MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... HEY.

HELLO AGAIN.

WELCOME BACK TO "THE WOODWRIGHT'S SHOP."

I'M ROY UNDERHILL.

SO GLAD YOU COULD BE WITH ME AGAIN TODAY BECAUSE I WANT YOU TO MEET MY GOOD FRIEND AND EXPERT ARTISAN, BILL ANDERSON.

BILL.

HEY, ROY.

GOOD TO SEE YOU.

ALL RIGHT, BILL.

YOU HAVE BEEN WORKING ON OUR CORNER CUPBOARD, MAKING THE MOLDINGS.

THIS IS ONE OF THE TOUGHEST JOBS, I THINK, OF THE WHOLE THING.

AND YOU'RE GOING TO SHOW US THE TOUGHEST MOLDING TO MAKE.

IS THAT RIGHT?

WE ARE GOING TO WORK ON THE MOST COMPLICATED PIECE, I THINK.

NOW, THAT'S GOT TO BE THE CROWN.

AND IT'S NOT ACTUALLY THESE.

THAT'S NOT THE CROWN?

THAT'S THE CROWN, BUT IT'S NOT THE MOST COMPLICATED.

TWO PIECES OF WOOD HERE COME TOGETHER.

SO THAT AND THAT.

ALL RIGHT, THESE TWO.

AND ALL THE ELEMENTS HERE ARE PRETTY STRAIGHTFORWARD AND REALLY NOT VERY DIFFICULT TO CUT., SO... HUH.

SO IT'S NOT SOMETHING LIKE THIS LITTLE TINY ONE HERE?

WELL, THAT ONE REQUIRED-- WE NEED TO CUT THAT ON THE EDGE OF THE BOARD AND SAW THEM OFF INDIVIDUALLY.

I KNEW THERE WAS SOMETHING SPECIAL.

BUT THAT'S NOT THE COMPLICATED ONE?

THAT'S VERY STRAIGHTFORWARD.

NOW, THIS ONE HERE.

THIS ONE HERE IS ALSO A VERY STRAIGHTFORWARD PIECE.

JUST 2 CUTS-- A PLANE HERE TO CUT AN OUTSIDE CURVE, AND ANOTHER ONE TO CUT AN INSIDE.

AND THOSE LITTLE SHOULDERS THERE ARE CALLED FILLETS.

VERY STRAIGHTFORWARD TO CUT ALSO.

SO JUST ONE PLANE TO DO EACH OF THESE ELEMENTS.

NO PROBLEM WITH THAT AT ALL.

SO WHAT'S THE HARD ONE?

AND THE LAST ONE HERE IS THE PIECE THAT'S FIT ONTO THE BOTTOM PART OF THE CASE, AND YOU CAN SEE THAT THAT'S GOT AN ELLIPSOIDAL CURVE RIGHT HERE LIKE THAT.

OH, OK. ALL RIGHT.

THIS PART RIGHT HERE.

I'VE GOT MY THUMB ON IT.

2 BEADS RIGHT THERE AND FILLETS ON EITHER SIDE.

AND THAT INTERLOCKS LIKE THAT.

IT INTERLOCKS WITH THIS PIECE UP HERE LIKE THAT.

HOLY MOLY.

SO IT REQUIRES SEVERAL DIFFERENT PLANES TO CUT THOSE PROFILES AND TO BLOCK OUT ALL THAT WASTE THERE IN ORDER TO GET DOWN TO THE SHAPING PART.

OK.

SO SOME FINESSE TO DO THAT.

SO THAT'S WHY THIS IS THE MOST COMPLICATED ONE.

SO I THOUGHT IT WOULD BE INTERESTING TO SHOW THAT ON SOME PIECES OF WOOD HERE.

I'VE LAID OUT SEVERAL STEPS ON THE PROCESS HERE.

THE ROUGH STOCK.

NOW, THIS IS MUCH SHORTER THAN THE STUFF YOU WERE DOING.

WELL, WE WERE MAKING PIECES ALMOST 5 FEET LONG THERE IN ORDER TO HAVE ENOUGH.

I'M GLAD YOU CHOSE 2-FOOT LENGTHS.

BUT WE HAVE JUST SHORT PIECES HERE FOR EXAMPLES.

AND YOU CAN SEE THAT WE'VE LAID OUT A PROFILE HERE WITH A SERIES OF MARKING-GAUGE CUTS HERE TO LAY OUT EVERY ONE OF THE SQUARE CUTS, THAT WE'RE GOING TO MAKE WITH A RABBET, A SERIES OF RABBET PLANES LIKE THAT.

AND THEN WE'LL JUST GO THROUGH, AND WE'LL MAKE A SERIES OF RABBETS.

RABBETS ARE THOSE SHOULDERS, YEAH.

THESE SQUARE CUTS THERE, PROGRESSIVELY REMOVING MORE AND MORE OF THE WORK UNTIL WE'VE GOTTEN DOWN TO THE POINT WHERE WE CAN DO THE ACTUAL SHAPING WITH HOLLOWS AND ROUNDS AND OTHER SHAPING PLANES THAT WE HAVE.

SO THE WHOLE THING IS BLOCKING IT IN.

BUT I BET THERE'S A WHOLE LOT OF PLANNING.

YOU'VE GOT TO KNOW THE SEQUENCE OF BLOCKS.

YOU HAVE TO KNOW THE SEQUENCE OF BLOCKS, AND WHICH...WHICH CUTS TO MAKE FIRST.

THE MOST IMPORTANT THING IS TO CHOOSE YOUR STOCK.

OK. WE WANT WOOD THAT HAS A STRAIGHT, EVEN GRAIN AS MUCH AS POSSIBLE.

AND THIS IS, AGAIN, TULIP POPLAR, WHICH IS PRETTY EASY TO WORK WITH ANYWAY.

ABSOLUTELY.

AND IT'S PRETTY MUCH QUARTER-SAWN.

THE GRAIN IS STRAIGHT.

WE WANT TO BE ABLE TO HAVE THE GRAIN ADVANTAGEOUS IN THE DIRECTION THAT IT'S-- THAT WE'RE DOING TO BE DOING MOST OF OUR CUTTING.

AND YOU CAN SEE IT.

IF WE LAY THE PROFILE OUT LIKE THIS, MOST OF THE CUTTING HAPPENS ON THESE 2 FACES HERE.

SO WE WANT THE GRAIN TO BE ADVANTAGEOUS WANT THE GRAIN RISING UP LIKE THE FUR OF A CAT GOING THIS WAY BECAUSE THE PLANE IS ALWAYS GOING TO WORK DOWN THE BENCH IN THAT DIRECTION.

ABSOLUTELY.

AND SO YOU CHOOSE IT FOR THIS MAJOR... ALL RIGHT.

I GOT THAT.

IN ADDITION, WE WANT TO THINK ABOUT OUR SEQUENCE OF CUTS.

WE'RE GOING TO CUT THESE 3 BACK RABBETS FIRST SO THAT WHEN WE GET READY TO DO THE REST OF THIS WORK, OUR WORK WILL HAVE PLENTY OF SUPPORT.

OK.

SO IT'S PLANNING AS WELL AS PLANING.

PLANNING BEFORE PLANING.

ABSOLUTELY.

SOME OF THE PLANES WE'RE GOING TO USE HERE ARE SOMETHING CALLED A MOVING FILLISTER, WHICH BASICALLY IS A GLORIFIED RABBET PLANE.

YEAH.

IT WENT TO COLLEGE.

IT'S GOT A FENCE ON IT.

ANOTHER VERSION OF THAT, WHICH IS A... A STANLEY METAL VERSION, BUT STILL A MOVING FILLISTER.

AND WE'LL USE A PLOW PLANE HERE, WHICH HAS A SMALL CUTTER RIGHT HERE.

IT ALLOWS US TO DO ONE SINGLE STEP HERE THAT'S VERY CRITICAL.

WE'LL GET TO THAT TOWARDS THE END.

AND THEN WE'LL USE-- A WHOLE SET OF THESE.

THESE ARE GREAT.

I THINK A LOT OF PEOPLE SEE THESE HOLLOWS AND ROUNDS IN... YOU SEE THESE IN FLEA MARKETS, AND THEY'RE STILL AVAILABLE.

AND THE SIDE ROUNDS HERE ARE A LITTLE BIT MORE RARE, BUT VERY ESSENTIAL TOOLS.

WELL, WHY DON'T WE GO THROUGH THE STEPS THEN AND TAKE TURNS-- WHY DON'T YOU AND I TAKE TURNS DOING IT?

WE'RE GOING TO SEE HOW TO MAKE OUR OWN MOLDINGS.

ALL RIGHT.

THE VERY FIRST THING WE DO IS WE'VE LAID OUT ALL THESE RABBETS.

WE'VE GOT A PROFILE HERE-- SHOW ME YOUR GAUGE THERE.

WHERE'S MY GAUGE AGAIN?

YOUR MARKING GAUGE THAT YOU USE TO RUN THE LINES, BECAUSE THIS IS WHERE YOU SAID TEARS CAN COME IN THERE IF YOU USE THE FENCES.

WELL, I DON'T ACTUALLY USE THE FENCE ON THESE PLANES.

LET'S MAKE SURE WE KNOW WHAT THAT IS.

THAT'S THE FENCE, AND THAT'S THE DEPTH STOP.

BUT YOU INSTEAD USE THIS GAUGE TO PUT LINES.

I GAUGE ALL THE LINES.

I GAUGE THE DEPTH AND THE WIDTH OF EVERY RABBET, AND I CUT DOWN TO THERE BY EYE.

AND THAT WAY I GET A NICE, PRECISE CUT WITH CLEAN SHOULDERS.

OTHERWISE, YOU'VE GOT THE TEARS.

MAKE A BUCKET OF TEARS.

ALL RIGHT.

ALL RIGHT.

SO THAT'S THE TEARS.

WE'LL GO TO THE SWEAT NOW.

WE'LL GO TO THE SWEAT RIGHT NOW.

WE'RE GOING TO CUT A COUPLE RABBETS HERE JUST TO SHOW WHAT THIS PROCESS IS.

AND THIS FIRST RABBET HERE, YOU CAN SEE, IS ABOUT A QUARTER-INCH WIDE AND AN EIGHTH-INCH DEEP.

AND I'VE SET THIS MOVING FILLISTER TO CUT THAT.

AND YOU CAN SEE IT TAKES THOSE-- NOW, I HEAR IT CUTTING PRETTY HARSH, YEAH.

IT'S CUTTING PRETTY HEAVY BECAUSE I WANT TO HOG OFF THIS WOOD, AND THEN I'M GOING TO COME BACK WITH A SMALL SHOULDER PLANE LIKE THIS... OK. TO DO A FINE CUT.

AND YOU SEE, THIS BLADE IS A VERY LOW-ANGLE CUT, AND IT'LL TAKE A VERY SMOOTH CUT, AND ALLOW ME TO MAKE A PRECISE SHOULDER THERE.

AND THEN YOU'RE GOING TO GO UP TO THE LINE WITH IT.

BUT YOU COULD HEAR IT ACTUALLY AND SEE THE CHATTER LINES, BECAUSE THE BLADE IS-- WELL, HERE.

LET ME LET YOU GO AHEAD AND DO IT.

AND NOT ONLY THAT, BUT WE'RE CUTTING AGAINST THE GRAIN ON THIS PARTICULAR SIDE OF THE BOARD.

OH, WE'RE CUTTING THE BACKS?

OK. WE'RE CUTTING THE BACKSIDE.

THAT'S FUNNY.

YOU'LL HEAR THE TONE, AND YOU CAN LISTEN AND TELL-- I'M JUST GOING TO CUT DOWN TO THE POINT WHERE I CAN COME IN WITH MY SHOULDER, LITTLE SHOULDER PLANE HERE AND TAKE THE FINAL PASS OR 2.

ALL RIGHT.

SO YOU TRY AND HOG IT OUT WITH A COARSELY SET PLANE, AND THEN COME BACK WITH A FINE, LOW-ANGLE PLANE.

ONCE THAT SHOULDER IS SQUARE, I CAN COME BACK AND CLEAN UP THE OTHER SHOULDER AND GET A REALLY NICE, CLEAN CUT THERE.

AND THAT LOW ANGLE, I THINK, HELPS YOU WITH THE GRAIN AS WELL.

ABSOLUTELY.

SO NOW WE HAVE ANOTHER RABBET TO DO HERE, WHICH IS THIS ONE ALL THE WAY ACROSS.

OH, THAT'S ONE IS MY TURN.

OK. ALL RIGHT.

SO WHICH PLANE ARE WE GOING TO USE FOR THAT?

WE'LL USE THIS WIDE MOVING FILLISTER HERE.

OK.

THE FUNKY IRON JOB.

ALL RIGHT.

ARE WE CLAMPED UP WELL ENOUGH?

GET THAT GOOD AND TIGHT.

AND IS THE FENCE SET RIGHT?

THE FENCE IS SET GOOD.

AND IT'S REALLY IMPORTANT TO KEEP THE PLANE SQUARE TO THE WORK SO THAT OUR RABBET DOESN'T TILT OUT.

I WONDER WHY IT'S CALLED A RABBET.

COMES FROM THE FRENCH WORD "REBATE," WHICH IS "TO LET IN" OR MAKE SOMETHING-- LET AN EDGE IN.

HA HA.

REALLY?

OK. ALL RIGHT.

SO ALL THE WAY DOWN?

YOU'RE LOOKING DOWN THERE AT THE END.

AM I TOO FAR?

NOW SEE, THAT'S TAKING A BIG HOGGY CUT.

TAKE A LOOK AT THE EDGE OF THE THING HERE ON EACH END, AND YOU'LL SEE THAT YOU NEED TO TIP THE PLANE A LITTLE BIT SQUARER.

NOW, ONE WE GET CLOSE THERE, WE'RE GOING TO TAKE ANOTHER SHOULDER PLANE HERE... UH-HUH.

ALL RIGHT.

A LITTLE BIT WIDER ONE.

THE SAME PRINCIPLE AS THAT SMALL ONE, BUT IT ALLOWS US TO CLEAN UP THAT CUT.

AND THAT'S GOT THAT LOW ANGLE AGAIN TO IT.

ALL OF THIS IS TO MAKE A NICE, SQUARE, FLAT CUT.

WE'RE GOING TO HAVE TO STRAIGHTEN UP THIS RABBET JUST A LITTLE BIT.

THAT'S A NEW-MADE PLANE THERE.

SO IF PEOPLE WANT TO BUY HAND PLANES LIKE THIS, YOU CAN BUY THESE NEW.

YOU CAN FIND ANTIQUE VERSIONS OF THESE AS WELL, BUT THERE ARE A LOT OF TOOLMAKERS WHO ARE HAVING A REVIVAL, SO TO SPEAK.

WE ARE LIVING IN A GOLDEN REVIVAL AGE.

THE GOLDEN REVIVAL OF PLANES.

SO WE'LL DO THAT.

WE'LL COME BACK.

AND AS WE DID BEFORE, WE'LL SQUARE UP THE SHOULDER HERE.

ALL THIS WORK JUST TO GET THAT LITTLE BUMP ON THAT, LITTLE, TINY BUMP RIGHT ON THE END THERE.

ALL RIGHT.

SO WHAT WE'LL HAVE DONE IS EVENTUALLY, WE'LL HAVE THIS.

TURN THIS AROUND TO BE THE SAME ORIENTATION HERE LIKE SO.

AND THERE WILL BE ONE MORE BACK RABBET TO CUT HERE.

BUT WE'RE GOING TO GO AHEAD AND JUST SHOW THAT THERE.

OK.

SO YOU JUST KEPT WORKING.

SO WE'LL GET THOSE BACK RABBETS OUT OF THE WAY, AND ONCE WE'VE DONE THAT, WE'LL START WORK THEN ON THE FRONT PART OF THIS PROFILE HERE, TAKING AWAY RABBETS TO MAKE THIS... IS THAT RIGHT?

NO.

THERE WE GO.

LIKE THAT.

MAKE THIS PROFILE.

WE'LL MAKE A SERIESp OF RABBETS.

WE'LL MAKE A VERY DEEP RABBET TO TAKE AWAY MOST OF THE WASTE THAT COMES AND TAKES OUT THIS CURVE HERE.

SO A RABBET THAT'S AS DEEP AS THAT AND AS WIDE AS THAT.

ARE WE GOING TO DO THAT NOW?

WE'RE NOT GOING TO DO THAT NOW.

OK.

I'M GLAD OF THAT, BECAUSE THAT'S A LOT OF PLANING.

BUT THAT'S WHY WE SET THE MOVING FILLISTERS ROUGH, SO WE CAN JUST HOG THAT OFF., AND THAT'S WHAT WE'VE DONE THERE.

THAT'S WHAT WE'VE DONE THERE.

OK.

SO THE SAME PLANES THAT WE JUST USED.

BUT NOW WE'RE DOWN TO THIS STAGE.

CAN I CLEAR THESE GUYS OUT OF THE WAY?

WE CAN CLEAR ALL THESE AWAY.

I'M GOING TO MOVE THEM OUT OF HERE.

SO WE'VE GOT 2 MORE CUTS TO DO ON THIS.

AND ONE IS, YOU CAN SEE, ON THIS PROFILE, WHEN I HOLD IT LIKE THIS, THAT THIS LITTLE BEAD IS SEPARATED FROM THE CURVE.

IT HAS TO BE SEPARATED FROM THE CURVE, AND WE DO THAT WITH A PLOW PLANE TO CUT A GROOVE RIGHT ALONG IN THERE.

AND WE'RE DOING THAT WITH THIS PLOW PLANE RIGHT HERE.

OK. WHOSE TURN IS IT NOW?

UH, YOU CAN CUT THAT.

IT'S GOING TO REQUIRE MAYBE ABOUT 6 STROKES.

IS THAT ALL?

OK.

EVEN STROKES ALONG THE WHOLE LENGTH.

WELL, I SURE APPRECIATE-- YOU KNOW, I ASKED YOU TO HELP ME ON THESE MOLDINGS-- OH, THAT'S CUTTING NICE THERE-- MOLDINGS FOR THAT CORNER CUPBOARD.

DID YOU HAVE ANY IDEA WHAT A HUGE JOB-- I THOUGHT YOU MEANT CUT A COUPLE PIECES OF STICKS OF MOLDING, THAT WOULD BE IT.

AND THEN YOU SENT ME THOSE DRAWINGS, AND I WAS VERY SURPRISED.

UH, WELL, THIS IS THAT-- THE DRAWINGS ARE OUT THERE FOR ANYBODY.

THIS IS-- YOU'RE ABOUT THERE.

TAKE A LOOK AT THE LAYOUT LINES ON THE ENDS THERE.

OK.

I'M NOT LOOKING.

I KEEP THINKING YOU'VE SET THE DEPTH STOP.

NO.

OK. YOU HAVEN'T.

YOU'VE GAUGED THAT.

RIGHT DOWN TO THE MONEY THERE.

SO I'VE CUT A GROOVE ALL THE WAY DOWN THERE.

CUT THAT GROOVE RIGHT THERE.

AND NOW WE CAN GO AHEAD AND FINISH OUT THIS LAST RABBET RIGHT THERE.

AND WE'LL BE READY TO GO.

OH, REALLY?

OK. YOU'RE GOING TO BE ABLE TO WORK FROM THAT SIDE?

ABSOLUTELY.

THIS IS ONE OF THOSE CASES WHERE WE'RE NOT HAVING TO GO AGAINST THE GRAIN, FORTUNATELY, BUT THAT'S JUST THE WAY LIFE IS.

HA HA HA!

ALL RIGHT.

WE'RE JUST TAKING OFF AN EIGHTH OF AN INCH.

LIKE I SAY, THIS IS--OH, YEAH.

JUST ENOUGH TO GO DOWN TO THAT LINE RIGHT THERE.

AND AGAIN, THAT'S THAT WONDERFUL MOVING FILLISTER.

HEAVY-SET, NOW.

YES.

TAKING A LOT OF STUFF OFF, AND THEN FINISH UP WITH-- WE'LL COME BACK WITH A FINER PLANE.

A LOW-ANGLE PLANE.

OH, MY.

THIS TULIP POPLAR IS JUST GREAT TO WORK WITH, YEAH.

AND THERE WE ARE, BASICALLY TO THE LINE THERE.

THAT'S ONE OF THE KEYS TO DOING THESE MOLDINGS RIGHT, IS YOU'VE GOT TO CHOOSE THE RIGHT KIND OF WOOD FOR THIS JOB.

SO WE'VE DONE ALL THE BASIC... AS MUCH LAYOUT AS WE CAN TO TAKE AWAY THE WASTE.

AND AT THIS POINT NOW, WE NEED TO TAKE OUT ALL THIS STUFF HERE.

CHISEL AND GOUGE TIME.

YOU DIDN'T TELL ME ABOUT THAT, BECAUSE WHEN WE LOOKED AT THE TOOLS, THAT THERE WAS GOING TO BE ALL THESE NICE BRASS... WE'VE GOT A CHISEL HERE.

NEED TO TAKE THIS OUT BECAUSE THE NEXT STEP IS TO USE A SIDE ROUND.

IT HAS A STRAIGHT UP-AND-DOWN FACE HERE THAT DOES NOT CUT, AND WE CAN HOOK IT INTO THIS VERTICAL FACE HERE, AND WE CAN TAKE THIS PART DOWN HERE, THE BOTTOM PART OF THE CURVE, WITH THIS CUTTING PORTION RIGHT HERE.

OK, BUT THE WHOLE THING IS THAT YOU WANT TO TRACK, HAVE SOMETHING TO TRACK IN.

RIGHT.

AND RIGHT NOW, THIS WASTE IS KEEPING US FROM GETTING IN THERE STRAIGHT UP AND DOWN.

OK.

SO IT'S GOT TO COME OUT.

BUT YOU USE A CHISEL INSTEAD OF A GOUGE HERE AT THIS STAGE.

THAT IS SURPRISING TO ME.

WOULD YOU USE A GOUGE TO FOLLOW THIS?

UH, YOU COULD.

BECAUSE I KNOW YOU CAN JUST GOUGE ROUGH-- ALL I'M TRYING TO DO IS JUST GET RID OF THE MAJORITY OF THIS WORK HERE.

GET ME SOME ROOM FOR MY MOLDING PLANE.

WELL, AND ONE LESSON HERE-- I MEAN, THAT'S THE EQUIVALENT OF THE HEAVY-SET PLANE THAT YOU USED TO ROUGH THIS STUFF IN.

YOU COULD USE A JACKPLANE RIGHT HERE, IF YOU HOLD IT AT JUST THE RIGHT ANGLE AND JUST TAKE THAT OFF, OR... YEAH.

BUT THIS GOES PRETTY QUICK.

I'D SAY YOU'VE GOT GOOD TECHNIQUE.

I LIKE THE WAY YOUR LEFT HAND IS HOLDING THE CHISEL THERE WITH KIND OF A STOP AND GUIDE COMBINATION.

IT'S SORT OF THE YIN AND YANG.

YOU PULL BACK WITH ONE HAND, AND YOU PUSH FORWARD WITH THE OTHER HAND IN ORDER TO MAINTAIN CONTROL.

WELL, I'M GLAD YOU DID THAT INSTEAD OF ME.

SO NOW WHAT WE'RE GOING TO DO, BECAUSE WE HAVE ROOM TO WORK IN THERE.

AND WE'RE GOING TO START WORKING OUT THIS WASTE.

HERE.

WHY DON'T YOU DO THAT?

OK, I'LL DO THAT.

NOW, THIS IS A SCARCE PLANE.

NOW, YOU DON'T FIND THESE VERY OFTEN NOW.

THIS HAS THAT...

THEY USUALLY COME IN PAIRS.

SEMICIRCULAR PROFILE.

YEP.

HERE'S THE OTHER, THE MATING HALF.

SO YOU HAVE A LEFT- AND A RIGHT-HANDED HOLLOWS THERE.

AND AGAIN, THEY CUT ON THEIR SIDES, NOT ON THE BOTTOM.

ABSOLUTELY.

OK.

IT'S READY TO CUT ON THE SIDES.

HOLLOWS.

SIDE HOLLOWS.

ALL RIGHT.

SIDE ROUNDS, ACTUALLY.

SIDE ROUNDS.

SIDE ROUNDS.

SO YOU'LL HOLD THAT STRAIGHT UP AND DOWN, REFERENCED AGAINST THAT LITTLE SHOULDER RIGHT THERE.

WE'RE JUST TAKING OFF THIS CORNER RIGHT IN HERE.

ALL RIGHT.

SO EVEN THOUGH YOU HAVE THIS VERY ROUGH, CHISELED-IN SURFACE, ONCE IT GETS TRACKING-- NOW, LET'S SEE.

I'M CHOKING THERE.

I HAVE CHOKED IT RIGHT THE HECK UP.

LOOK AT THAT.

ALL RIGHT.

HAVE YOU GOT SOMETHING TO DEAL WITH THAT?

WELL, I'VE GOT MY KNIFE AROUND HERE SOMEWHERE.

LET ME SEE IF I CAN-- LET ME SEE IF I CAN-- THERE YOU GO.

SOMETIMES THE PLANE WILL JUST PUSH THOSE SHAVINGS OUT.

WELL, I JUST GAVE IT A LITTLE MORE VELOCITY., I THINK WHAT HAPPENS IS, YOU KNOW, I WORK WITH A MORE HESITANT CUT, AND THAT'S WHAT CAUSES IT TO CHOKE.

YEAH.

IT'S NOT CHOKED RIGHT NOW.

ALL RIGHT.

SO BASICALLY, YOU'RE PLANING THEM UNTIL YOU GET DOWN TO THE BOTTOM OF THIS GROOVE.

AND THAT BEGINS THE FIRST PART OF THIS CURVING.

IF YOU REMEMBER FROM THE PROFILE HERE-- LET ME JUST GRAB THIS.

YEAH.

OK. THAT THE BOTTOM PART OF THIS CURVE IS TIGHT.

AND THEN THE UPPER PART FLATTENS OUT A LITTLE BIT.

SO THAT'S WHY YOU WANT A NICE TIGHT CURVE DOWN IN THE BOTTOM.

AND THEN WE'LL WORK THE REST OF THE CURVE WITH VARIOUS HOLLOWS AND ROUNDS., I HAD TO LEAN OVER A LITTLE BIT MORE LIKE THAT TO OPEN IT UP, AND NOW IT'S CUTTING DOWN AGAIN.

BUT YOU SAID--ALL RIGHT.

OH, I'M GETTING IT.

OK. AS SOON AS YOU SEE THAT LITTLE SHOULDER DISAPPEAR-- YEAH, I SEE IT DISAPPEAR.

I THINK I'M DONE.

I DIDN'T DO A VERY SMOOTH JOB.

YOU SAW THAT LITTLE JUMP AT THE END.

BECAUSE THE WHOLE THING IS TO HAVE THIS CONSISTENT ABSOLUTELY.

DOWN 5 OR 10 FEET.

HOLY MOLY.

OK.

SO OUR NEXT STEP, THEN, WOULD BE TO TAKE A NARROW HOLLOW AND A NARROW ROUND AND WORK OUT THIS PART RIGHT IN THERE.

I NEED TO LET YOU DO THAT ONE.

ALL RIGHT.

OH, MY GOSH.

SO THAT IS WHY THE GUYS NEEDED SO MANY PLANES.

AND HAVE YOU HEARD THAT ABOUT THE ENGLISH JOINERS AND CABINETMAKERS USE A LOT MORE HOLLOWS AND ROUNDS, WHEREAS AMERICAN MIGHT HAVE USED ONE PLANE.

USED DEDICATED PLANES.

ONE PLANE THAT WOULD DO THE WHOLE DARN THING.

SO WE'LL JUST CONTINUE TO WORK DIFFERENT WIDTHS OF PLANES BECAUSE AS THE CURVE COMES UP HERE-- IT OPENS UP.

IT OPENS UP.

OK.

SO WE'RE GOING TO OPEN THAT UP.

SO YOU'RE GOING TO USE BROADER PLANES.

BROADER PLANES TO DO THIS PART UP HERE, ABSOLUTELY.

ALL RIGHT.

WELL, THIS IS MY TURN.

MY TURN.

HA HA HA!

ALL RIGHT.

AND, UH--OH, HARDLY CUTTING AT ALL.

BUT AS I CUT, IT GOES-- WHAT WE NEED TO DO IS WE NEED TO CUT DOWN TO THIS LITTLE CORNER THAT WE'VE GENERATED IN THERE FROM THAT LAST RABBET.

AND ONCE WE HAVE THAT, THEN WE'LL WORK UP THE CURVE UP HERE WITH AN EVEN WIDER ROUND.

ALL RIGHT.

SO THIS IS VERY FINELY SET.

SHOULD I BE LAYING IT DOWN LIKE THAT TO BRING IT AROUND?

YEAH, OR YOU CAN USE IT ON ITS SIDE AND SORT OF CLIMB UP THE EDGE HERE JUST A LITTLE BIT.

YOU CAN ALSO USE THAT HALF-ROUND.

LET ME GRAB THAT AGAIN.

OK. THAT'LL SOMETIMES ALLOW YOU TO CREEP RIGHT UP.

ALL RIGHT.

LET'S SEE HOW THAT DOES.

HERE, LIKE THIS.

BY JUST USING YOUR FINGERS AS A FENCE... HOO.

HA HA!

OH, MAN.

OH, OK. LET'S SEE.

YOUR FINGERS AS A FENCE.

THAT'S WHERE THE BLOOD IS COMING IN RIGHT NOW.

I SEE.

THAT'S THE DOWNSIDE OF USING POPLAR.

JUST BLOOD SHOWS TERRIBLY ON TULIP POPLAR.

ANYWAY, SO WE CONTINUE LIKE THAT, AND SO ON AND SO FORTH, AND EVENTUALLY WE'LL COME TO THIS POINT HERE.

OK. THAT ONE'S A LITTLE MORE SATISFACTORY.

SO LET'S...

SO WE'VE GOT TO THIS STAGE NOW.

AND IT'S STILL KIND OF LUMPY.

THE LAST STEP IS TO ROUND OVER THIS PART HERE AND THIS BEAD DOWN HERE.

ALL RIGHT.

SO I'M GOING TO GET THAT GUY OUT OF THE WAY.

AND JUST CLAMP IT JUST LIKE THAT?

JUST CLAMP IT RIGHT IN THERE AS CLOSE TO THE TOP AS YOU CAN SO YOU CAN GET SOME SPACE IN THERE FOR THE PLANES.

I GOT YOU.

ALL RIGHT.

ALL RIGHT.

ALL RIGHT.

I GOT YOU.

PROBABLY, LIKE, THE NUMBER-2 HERE FOR DOWN HERE.

ALL RIGHT.

SHALL I DO THIS ONE?

YEAH, YOU DO THAT ONE.

JUST ROUND THAT OVER.

AND AGAIN, WE'VE GOT A SHOULDER TO TRACK THIS THING ON NOW.

YEAH.

SO JUST LIKE THAT?

BUT THE MAIN THING IS FOLLOW THROUGH.

FOLLOW THROUGH AND THEN BASICALLY WORK THE ARC WITH THE PLANE.

OK.

SO LEAN OVER A LITTLE BIT MORE.

SO EVENTUALLY YOU'LL START ALMOST HORIZONTAL, AND YOU'LL WIND UP VERTICAL ACROSS THE TOP.

SO DOWN LIKE THAT?

EXACTLY.

NOW, THIS I LIKE.

HA HA HA!

AND AGAIN AROUND THIS SIDE.

NOW, ON THIS SIDE-- THE WORK HERE PREVENTS YOU FROM GETTING THE RIGHT ANGLE.

SO YOU CAN TURN THE PLANE AROUND AND COME THE OTHER WAY, AND YOU GET A LITTLE MORE ANGLE ON IT.

OH, OK. COME LIKE THIS?

YOU'LL BE AGAINST THE GRAIN RIGHT THERE.

BUT IT'LL ALLOW YOU TO DO PART OF THE CURVE THERE.

THIS PART IS UP IN THE VERY TOP OF THE CROWN MOLDING,, AND SO YOU MIGHT NOT BE ABLE TO GET THIS AS ROUND AS YOU'D LIKE HERE.

YOU COULD PROBABLY LIVE WITH IT.

ALL RIGHT.

WELL, THAT'S GOOD.

LET'S SAY THAT BOTTOM IS DONE NOW.

NOW, THE UPPER ONE-- WHICH ONE WOULD YOU CHOOSE?

I'D USE THIS NUMBER-6 RIGHT HERE.

I BELIEVE THAT'S A NUMBER-6.

YEAH.

AND THESE DIFFERENT SYSTEMS USE-- WHAT I'M SAYING IS, EACH OF THESE HAS A NUMBER ON IT.

THEY'RE BASED ON THE RADIUS OF A CIRCLE OR THE ARC OF A CIRCLE ACTUALLY.

BUT DIFFERENT COMPANIES, AMERICAN AND BRITISH, WOUND UP ADOPTING SLIGHTLY DIFFERENT STANDARDS.

SOME OF THEM WERE CORPORATE, AND SOME OF THEM WERE STANDARD ACROSS THE INDUSTRY.

LET'S SEE IF I CAN DO THIS OTHER SIDE.

CAN I DO--BUT I CAN CLEAR TO THE OTHER SIDE.

ABSOLUTELY.

ALL THE WAY AROUND.

ALL RIGHT.

AND YOU KNOW, I TELL YOU, IF YOU'RE DOING A 10-FOOT PIECE OF MOLDING, YOU'D BE WALKING UP AND DOWN YOUR BENCH.

YOU HAVE TO LEARN HOW TO DO THE GRAPEVINE WALK TO CUT A LONG PIECE OF MOLDING.

OK. WELL, I'M GOING TO SAY-- I'M GOING TO DECLARE THIS DONE IN ABOUT 3 MORE STROKES.

ABSOLUTELY.

IT'S CLOSE.

BECAUSE I WANT TO SHOW YOU THAT-- NOW JUST HOLD IT UP, AND WE'LL LOOK AT IT WITH THE LIGHT AND SEE HOW IT'S DONE.

SO WE'LL JUST SAY "IN PROGRESS" HERE.

ABSOLUTELY.

AND IF WE WERE TO HOLD IT UP LIKE THAT, YOU CAN SEE IT NEEDS A LITTLE MORE ROUNDING AND TRIMMING, BUT OUR FINAL THING WOULD BE TO GO RIGHT DOWN THE LENGTH OF IT AND MAKE IT-- YEAH, VERY NICE MOLDING.

ALL RIGHT.

SO WE'RE READY TO GO.

NOW, THAT'S IT.

NOW I WANT YOU TO SEE SOMETHING, THOUGH.

BILL, WHEN I WAS WORKING OVER HERE ON THIS...THE FLUTING.

WELL, HERE.

WE CAN SEE IT ON THE CABINET.

LOOK.

RIGHT HERE.

THIS FLUTING THAT WE'VE GOT DOWN THE COLUMN, DOWN THE PILASTER THERE.

ABSOLUTELY.

HOW DID YOU DO THAT?

THE SAME PRINCIPLE.

THAT'S WHAT I WAS SAYING.

I LEFT THESE OUT HERE FOR YOU TO SEE.

THIS IS THE SAME PRINCIPLE THAT WE HAVE WITH THE...

INTERESTING.

I WOULD HAVE USED A SCRAPER, YOU KNOW.

WELL, THIS IS WHAT WE WERE TALKING ABOUT, USING A SCRAPER DOWN THE...

BUT YOU KNOW, YOU'D IMAGINE WHAT THAT WOULD LOOK LIKE.

YOU'RE NOT GOING TO GET A FINE SURFACE.

NOT IN POPLAR.

SO THE WAY I'VE BEEN WORKING-- I'VE GOT AN IN-CANTLE GOUGE.

THE BEVEL IS ON THE INSIDE HERE, BUT IT IS SO FLEXIBLE-- SEE HOW FLEXIBLE?

SO THAT ALLOWS YOU TO JUST PUSH IT DOWN ALMOST PARALLEL TO THE WOOD AND RUN A CUT JUST LIKE YOU WERE DOING WITH THE GOUGE AND WITH THE CHISEL THERE.

SO YOU JUST RUN THAT RIGHT ON DOWN.

AND YOU GET A BURNISHED SURFACE THERE.

LOOK AT THAT.

YEAH.

YEAH.

SO IT'S JUST REALLY NICE.

SO I'M WORKING DOWN.

SO YOU'VE LAID OUT THESE LINES WITH A SCRIBE BEFOREHAND OR...

I DID.

I USED A MARKING GAUGE, JUST LIKE YOU SAID, SO WE'D AVOID THOSE TEARS.

AND RAN THE LINES, AND THEN TRACED THEM VERY SLIGHTLY WITH A PENCIL, AND IF WE FLEX THIS THING ENOUGH... THAT'S BEAUTIFUL.

YEAH.

YEAH.

SO ANYWAY, THIS WORKED OUT REAL WELL FOR GETTING THOSE.

BUT IT IS THAT SAME PRINCIPLE OF GETTING A GROOVE GOING AND THEN FOLLOWING IT DOWN.

HOW ABOUT HERE AT THE END?

YOU CAN'T QUITE GET IT... WELL, LET ME SEE IF I CAN DO THAT.

WHAT I HAVE TO DO, BECAUSE I CAN'T FLEX INTO IT-- LET ME GET UP TO THE LINES HERE ON THIS SIDE HERE A LITTLE BIT.

THERE WE GO.

ALL RIGHT.

SO THEN DOWN TO THE END, WE CAN'T GET IN THERE BECAUSE THIS IS BEVELED ON THE INSIDE.

YOU CAN SEE THE BEVEL DOWN INSIDE THERE.

WE'LL HAVE TO USE THIS ONE THAT'S BEVELED ON THE OUTSIDE AND JUST WORK THAT AND THEN COME BACK FROM THE OTHER DIRECTION.

AND WE'LL BE ABLE TO DO OUR FLUTED COLUMNS.

YEAH.

SO REALLY, YOU CAN THINK OF ALL THESE INTRICATE WAYS TO DO IT.

IT IS JUST A COUPLE OF GOUGES, AND YOU CAN DO THESE JUST FINE, BUT LISTEN, I'VE SKIPPED OVER WHAT YOU WERE TALKING ABOUT WITH THE VERY THIN MOLDINGS.

ABSOLUTELY.

WE'VE GOT A PIECE HERE.

I'VE ALREADY LAID OUT THE MOLDING ON A BOARD HERE.

A NICE REASON TO DO IT THIS WAY IS YOU CAN GET A LOT OF SUPPORT FOR THE BOARD IN THE VISE.

LAY OUT THE PROFILE, AND OF COURSE, YOU SCRIBE THE DEPTH OF THE MOLDING HERE BEFORE YOU EVEN START OUT SO THAT YOU CAN SAW OUT THIS MOLDING ON THAT LINE.

AND THIS IS WHAT IT'S GOING TO LOOK LIKE.

THIS IS WHAT IT'LL LOOK LIKE WHEN IT'S SAWED OUT.

SO THAT GOES ON THERE LIKE THAT.

I MEAN, THAT'S WHAT THAT'S GOING TO BE.

ALL RIGHT.

WELL, LET ME SEE IF I CAN RIP IT.

SHALL I RIP IT OFF?

YOU SHOULD RIP IT OFF, AND SAW IT AS CLOSE TO THE LINE AS YOU CAN, BECAUSE WE'LL PLANE THE BACKSIDE OF IT AFTERWARDS, BUT WE DON'T WANT TO HAVE TOO MUCH WORK FOR OURSELVES.

I'M GOING TO DO THIS OVER THE EDGE OF THE BENCH SO IT'LL BE SUPPORTED ALL THE WAY AND I CAN GET MY SAW DOWN.

I DON'T LIKE THAT RIPPING VERTICALLY NEARLY AS WELL.

ABSOLUTELY.

SO LET'S SEE.

WE'LL SET THAT RIGHT OVER THERE.

ALL RIGHT.

LIKE THAT.

AND LET'S SEE IF I CAN GET THAT-- BOY, THIS IS A LITTLE-- THE GRAIN'S A LITTLE FUNKY.

THE GRAIN'S A LITTLE FUNKY.

THERE'S A KNOT RIGHT IN THE MIDDLE OF THE MOLDING ALSO.

OH, GOOD.

OK. AND I'M OFF A LITTLE BIT FROM THAT LINE.

I GUESS I'LL GO AHEAD AND TIGHTEN UP.

TIGHTEN UP AS CLOSE AS YOU CAN.

OK. JUST TOUCH THE PENCIL LINE?

ABSOLUTELY.

OK. YOU'LL SAVE YOURSELF A BUCKET OF TEARS WHEN YOU'RE PLANING AFTERWARDS.

I SEE.

YOU CAN TRADE SWEAT FOR TEARS.

IS THAT RIGHT?

ALL RIGHT.

THERE WE GO.

ALL RIGHT.

SO, THERE WE GO.

NOW, THIS WOULD BE DIFFERENT IF WE WERE WORKING WITH A 10-FOOT PIECE.

THERE WE GO.

ALL RIGHT.

SO NOW YOU'VE GOT THE SAME PROBLEM, THOUGH.

THE REASON WE DID THAT WAS BECAUSE IT WAS TOO FLEXIBLE AND BENDS A LOT.

SO HOW DO YOU PLANE THAT DOWN?

WELL, NORMALLY YOU BRING THE PLANE TO THE WOOD WHEN WE'RE PLANING, BUT IN THIS CASE, WE'RE GOING EXACTLY THE OPPOSITE.

WE'RE GOING TO BRING THE WOOD TO THE PLANE.

WE'RE GOING TO PUT OUR PLANE IN THE VISE UPSIDE-DOWN.

OH, ALL RIGHT.

OK. THAT'S WHAT YOU DO WITH A STRIKE-BLOCK PLANE OR SOMETHING LIKE THAT.

OK. LET ME OPEN IT UP A LITTLE BIT.

THERE YOU GO.

JUST POSITION THAT JUST RIGHT.

AND THEN WE'LL PUT THIS RIGHT ON HERE.

YEAH!

OF COURSE, IT'S IMPORTANT TO DO THIS WITHOUT PLANING YOUR FINGERS AS WELL.

HA HA HA.

LIKE THAT.

OK.

SO RIGHT ON DOWN.

SO JUST GET THAT RIGHT THROUGH THERE.

OH, BOY.

ALL RIGHT.

LET'S SEE HOW THAT BACKSIDE IS LOOKING.

IT SOUNDS GOOD.

OH, MY GOSH.

LOOK AT THE FIGURE THERE.

WELL, I WAS WONDERING IF YOU CAN SEE-- TULIP POPLAR IS A RELATIVE OF THE MAGNOLIA FAMILY.

AND YOU ALWAYS SEE THAT FAMILY RESEMBLANCE WHEN YOU GET INTO THE WOOD.

NICE.

SO THAT'S IT.

WELL, LET'S SEE HOW THIS WILL GO ON.

SO THAT GOES ON THESE SPOTS RIGHT HERE.

THERE'S ONE HERE, AND THEN THERE'S A COUPLE MORE UP HERE AT THE... OTHER WAY AROUND, I BELIEVE.

SO THAT'S GONNA JUST GO ON, AND THESE ADD TO THIS... JUST THIS WONDERFUL CLASSICAL FORM.

SO THAT ONE HAS A REAL CHALLENGE.

THE ONE THAT WE DID HAD THAT ODD CURVE.

THIS ONE JUST HAD THE STRAIGHT ROUNDABOUTS.

AND THE CAPITAL WE HAVE DONE IN 2 PARTS, SO... ALL TOLD, THERE'S 7 DIFFERENT PIECES OF MOLDING ON THIS PIECE OF WORK HERE.

AND EVERY ONE OF THEM IS DIFFERENT, WITH THEIR OWN QUALIFICATIONS.

BUT STEP BY STEP AND BLOCKING IN.

WELL, BILL, THANK YOU SO MUCH.

I SURE APPRECIATE IT.

IT'S BEEN A GREAT PLEASURE, YEAH.

YEAH.

GREAT WORK.

ALL RIGHT.

THANKS SO MUCH.

AND THANKS FOR JOINING US HERE IN "THE WOODWRIGHT'S SHOP."

WE'LL SEE YOU NEXT TIME.

YEAH.

LEARN MORE ABOUT "THE WOODWRIGHT'S SHOP" AND TRADITIONAL WOODWORKING ON OUR WEBSITE.

YOU CAN FIND US ONLINE AT pbs.org.

MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... ROY UNDERHILL IS THE AUTHOR OF "THE WOODWRIGHT'S GUIDE: WORKING WOOD WITH WEDGE AND EDGE," AS WELL AS OTHER BOOKS ON TRADITIONAL WOODWORKING, ALL PUBLISHED BY THE UNIVERSITY OF NORTH CAROLINA PRESS AND AVAILABLE AT BOOKSTORES AND LIBRARIES.