Tongs, Pincers, and Pliers

By Joseph A. McGeough

Tongs, pincers, tweezers, and pliers have the common task of holding or gripping objects so that they may be handled more easily. The early use of fire created a new problem, that of handling hot coals. Two sticks probably served as the first uncertain holders, but bronze bars may have replaced wooden tongs as early as 3000 BCE. An Egyptian wall painting of about 1450 BCE shows a crucible supported between two bow-shaped metal bars. The same painting shows a craftsperson, blowpipe in mouth, holding a small object over a fire with a tweezer like instrument about 20 to 25 cm (8 to 10 inches) long. Bronze loops capable of handling large and heavy crucibles also appeared at this time.

Spring-back, or tweezer like, tongs were the model used by the early ironsmith. The change to the mechanically more effective hinged tongs was slow, and it was not until 500 BCE that they became common in the Greek blacksmith’s kit. Pivoted tongs, with short jaws and a long handle, have quite a mechanical advantage over tweezer-like tongs. A pair of 51-cm (20-inch) pivoted tongs is capable of exerting a gripping force of nearly 135 kg (300 pounds) with only an 18-kg (40-pound) squeeze from the smith’s hand. Such tongs were constructed with one handle slightly shorter than the other so that an oval ring could be slipped over the two to help secure the grip.

Small tongs, often called pliers or forceps, were particularly valuable to the early craftsperson. who put them to many and varied uses. The Romans sharpened the jaws of tongs to create cutters and pincers. The pincers were useful for pulling bent nails because of the leverage they were capable of exerting. Although they were originally a carpenter’s tool, pincers became a principal tool of the farrier because old nails had to be pulled from horses’ hooves before new shoes could be fitted and nailed on.

Workbench and Vice

The workbench and vise form an organic unit, for the vise is a fixture that is either part of the carpenter’s bench or is attached to the machinist’s bench.

Neither a bench nor a mechanical fixture would have offered an advantage in the early chipping or flaking of stone. On the contrary, complete freedom in the positioning of the workpiece and hammer was essential to permit the many small, yet discretely placed and directed, blows that were the crux of fashioning stone tools. When large and unidirectional forces needed to be applied, as in woodworking, in many phases of metalworking, or even in the manipulation of bone and horn, the advantage of a bench or a fixed rest became apparent.

Wood assumed its important role in structures, furniture, and fittings with the development of polished stone tools (axe and chisel) in the Neolithic Period and was skilfully exploited for finer work with the advent of copper and bronze tools. Most of the furniture of ancient times no longer exists, but much visual evidence, provided largely by sculptures, representations on vases, mosaics, and wall frescoes, depicts all manner of furniture, such as thrones, stools, benches, footstools, couches, cupboards, tables, chests, and beds.

Oddly enough, a stout table or workbench is missing from the renderings of busy Egyptian shops. The workpieces are on the floor, and the craftspersons are kneeling or bending over their work or sitting on low stools, even in those scenes in which tables are being finished. Perhaps the craftspersons used their feet to position the work on the floor while using a chisel and mallet to effect joinery work, a practice still known in some areas.

Evidence in Europe suggests that woodworkers made use of a table or workbench as long ago as the Neolithic Period. The simplest form of table bench was a short length of heavy board split from a trunk and supported on four legs made of saplings set into bored holes. This style of bench, with its four legs somewhat splayed for greater stability, became common in Roman times. As the first users of the plane, the Romans found that a stout workbench was a necessity; trueing a surface without a bench on which to lay and secure the wood was nearly impossible.

Two early methods, still in use, were devised for holding the workpiece. The simplest procedure was to use wooden pegs set into holes in the bench top; the other was to use what are variously known as bench stops, holdfasts, or dogs. The stems of these T-shaped iron fittings were set into holes in the workbench, and a sharp end of the horizontal part of the T was turned to engage the wood.

Other arrangements came into use, including trestles for supporting wood to be sawed and specialized benches—horses—on which the leatherworker or coppersmith sat while facing a raised workpiece. A small workpiece was often held by a strap that was tightened when the craftsperson placed a foot in a loop that formed the free end and dangled beneath the table. Such horses proliferated from medieval times onward as new specialties developed.

A frequent accessory of the metalworker’s bench was the anvil, which is still informally present on many machinist’s vises in a rudimentary form suited to light work. Aside from making castings, metalworking was largely concerned with forging. The earliest anvils were convenient flat stones, usable for only the simplest kind of flat work. Anvils with the characteristic overhang, or horn, were first cast in bronze and, later, welded from short lengths of iron. Bench anvils were necessarily small, and the large free-standing specimens of the smith had to await the development of cast iron. Only then were larger masses of metal conveniently available.

The medieval carpenter’s bench was still very much like the Roman’s, with pegs serving as end fixtures. The metalworker, especially when using a file to shape and clean small forgings and castings (harness gear, buckles, and so on), used a simple rest, essentially a notched post driven into the ground in front of the bench, to support the workpiece.

Within a century, according to the pictorial record, the metalworker’s rest was replaced by a screw vise, at first quite small. This vise was like a hinge; one leaf or jaw was fastened to the bench, and the other was pulled up to clamp the workpiece and was tightened by the use of a nut and bolt passing through the middle of the hinge. Portable clamp-on vises that can be attached to a plank, tabletop, or bench top date from 1570.

Closing the vise by turning the tightening nut with a wrench was a slow and awkward process. At the end of the 16th century the screw was inverted so that it could be turned from the front by means of the T-handle that is part of every modern vise. This form of vise would remain an integral element of the workbench of every smithy.

The modern machinist’s vise has jaws that run parallel, and some vises pivot as a unit on a vertical axis (swivel-base vise). Both of these features were in use before the end of the 18th century.

The carpenter’s bench developed more slowly. For a woodworker, workpieces could be firmly fixed only with a screw arrangement of some sort. Although all of the necessary elements were known as early as 1505, for centuries nothing came of the idea of bench vises using the screw.

The woodworker needs two types of vices. One holds (clamps) the board into place so that its long edges may be trued and planed; custom places this vice at the left front of the bench, a convenient location for the right-handed worker. The second vice is at the right side of the table; its moving jaw has an adjustable bench stop that permits long pieces of wood to be held between it and a fixed stop in the bench top. Both types of vices were developed and made part of the same bench by the early 19th century.

Plane

By Joseph A. McGeough

The plane is a cleverly hafted cutting edge, the function of which is to skin or shave the surface of wood. Used to finish and true a surface by removing the marks of a previous tool (adz, axe, or saw), a plane leaves the surface smooth, flat, and straight. The plane and the related spokeshave are unique tools because both depend upon a constant depth of cut that is given by the slight projection of the blade beyond the sole, or base, of the instrument.

The plane is an anomaly for which no line of descent has been identified. Pliny the Elder ascribes its invention to Daedalus, the mythical Greek representative of all handiwork.

It has been suggested that the Palaeolithic unifacial (flat) scraper is the remote ancestor of the plane. While it is true that localized planing of a very poor sort, such as removing high spots, can be done with such a scraper, the difference in design and action between the two is too great to proclaim the scraper the forerunner of the plane. The adz seems a more likely progenitor. Early adzes were bevelled (sloped) on the outside, although later, with better hafting and longer handles, the bevel was moved to the inside. The blade and handle of an outside-bevelled adz could be used in a plane-like fashion to lift a shaving; however, the control of the blade projection, or depth of cut (or thickness of shaving), is critical to the concept of the plane and is met in only one other tool, the spokeshave.

The earliest illustrations of wood finishing, the surfacing of pieces of furniture, are Egyptian and show the surfaces being scrubbed with flat objects that appear to be abrasive stones or blocks riding on abrasive sand. Presumably, the surfaces had been dressed by an adz, and the marks of this tool needed to be erased. Stone scrapers are not in evidence, and, although the adz is shown, it is being used as an adz, not as an improvised plane.

The Romans were the first known users of the plane, the earliest examples coming from Pompeii. In a manner of speaking, these planes are full-blown, without a prehistory and without even vague antecedents. The modern plane differs in details but not in principle or in general appearance.

These Pompeian planes were of comfortable size, about 20 cm (8 inches) long and 5.7 cm (2.3 inches) wide. The blade was relatively narrow, about 3.8 cm (1.5 inches) as opposed to the modern width of about 5 cm (2 inches). The sole was made of iron, one-quarter-inch thick, that was bent to form a shallow box filled with a wooden core; it was cut away at the back to form a handgrip, while the mouth was cut out about one-third of the way from the front. The cutting blade, or plane iron, was held in position by a wooden wedge tapped under an iron bar placed across the mouth. Frontier posts in Great Britain and Germany have yielded nearly a dozen Roman planes, ranging in length from 33 to 43.2 cm (13 to 17 inches). Three constructions are represented: iron sole with a wooden core, all wood, and wood reinforced with iron plates at the sides of the mouth.

Planes can be divided into two main categories: the first, typified by the common bench plane, consists of a straight iron and a flat sole and is used for working flat surfaces; the second includes a variety of planes defined by the profile of the iron and sole. If the iron has a concavity, a projection or moulding is created in the workpiece; if the iron has a projection, a groove is dug. Generally speaking, planes with profiled irons and correspondingly fluted soles are moulding planes. Some of the Roman planes had irons for cutting rectangular grooves.

After the decline of the Roman Empire, the plane apparently fell into disuse. Practically no planes, and only a few other tools, have survived from the period of 800–1600 CE. Secondary sources, such as illuminated manuscripts, legal documents, carvings, and stained-glass windows, do provide some information, but they lack details.

By the late 17th century the plane was firmly re-established in the craftsperson’s tool kit. Bench planes, or common planes, were used for surfacing panels or for creating straight edges on boards so that two or more might be joined into a wide panel. Boards were sawed or split (riven) from the log and were, consequently, quite rough. The first planing operation was done with the roughing, or fore, plane, which was of medium length, possibly 40.6 to 45.7 cm (16–18 inches). This fore plane had a slightly convex iron that removed saw and adz marks but left hollows that needed to be levelled by straight-iron planing. If the workpiece was long, a long-bodied trying, or jointing, plane having a length of about 76 cm (30 inches) was needed to remove large curves in the wood. Short planes—a common length was about 23 cm (9 inches)—were called smoothing planes for the final finish they produced.

Planes with straight irons and flat soles could easily be made by the craftsperson. Taste and fashion in 17th-century wood carving, however, prized decorative features such as mouldings and beadings, which led to a proliferation of plane types and established plane making as an industry.

The indispensable common (straight iron) plane was improved in a number of details throughout the years. In Roman planes the wedge holding the iron was jammed against a cross bar in the mouth of the plane. This feature, awkward because it impaired the free escape of the shaving, was eliminated in the 16th century by seating the wedge in tapered grooves.

Another improvement was the invention of the top iron, apparently an English innovation of the late 18th century. This top iron, or chip breaker, used an inverted plane iron placed over the cutting iron to limit the thickness of the shaving and help it to curl out of the mouth. Now called the double iron, it is a feature of all but the smallest of modern planes.

As advanced metallurgy and machine tools allowed good castings to be accurately mass-produced, wooden planes were gradually displaced in Britain and the United States by cast-iron bodies with wooden handles.

The 19th century saw much effort in Britain and the United States aimed at eliminating the wedge, which required the use of a hammer to adjust the iron. Various methods for the easy removal and accurate setting of the iron culminated in the screw and lever adjustor for the iron and the cam-actuated cap. This final evolution was completed about 1890, and changes since that time have been trivial. Despite their advantages, continental Europe has not been partial to iron-bodied planes with screw and lever adjustments, and such tools cost much more than the still common wooden plane with wedge and hammer adjustment.

The spokeshave, which may be likened to a short-bodied plane with a handle on either side allowing the tool to be pulled toward the operator, has left little in the way of a record. The term was first used about 1510, but the earliest known example seems to be only half as old. Both the English word and the German Speichenhobel suggest that it was originally the specialized tool of a wheelwright that became generalized for use on convex surfaces. As with the plane, the cutting blade (iron) projects only slightly from the short sole to regulate the depth of cut.

The drawknife is a handled blade that is pulled toward the operator. It is a rather questionable relative of the plane, for, though it lifts shavings in a similar manner, it lacks the positive thickness control of the plane. The tangs at the ends of the modern knife are bent at right angles in the plane of the blade. While it is used in much the manner of a spokeshave, the drawknife is actually a roughing tool for the quick removal of stock. Skill is required in its use because the depth of cut is regulated by the tilt of the blade, and the grain of the wood tends to assert itself. The drawknife appears to be an older tool than the spokeshave and has undergone a change since the Viking times when it was first used. Under the Vikings the handles were bent at right angles to the plane of the blade, and the tool seems to have been used for smoothing axed or adzed timber in medieval Scandinavia, Russia, and elsewhere.

Chisel

By Joseph A. McGeough

The remote origin of the chisel may lie with the stone hand axe, the almond-shaped tool that was sharp at one end. Although long rectangular chisel-shaped flints appeared about 8000 BCE, the later Neolithic Period evinced a version that was finished by grinding. With care, flint and obsidian chisels can be used on soft stone, as shown by intricate sculptures in pre-Columbian South and Central America. Gouges—i.e., chisels with concave instead of flat sections, able to scoop hollows or form holes with curved instead of flat walls—were also used during this period. Chisels and gouges of very hard stone were used to rough out both the exteriors and interiors of bowls of softer stone such as alabaster, gypsum, soapstone, and volcanic rock. The final finish was produced by abrasion and polishing.

The earliest copper chisels were long, in the manner of their flint forebears. Such so-called solid chisels of copper (and later of bronze) were used not only for working wood but soft rock as well, as many magnificent Egyptian monuments of limestone and sandstone testify.

By using bronze, a better casting metal than copper, and moulds, it was possible to economize on metal by hafting a short chisel to a wooden handle. This also resulted in less damage to the mallet. The round handle was either impaled on a tang with a cast-on stop (tanged) or set into a socket (socketed); both forms of hafting presaged modern forms. The Egyptians used the chisel and club like mallet with great skill and imagination to make joints in the construction of small drawers, panelled boxes, furniture, caskets, and chests.

The use of iron meant that tools had to be forged; no longer were the flowing lines and easily made cavities of casting available to the toolmaker. Consequently, early iron chisels were rude and solid. Tanged chisels were easier to make than socketed chisels, for which the socket had to be bent from a T-shaped forging. Hardened steel edges (first developed by accident) were created by repeatedly placing the iron in contact with carbon from the charcoal of the forge fire.

Chisels and gouges were made in great variety in later centuries as generally increasing wealth created a demand for more decoration and luxury in both religious and secular trappings and furniture. The rough and heavy tools of the carpenter were refined into more delicate models suited to woodcarvers, to joiners who did wall panelling and made stairs, doors, and windows, and to cabinetmakers. In the 18th century a woodcarver’s kit may have contained more than 70 chisels and gouges.

File

By Joseph A. McGeough

The file’s many tiny chisel-like teeth point in the direction in which it must be pushed in order to be effective. Because little material is removed with each stroke, the tool is well suited to smoothing a rough workpiece or altering its details. The file was unknown in early antiquity, during which time smoothing was done with abrasive stone or powder or with sharkskin, the granular surface of which approximates sandpaper.

Files of copper are unknown, but bronze was shaped into flat files in Egypt in 1500 BCE. A combined round and flat file of bronze was produced in Europe by 400 BCE. The file became popular in the Iron Age and a number of specimens survive from Roman times. The longest is flat, one-inch-wide, about 38 cm (15 inches) long including the handle, and has about 20 cm (8 inches) of working length. A number of shorter files of about 10-cm (4-inch) working length are particularly interesting because of the notch they carry near the handle. The V-shaped cross section (called knife-shaped today) indicates that these files were intended for dressing saw teeth. The notch enabled the worker to set the teeth—i.e., bend successive teeth to alternate sides to gain a free-running saw. These files had straight-across and coarse toothing, but the advantages of obliquely cut teeth and of double-cut (intersecting) teeth were appreciated early.

A treatise written in 1100 mentions files of square, round, triangular, and other shapes. At this time files were made of carburized steel that was hardened after the files were cut by either a sharp, chisel-like hammer or a chisel and hammer. An illustrated manuscript of 1405 that was copied by a succession of later authors shows a polygonal file; the screeching of the filing operation is commented upon too, with the curious suggestion that files be made hollow and filled with lead to eliminate the noise. In 1578 a writer asserted that the only way in which threads could be cut in screws was with the file.

Although Leonardo da Vinci had sketched a file-making machine, the first working machine was not produced until 1750, and it was a century later before machine-cut files substantially replaced those cut by hand. Power-driven, hand-cut rotary files are still used on dense metals because hand-formed, discontinuous teeth dissipate the heat well.

The ordinary file, in terms of its material and cut, is primarily used on cast iron and soft steel. Other materials—various nonferrous alloys, stainless steels, and plastics—are better accommodated with files of special composition and tooth formation (cut). A wide selection is manufactured.

Rasps, or, more correctly, rasp-cut files, have a series of individual teeth produced by a sharp, narrow, punch like chisel. Their very rough cut is suited to the fast removal of material from soft substances, such as wood, hooves, leather, aluminium, and lead.

A metal sole on a wooden plane?

I saw this picture on an Aussie forum I regularly visit, and this plane was up for sale. What struck me about it was the metal sole. I understand the reasoning behind it, but it’s a dumb move and a poor job of attaching the metal to wood.

The attraction of a wooden bodied plane is that it leaves the surface polished because of the wood on wood burnish effect. By adding a metal sole to it, the owner has essentially stripped the plane of this quality and made it unattractive, especially with those countless screws you see in the picture. The surface it will leave behind may still be smooth and somewhat polished, but it won’t be the same if it was entirely wooden.

There is a small learning curve in using a wooden plane in terms of adjustment. There is no depth adjusting knob, no lateral adjusting lever, and no lever cap to release the blade. These 3 elements people struggle with the most, yet they are very simple to learn.

Follow these basic steps on how to adjust a wooden bodied plane.

Upon inserting the iron place your forefinger and middle finger into the mouth from the sole of the plane to stop the iron from falling through out of the mouth. No, you won’t cut yourself unless you’re really unlucky. Tap the wedge lightly to lock the iron in.

Sight down the sole and tap the iron with a hammer until you see a black line. That’s the iron protruding. Now tap the iron in either direction until you make it parallel with the sole.

Tip: To see the iron clearly place a white piece of paper in the background. This is why I make my benches from light coloured woods.

NOTE: If you sharpened the iron out of square you will struggle to get the iron parallel to the sole because you don’t have the same amount of leverage in side-to-side movement as you do with a metal plane.

Not much lateral clearance for side to side adjusting

Because I camber all my blades, I use the Charlesworth trick of using a piece of thin wood to make passes on both sides of the blade. I hold the plane in my hand and with the other I stroke the thin piece of wood on the ends of the blade. This will quickly tell me what the eye cannot pick up if you want to take really fine shavings which side is protruding more.

I normally use a longer thin piece, I just couldn’t find it and broke off a piece for demonstration purposes.

After centering the iron, tap on the wedge with one firm tap. DO NOT tap the wedge hard, it will make it super hard to release. Just use enough force to wedge it in place somewhere between light and medium should be enough.

If you want to take a deeper cut, tap the nose of the plane or the top end. If you want to take a lighter shaving, then tap at the heel of the plane, which is the back. Always tap the wedge afterwards.

Using a Warrington hammer is heavier enough to have an effect. Anything lighter will leave unnecessary marring on the plane without having any effect.

To release the wedge to take out the iron, tap with a decisive blow, preferably with a mallet on the heel or flip the plane upside down and whack the top front of the plane on your bench. This method works for all moulding planes as well because they are wooden planes with a profile.

Wooden planes don’t rust, but they move as wood does and gets out of whack and therefore you need to regularly check your planes and flatten when necessary. This also includes moulding planes. People make the mistake when buying vintage moulding planes thinking that they’re ready to use out of the box. Yes, they would be if they were new but not when they’re 50+ years old. You need to check for flatness and flatten them. Don’t think if it’s flat next to the iron, she’ll be right. She needs to be flat from heel to toe, and then you need to reshape the profile if you took off too much. Remember, the sole shape of the plane must match the profile. Therefore it’s best to buy new moulding planes over the used ones on the antique marketplace if you can afford it or even better make them yourselves. I’ve written extensively long articles in the magazine about this. I made an entire set for myself.

Jack Plane sole is flat. You need to check for humps as well.
Moulding plane sole is flat. No light visible.

Always check the sole with the iron inserted but not protruding. The same applies to metal planes, new or old.

When they make metal planes they never insert the iron and then flatten the sole. They just mill the sole on a milling machine, tell you it’s flat within so many thou. But when you insert the blade into the plane it’s not truly flat because the iron creates a small hump from the pressure. I learned this from David Charlesworth in an old LN video.

There is more moulding planes on top of the cabinet and behind the metal planes.

With Covid creating dilemma in the world with production ceased , it only makes sense to build your own planes if you don’t have any. Wooden planes are just as high quality premium planes as any metal bodied premium plane like LN or Veritas.

Saw

By Joseph A. McGeough

The chipped flint knife, with its irregular edge, was not a saw in the proper sense, for though it could sever wood fibres and gash bone or horn, it could not remove small pieces of material in the manner of a saw. Furthermore, the necessarily broad V-shaped profile of the flint saw severely limited its penetration into the workpiece; the nature of its cut was limited to making an encircling groove on a branch or a notch on something flat.

The true saw, a blade with teeth, one of the first great innovations of the Metal Age, was a completely new tool, able to cut through wood instead of merely gashing the surface. It developed with smelted copper, from which a blade could be cast. Many of the early copper saws have the general appearance of large meat-carving knives, with bone or wooden handles riveted to a tang at one end. Egyptian illustrations from about 1500 BCE onward show the saw being used to rip boards, the timber being lashed to a vertical post set into the ground.

The use of relatively narrow, thin, and not quite flat blades made of a metal having a tendency to buckle, coupled with poorly shaped teeth that created high friction, required that the cutting take place on the pull stroke. In this stroke the sawyer could exert the most force without peril of buckling the saw. Furthermore, a pull saw could be thinner than a push saw and would waste less of the material being sawed.

The familiar modern handsaw, with its thin but wide steel blade, cuts on the push stroke; this permits down hand sawing on wood laid across the knee or on a stool, and the sawing pressure helps to hold the wood still. Operator control is superior, and, because the line being sawed is not obscured by the fuzz of undetached wood fibres or sawdust, greater accuracy is possible. Some tree-pruning saws have teeth raked to cut on the pull stroke to draw the branch toward the operator. Blades that are thin and narrow, as in the coping saw (fretsaw or scroll saw), are pulled through the workpiece by a frame holding the blade. Electric reciprocating and sabre saws, which have narrow blades that are supported at only one end, pull the blade when cutting to prevent buckling. The carpenter’s pull saw for wood requires sitting on the floor and using one’s feet to stabilize the wood while sawing. Long forgotten by the Western world, it has been kept alive in China and Japan, where some craftspersons still favour it.

Although there is no positive evidence of either the type of saw or the method used, the Egyptians were able to saw hard stone with copper and bronze implements. The blade, probably toothless, rode on an abrasive material such as moistened quartz sand. The 2-metre (7.5-foot) granite coffer still in the Great Pyramid carries saw marks.

During the Bronze Age the use of saws for woodworking was greatly extended, and the modern form began to evolve. Some saws with narrow blades looked very much like hacksaw blades, even to the holes at either end. They might have been held in a frame or pinned into a springy bow of wood.

Iron saws resembling those of copper or bronze date from the middle of the 7th century BCE. A major contribution to saw design was noted in the 1st century CE by Pliny the Elder, whose works are one of the major sources on the technology of the ancients. Pliny observed that setting the teeth—that is, bending the teeth slightly away from the plane of the blade alternately to one side and the other, so creating a kerf, or saw slot, wider than the thickness of the blade—helps discharge the sawdust. He seems to have missed the more practical point that the saw also runs with less friction in the now wider slot. The Romans, always ingenious mechanics, added numerous improvements to both simply handled saws and frame saws but did not make push saws despite the advantage of the kerf that made the saw easier to work with and less liable to buckle. Roman saw sets and files have been found in substantial numbers. The small handsaws were sometimes backed with a stiffening rib to prevent the buckling of thin blades; today’s backsaw still carries the rib. Frame saws, in which a narrow blade is held in tension by a wooden frame, were exploited in many sizes, from the small carpenter’s saws to two-person crosscut saws and ripsaws used for making boards.

The time and provenance of the push saw are uncertain, although it appears that it may date from the end of Roman times, well before the Middle Ages. Nevertheless, after the decline of the Roman Empire in the West, the use of the saw seems to have declined as well. The axe again became the principal tool on the return to the more primitive state of technology. Saw artefacts are very few in number, and even the Bayeux Tapestry of about 1100 shows no saw in the fairly detailed panels dealing with the construction of William the Conqueror’s invasion fleet; only axe, adz, hammer, and breast auger are among the woodworking tools.

With the Middle Ages came the search for a nonclogging tooth to be used when crosscutting green and wet wood. The new saws were long, with handles at both ends, so that two men might each pull, adjacent teeth being raked in opposite directions. To provide space for the cuttings, M-shaped teeth with gaps (gullets) between them were developed; this tooth conformation, first noted in the mid-15th century, is still used in modern crosscut saws manufactured for coarse work and for cutting heavy timber.

Perhaps even more important than crosscutting was the need to rip a log lengthwise to produce boards. Saws for this purpose were generally called pit saws because they were operated in the vertical plane by two people, one of whom, the pitman, sometimes stood in a pit below the timber or under a trestle supporting the timber being sawed. The other stood on the timber above, pulling the saw up; the pitman and gravity did the work of cutting on the down stroke, for which the teeth were raked. A pit saw occasionally was nothing more than a long blade with two handles (a whipsaw), but more often it was constructed as a frame saw, which used less steel and put the blade under tension.

The fretsaw was a mid-16th century invention that resulted from innovations in spring-driven clocks. It consisted of a U-shaped metal frame, on which was stretched a narrow blade made from a clock spring, the best and most uniform steel available, for it was not forged but rolled in small, hand-powered mills. These relatively thin blades had fine teeth that were well suited to cutting veneer stock from decorative wood for furniture of all kinds.

By the middle of the 17th century, large water powered rolling mills in England and some parts of the Continent were able to furnish broad strips of steel from which wide saws could be fashioned in many varieties. In particular, the awkwardly framed pit saw was largely replaced by a long, two-handled blade of increased stiffness. Smaller general-purpose saws were developed from this rolling-mill stock into the broad-blade saws of today. The modern broad-blade handsaw is taper ground, that is, the blade is not of uniform thickness but is several thousandths of an inch thinner at the back than at the toothed edge. This makes possible no-bind cutting, and such saws require little set for fast and easy cutting. Continental craftspersons still use the frame saw for benchwork. Since the only purchased part is the blade itself, workers often make their own wooden frame, which is tightened by twisting a cord with a short stick.

Results from the new saw filing technique

Having sharp tool is a must in the craft, for many reasons including safety. When you work with blunt tools accidents happen because you’re exhorting more pressure on the tool than needed. Most cringe at the idea of using a handsaw to saw a board. They think it’ll take forever to get the job done and their arm would drop off from fatigue. None of this is true if your saw is sharp. There are of course some species of wood like iron bark where even a circular saw would struggle, let alone a handsaw. I avoid these types of wood. The picture you see below is American white oak, this is a tough timber to saw, plane and chisel. Yet I sawed through it with little effort at all because I sharpened my saw using the technique I recently learned upon reading Mark’s article. Look at the clean surface it left on the end grain and the very minimal tear out on the back side. There is a steep learning curve to sharpening saws, something I’m working towards getting real good at. You need a good saw vice, the right size high quality saw files, and plenty of patience through practice. In time, you’ll get to be a great beginner.

Now I’m going back to finish the rest of my saws. Thanks Mark.

Sharpening in the “Bad Axe” Style

Anyone that truly works with hand tools knows the value in having sharp tools. Sharp tools minimises muscle fatigue and accidents that arise from frustration by unnecessarily over exerting yourself to get the work done. Handsaws are no different to planes, chisels, or any other hand tool. A mediocre sharpened saw works well, but super sharp saws like the ones from “Bad Axe” perform better than more modern manufactured saws. Admittedly, I have never tried a “Bad Axe” saw because I live in Australia, but I have read so many articles about its superiority and cutting speed that I have only imagined how fast it actually cuts until now. I have wished to pick Mark’s brain on what rake and fleam he uses that makes his saws so superior to the way other sawyers have sharpened their saws.

Today I found an old in FWW article on how to sharpen a saw on Mark’s website. I anxiously downloaded the article and read it slowly and carefully, making sure not to miss anything. When I finished, I was a little confused. I didn’t find any rake and fleam that he favours. In fact, it says to stick with the angle determined by the manufacturer. The only thing I got from the article was the stroke method he used. Medium, heavy, then a light finishing stroke he say’s. Making sure every tooth is of equal height and every gullet of equal depth. That’s it! That’s all he does. I pulled out my saw vice and a spare LN backsaw, which I intend to sell and sharpened it using Mark’s recommendation. Upon completion, I was surprised at how prickly the saw teeth felt. I put it to the test on some scrap pine and it just went through it like butter, then I tried some white oak which he recommended and it too sawed through effortlessly. I then pulled out my other backsaw sharpened by Lie Nielson and tried it sawing white oak with it, and it struggled. I had difficulties pushing it through the wood.. I nearly fell on my arse in awe of Mark’s expert sharpening technique. The rake and fleam I used was the manufacturer’s default of 15°. What I changed was the method of stroke as per Mark’s recommendation. Not only did it saw faster, but there was zero tear out on the back. Go figure that one out. I highly recommend you download this article, read it, and then give it a go. I guarantee you will never look, read or watch another saw sharpening video again.

One last note, use the recommended size files that Mark recommends. You can find other sized files on his website. Bad Axe Saw Sharpening Files by Friedrich Dick (badaxetoolworks.com) Take the time to read his articles, I’m sure you’ll agree them to be very informative.

Drilling and Boring Tools

By Joseph A. McGeough

A varied terminology is related to making holes with revolving tools. A hole may be drilled or bored; awls, gimlets, and augers also produce holes. An awl is the simplest hole maker, for, like a needle, it simply pushes material to one side without removing it. Drills, gimlets, and augers, however, have cutting edges that detach material to leave a hole. A drilled hole is ordinarily small and usually made in metal; a bored hole is large and in wood or, if in metal, is usually made by enlarging a small hole. Drilling usually requires high speed and low torque (turning force), with little material being removed during each revolution of the tool. Low speed but high torque is characteristic of boring because the boring tool has a larger radius than a drill.

The Upper Palaeolithic Period furnished the first perforated objects of shell, ivory, antler, bone, and tooth, although softer, perishable materials, such as leather and wood, were undoubtedly given holes by the use of bone or antler splinters. How holes were made in harder materials is subject to speculation; it has been suggested that flint blades were trimmed to sharp points by bilateral flaking and that these points were turned by hand, a very slow process. Another scheme involved the use of an abrasive sand under the end of a stick that was twirled back and forth between the palms. At some unknown time, more efficient rotation was attained by wrapping a thong around the stick or shaft and pulling on the ends of the thong. Such a strap, or thong, drill could be applied to drilling either with an abrasive or with a tool point hafted onto the end of the stick. The upper end of the shaft required a pad or socket (drill pad) in which it could rotate freely.

After the invention of the bow, sometime in the Upper Palaeolithic Period, the ends of the thong were fastened to a bow, or a slack bowstring was wrapped around the shaft to create the bow drill. Because of its simplicity, it maintained itself in Europe in small shops until the 20th century and is still used in other parts of the world. Abrasive drilling in stone was well suited to the high-speed bow drill. For larger holes the amount of material that had to be reduced to powder led to the idea of using a tube, such as a rolled copper strip, instead of a solid cylinder. This is called a core drill because the abrasive trapped between rotating tube and stone grinds out a ring containing a core that can be removed.

A new and more complicated tool, the pump drill, was developed in Roman times. A crosspiece that could slide up and down the spindle was attached by cords that wound and unwound about it. Thus, a downward push on the crosspiece imparted a rotation to the spindle. A flywheel on the spindle kept the motion going, so that the cords rewound in reverse to raise the crosspiece as the drill slowed, and the next downward push brought the spindle into rotation in the opposite direction.

The earliest (perhaps Bronze Age) drill points had sharp edges that ultimately developed into arrow shapes with two distinct cutting edges. This shape was effective, especially when made of iron or steel, and remained popular until the end of the 19th century, when factory-made, spiral-fluted drills became available at reasonable cost to displace the blacksmith-made articles.

The basic auger originated in the Iron Age as a tool for enlarging existing holes. It had a crossbar so that it might be turned with two hands, and it resembled a pipe split lengthwise. The auger was sharpened in several ways: on the inside of the semi-circular end, along the length, or on both. The end might be forged into a spoon shape and the edges sharpened so that cutting could take place at the bottom of the hole in addition to the sides. To clear the hole of parings it was necessary to pull the auger from its hole and turn the work piece over. Augers with spiral or helical stems that brought the shavings or chips to the surface were an invention of the Middle Ages, although one example dates from Roman Britain.

The familiar and common brace, a crank with a breast swivel at one end and a drill point at the other, is first seen in a painting of about 1425 that shows the biblical Joseph at his bench. This brace and other early examples are shown fitted with a bit of small diameter. It has been suggested that the function of the new tool was to make a small, or pilot, hole for the larger auger bit. This is a reasonable assumption, for the crank, fashioned from a wide board, had insufficient strength (because of its cross grain) to drive a large bit. This weakness was later counteracted by reinforcing the two weak sections with metal plates, a practice that continued until about 1900 despite the commercial introduction of iron sweeps (cranks) in about 1860. This invention permitted the boring of holes of up to one inch in diameter with one-handed operation; larger holes still required two-handed augers. An iron sweep is noted in a German manuscript of 1505, and an English book of 1683 has a metal brace as part of a blacksmith’s kit.

Early wooden braces were equipped with a large socket into which bits with appropriate shanks could be fitted interchangeably. When the sweep came to be made of iron, bits were given square shanks that fit into simple split chucks (holders) and were secured with a thumbscrew. Soon the screwed shell chuck and ratchet was devised to set the standard for the modern tool. By 1900 the swivel turned on ball bearings instead of a leather washer, and the metal parts were nickel-plated.

The bow and pump drills, suitable only to small work, required two hands, one to steady the tool, the other to operate it. One-hand drills began to appear in about 1825. Their essential elements were a steeply pitched screw and a nut that mated with it; when the latter was pushed down, the screw and attached bit turned. Many variations of the principle were offered before the modern push drill assumed its present, convenient form. It is still suitable for only light work in wood.

Both the bow and pump drills remained the metalworker’s prime tool for drilling small holes until the first geared hand drill was invented in 1805. Like every other tool, it underwent many improvements before acquiring its present rugged simplicity. Its great advantage lies in its unidirectional motion and the gearing that rotates the drill faster than the rate at which the crank is turned. The one-directional motion allowed better drills to be designed, and, with their greater mechanical efficiency in chip production, it was not long (1822) before drills with spiral flutes were proposed. A manufacturing problem—the flutes had to be hand filed—was not solved until the 1860s when the invention of a milling machine made possible the now universal twist drills.

Augers were used for boring both across the grain of wood and along the grain. The latter operation produced wooden pipes and pump casings or wheel hubs; special bits of many forms were designed for these purposes. The more common use of the auger or bit was in the cross-grain direction to make holes for wooden pins (treenails, or trunnels) or bolts for connections. The modern auger bit has a screw ahead of the cutting edges that pulls the auger into the work piece. This screw provides an automatic feed and relieves the worker of the necessity of pushing the tool. Although the idea appeared in the mid-16th century, application of the principle was limited until the advent of screw-making machinery in the mid-19th century.