit the overall structure. Thus, whether produced by machine or by hand, you need a reliable method to tweak tenon shoulders. A shoulder plane has no equal for this task, but it needs a good work setup to make it function well.

This jig meets that need. In 2016, I wrote in detail about the jig that I had been using for many years. I usually use my Clifton 410 small shoulder plane or, for large work, the big Lie-Nielsen. For small work and other delicate adjustments, I like my little Japanese shoulder plane, used on the pull stroke.

To use both styles of planes, the jig should be reversible. Why didn’t I do this a long time ago? I removed the front cleat, and repositioned the bottom cleat, which fits in the tail vise, to the middle of the base.

Now I can use the jig for push-style shoulder planes:

And, by rotating the jig 180° and using the other end of the fence, for pull-style shoulder planes:

In either direction, the plane moves toward a hardwood backup piece that prevents spelching at the exit end of the work piece. This replaceable element is secured with deeply countersunk screws. The graphics on the top remind me of the presence and depth of the screw heads.

After this revision, the jig is reduced in overall size to about 8 1/2″ x 12 1/2″, but that does not matter. It can accommodate even large work pieces by using a scrap of wood under the rail for outboard support. The toggle clamp, along with the self-clamping effect of always working toward the fence, keeps the work piece secure.

The jig is quick and easy to build, and I think you will find it helpful for this exacting task.

Kinex squares are a fantastic value. Not well known to U.S. woodworkers, Kinex’s website states, “Swiss quality made in the Czech Republic.” Their tools are made to German DIN standards for accuracy. That’s the Deutsches Institut für Normung, which just sounds accurate to my ears.

Their all-steel “Precision Universal Squares,” which are designed much like a regular try square, are available in DIN 875/1 or the even stricter DIN 875/0. Each square comes with its own signed inspection certificate.

As examples, a 150mm (6″ blade) square in the DIN 875/1 standard has a deviation-from-right-angle tolerance of .018mm (.0007″) and costs $15.99 on Amazon, sold by Taylor Toolworks. The 150mm DIN 875/0 has a tolerance of .008mm (.0003″ – about a quarter thou!) and costs only $19.99. You can also order Kinex tools directly from Taylor Toolworks.

The handy 100mm x 70mm square (model #4026-02-010, DIN 875/0) that I bought is nicely balanced, and well finished with all edges relieved. There was a tiny nick on the blade and a tiny burr at the end of the blade, both of which I easily removed with a fine diamond touch-up hone. There were also a few insignificant surface scratches.

I cannot truly assess this level of accuracy in my shop but testing against my Starrett showed virtually light-blocking consistency in all parameters. I’m happy because, as someone quipped in an article that I read somewhere, long ago, “I like to be the only one adding inaccuracy to my work.”

Kinex makes other models of squares – flat, stand up, knife-edge, large, and lightweight – and an extensive line of other precision tools. As far as I know, Kinex squares are not sold by any traditional or online woodworking stores in the U.S. except Taylor Toolworks. Kinex has an online store but shipping is from Europe.

As usual, this review is unsolicited and uncompensated. I have no relationship with Kinex or its distributors.

Update 12/19/20: I came to dislike and ultimately reject the 100mm Kinex square that I was using because of the relieved edges, especially on the blade. I found that these minute chamfers make it more difficult to see tiny deviations from square when placed against the work. By contrast, Starrett squares have crisp unrelieved edges that allow more sensitive assessment of the work. The Kinex are still very good squares at an incredible price, and the slightly relieved edges may not bother you at all. However, based on the edge treatment, I no longer can recommend them despite their several other merits including extreme accuracy.

Customized shaped blocks are a must for properly sanding concave curves. They are a key player on the Tools for Curves team. Cork has the ideal flexibility and resiliency for backing the sandpaper.

Lately, I have been making the blocks entirely from cork. These work better and are easier to make than what I formerly used, which was shaped wooden blocks with a layer of cork added to the working surface. By the way, I have experimented with pink foam board insulation and found it difficult to shape reliably.

To make these all-cork blocks, you need thick stock. It is wonderfully easily to cut with a handsaw or bandsaw, and shape with a moderate-grain rasp. The curve does not always need to be a constant radius – simply draw it freehand and saw. Refine it with the rasp, ensuring that it is just a bit steeper than the steepest section of the work piece.

Make the thickness of the block to your liking based on how you want to grip the block. The block pictured at the top is about 1 1/2″ thick. You can try to size the block for optimal convenience in cutting the sandpaper from standard 9″x11″ sheets, and to minimize waste, but good function and feel in the hand are the more important factors for me.

Saw kerfs 3/4 -1″ long about 1/2″ from the top face of the block to house the ends of the sandpaper. Hand pressure will naturally keep the paper in place (see below) even in fine grits and more so in coarse grits. No wedges or clips are needed. The chamfers at the beginning of the slots toward the working face are important.

To install the sandpaper:

Enter one end just a little into the slot, then bring the other end around the block and push it almost all the way into its slot. Working back the other way, snug the paper around the block and then push the original end as far as possible into its slot. Make a final tightening of the paper by pressing the paper it against one of the chamfers then use your fingertips to goose the paper even more into the slot.

The simple design of these blocks along with this paper insertion procedure produce a tighter hold on the sandpaper against the surface of the block than any commercial curved block that I have used (none of which I like).

Finally, the light weight of an all-cork block is an asset not to be underestimated in the countless (ugh!) reciprocation of sanding work.

Find thick cork by searching online. Try “cork blocks” or “cork yoga blocks.” I suggest the Corkstore (Jelenik Cork Group), which currently sells a 9×5″x5″x3.5″ yoga block for $19.25, and 12″x8″x2″ block for $17.10. This is a nice fine grain cork that is easy to shape reliably. Dick’s Sporting Goods sells a 9″x4″x6″ block, so you might be able to find it locally.

You have some tools hanging around your shop that you don’t use or need. I know you do.

It’s inevitable. You’re a woodworker, so more times than you might care to admit, you’ve bought a tool that seemed so shiny and necessary at the time but now sits untouched. Maybe you’ve upgraded your chisels or backsaws, or maybe you’re downsizing to follow the trend of tool minimalism, but somehow there are unused tools in your shop.

And so readers, take a look around your shop and rescue those good but idle tools from their quiet detention. I respectfully ask you to consider giving them new purpose by donating them to the Krenov Foundation.

This organization’s stated mission is “to continue the legacy of James Krenov, his values, approach to woodworking, and teaching” as it “supports the art and craft of fine woodworking through scholarships, exhibitions, and developing an online archive of Krenov’s work.”

As for so many other woodworkers, the writing and work of James Krenov have been pivotal in forming my approach to the craft. Perhaps you often find yourself as I do, working in the shop as guiding words from A Cabinetmaker’s Notebook come to mind. In this spirit, I ask you to join me in supporting the Krenov Foundation.

At its helm is the Man of Steel himself, Ron Hock. It is based in Fort Bragg, CA, home of the Krenov School of Mendicino College, the evolution of the woodworking program established by JK in 1981. It takes only a sampling of the breathtaking work of its students to grasp the essence of the school.

By donating tools, you will be helping the next generation of woodworkers to experience and expand our beloved craft, in an age cluttered with anonymous ugliness. And “the Krenov Foundation is a nonprofit public benefit corporation organized under the Nonprofit Public Benefit Corporation Law for charitable purposes.”

Please contact them before sending your donation of tools to make sure they are suitable for their needs.

Thank you!

If you enjoy and find useful the material here on the Heartwood blog, here are some offerings by your devoted keyboard warrior that I think you’ll also like. As with all my woodworking writing, it comes from the “sawdust and shavings of my shop.” No armchair pretensions, I write what I do. I hope these materials are helpful for your woodworking.

Popular Woodworking: August 2017 (#233) “Shapely Legs”

This article ties together techniques discussed on the blog to create a practical system for designing and making curved legs. This is how you go beyond copying plans laid out on grids of 1-inch squares in books and magazines. The idea is to empower you to create your own designs. I cover wood selection, transferring curves from a drawing to make a template, marking out and sawing the wood, and tools and skills for refining the curves after sawing.

Furniture and Cabinetmaking: July, August, and October 2017 (#259, 260, and 262) “Edge-to-edge Joinery,” parts 1, 2, and 3

This three-part series with more than 6,000 words and three dozen photos explores the techniques, rationales, and controversies of the ubiquitous edge joint. I truly think it is as complete and thoughtful a discussion of the topic as you will find anywhere. F&C is most readily accessible at a reasonable price in electronic form from Pocketmags.

Furniture and Cabinetmaking: February 2017 (#254) “Jointer Tune-up” 

This article is reproduced from material on the blog. It is a logical and doable approach to tuning a machine that can otherwise cause a lot of frustration.

Fine Woodworking Workshop Solutions: Winter 2017 “Making Better Use of Your Space” – Smart floor plans for workshops of all sizes.

Written by Fine Woodworking editors, this article has two pages of photos and text showing my humble 11×17-foot slice of heaven as an example of a small shop design, while the rest of the article shows an example of a medium and a large shop. The article has a nice plan diagrams of the shops, and shows some of the setup tricks and systems. The article appeared earlier in Fine Woodworking’s Tools and Shops annual issue, Winter 2014, with the cover declaring “dream shops, small and large,” so, wow, I’m living the dream, I guess.

Wood magazine: 

October 2016 (#242) “It’s Always Something” 

October 2017 (#249) “Search and Research” 

These two articles are reworked from the blog, and nicely produced by the editors at Wood.

Popular Woodworking:

October 2016 (#227) “Super Nova Magnetic Lathe Lamp”

December 2017 (#236) “SensGard Ear Chamber Hearing Protection”

These are reviews of two outstanding products.

The theme that runs through these writings and the blog is that I want to inspire you and help you to build things, and experience the joy of it as I do.

Some readers have asked about the blue ring in the top of my workbench. It is the collar for the Record Bench Holdfast #146 (Marples M146).

The #146 is an excellent tool. It holds more firmly than any other holdfast that I’ve tried, due to the grip of the notched stem in the collar, as well as the heavy threaded clamp screw. The maximum reach at its lowest height is 6 5/8″ to the center of the aggressively textured clamp pad, while the maximum holding height is about 10 1/4″.

The downside of the design is having a metal collar in your benchtop, which could present a hazard to sharp tools, even though it is slightly recessed below the bench surface. Despite this, I cannot recall ever crashing a tool edge into it. Still, you would not want to have many of these collars in your benchtop. The placement of my one collar has served well, particularly for chopping dovetails over the right front leg of the bench.

In the photos, you can see some of the several 3/4″ holes used for shop-made low bench stops, Veritas Bench Pups, Wonder Pups, and Bench Anchors. These holes also accommodate the two excellent Gramercy holdfasts that I also use, which greatly expand the range for holding down workpieces. With all of these options and more, this old Ulmia can hold just about anything I ask of it.

As far as I know, the #146 has long been out of production, as has the slightly smaller version, the #145. Old ones can surely be found from time to time on EBay and vintage tool websites, and they are likely to be in very serviceable condition because it is an almost indestructible tool. I bought mine new about 35 years ago.