Crease moldings

scratch-stock molding in oak

Today I was making some moldings on the faces of framing parts for the cupboard I’m making. I can’t remembe when I last showed these, so thought I’d add this post. I call them “crease” moldings – from 17th century references to molding planes. There’s mainly three kinds of moldings I see – applied moldings (I’ll skip them for now) and two sorts of integral moldings. Those on the edge of a board and those that run down the center of the stock. While lots of moldings were probably made with creasing planes, some were not. I make the ones down the middle with a plow plane and a scratch stock/scraper.

Here’s just a couple of references to start off – these are probate inventories from New England. 

1661 Jonathan Proudfoot, Cambridge

2 frameing Sawes 6s,  a Handsaw 3s,  3 axes 10s,  a 2 foote rule 12d, 5 chessels & a gouge 2s6d,  2 Squares 3s6d,  Twibell 3s,  an ads 2s,  an Holdfast 12d,  2 Hamers 2s,  5 planes 9s,  a plow to draw boords 2s,  a stocke shave 1s,  9 creasing planes 8s, a peece Sole leather 12d,  a grindstone & winch 8s,  10 peeces of Square Timber 1£,  pine boords 12s

Another reference, this time from Essex County

1675,  Georg Coall (Cole)

 will:  “…I give to my master John Davis all my timber…”

3 saues 8s,  2 goynters & foreplaine 6s, 3 smothing plains & a draing knife 3s6d, 2 plans & 2 revolvong plains 10s,  4 round plains 5s, 3 rabet plains 4s,  3 holou plains 3s6d, 9 Cresing plains 10s6d,  6 torning tools 9s,  3 plaine irons & 3 bits 1s6d,  1 brase stok, 2 squares & gorges 1s6d,  1 brod ax & 1 fro 2s, holdfast 1s6d,  hamer 1s6d,  6 gouges 2s,  9 Chisels 5s,  2 ogers & 1 draing knife 3s,  1 bench hooks, 2 yoyet irons 1s,  a gluepot 1s6d,  for what work he has done in his shop £1-10

Interesting that in George Cole’s case the planes are distinct from the hollow & round planes listed before them. Revolving planes – goodness knows. Might be a mis-transcription too, I’ve never seen the original of this document, only a transcription. 

So some moldings are made with planes for certain. But for many of mine, I use a scratch-stock (a profiled scraper in a wooden stock). Why? Well, in addition to the inventory references, there’s the evidence on surviving furniture. Look at this wiggly molding on a small joined chest from Dedham Massachusetts:

detail, chest from Dedham Massachusetts

And another from the same shop – here the molding on the top and middle rails fades out before reaching the end of the stock. 

detail chest with drawer, Dedham Massachusetts

I think both of these results are hard to get with a plane. And another argument for scraping some moldings is this chest from New Haven Colony – its molding has its full profile then in a very short distance it fades to almost nothing. Again, I can’t see how you can cut that with a typical molding plane with a body of any reasonable length. 

detail joined chest, New Haven Colony

It’s especially significant over the middle panel – in that case the whole run of molding is only about 10″ long.

detail over middle panel, New Haven chest

The ones I was cutting today come in two steps. First I plow a groove 1/2″ wide down the length of the stock.

plowing a groove first

Then I use a scraper/scratch stock I made to scrape the profiles on each side of the plowed groove.

scratch stock

We have no idea what the scraper/scratch stock of the 17th century was called or what it looked like. So mine’s just what works easily. I made it like a marking gauge, adjusted by a wedge fence. The scraper slips into a saw kerf in the beam. then pinched in place with a screw.

scratch stock

Joseph Moxon describes a tool on a trammel which he calls a “sweep” for making moldings on arches. It’s hard to tell if his scraped or cut the moldings like a plane does…but it’s the closest I’ve come in 17th century writings to describing a scratch stock. And it ain’t close really.

Moxon’s sweep

Moxon on the turner’s sweep,

Of laying Moldings either upon Mettal, or Wood, without fitting the Work in a Lathe

I Had, soon after the Fire of London, occasion to lay Moldings upon the Verges of several round and weighty pieces of Brass: and being at that time, by reason of the said Fire, unaccomodated of a Lathe of my own, I intended to put them out to be Turned: But then Turners were all full of Employment, which made them so unreasonable in their Prizes, that I was forc’d to contrive this following way to lay Moldings on their Verges.

I provided a strong Iron Bar for the Beam of a Sweep: (For the whole Tool marked (D) in Plate 16, is by Mathematical Instrument-makers called a Sweep) To this Tool is filed a Tooth of Steel with such Roundings and Hollows in the bottom of it, as I have intended to have Hollows and Roundings upon my work: For an Hollow on the Tooth, makes a Round upon the Work; and a Round upon the Tooth makes a Hollow upon the Work; even as they do in Molding-plains Joyners use. Then I placed the Center- point of the sweep in a Center-hole made in a square Stud of Mettal, and fixed in the Center of the Plain of the Work, and removed the Socket that rides on the Beam of the Sweep, till the tooth stood just upon its intended place on the Verge of the Work, and there screw’d the Socket fast to the Beam.

To work it out, I employ’d a Labourer, directing him in his Left Hand to hold the Head of the Center-pin, and with his Right Hand to draw about the Beam and Tooth, which (according to the strength) he us’d, cut and tore away great Flakes of the Metall, till it receiv’d the whole and perfect Form the Tooth would make; which was as compleat a Molding as any Skillfull Turner could have laid upon it.

Having such good Success upon Brass, I improv’d the invention so, as to make it serve for Wood also. And make a Plain-Stock with my intended Molding on the Sole of it, and fitted an Iron to that Stock with the same Molding the Sole had.

Through the sides of this Stock I fitted an Iron Beam, to do the Office of the Beam I used for the Sweep, viz to keep the Plain always at what position I lifted from the Center (for thus the Iron in the Plain wrought about the Center, even as the Tooth in the Sweep (before rehearsed) and to that purpose I made a round Hole of about half an Inch Diameter near the end of the Iron: then in the Center of the Work I fixed a round Iron Pin, exactly to fit the said round Hole, putting the round Hole over the pin, and fitting the Iron onto this Stock commodious to work with. I used this Plain with both hands, even as Joyners do other Plains: For the Iron Pin in the Hole of the Beam kept it to its due distance from the Center; so that neither hand was ingaged to guide it.

But note, The Stock of this Plain was not straight (as the Stocks of other Plains are) but by Hand cut Circular pretty near the size of the Diameter of the intended Molding; And yet was made to slide upon the Beam, farther from or nearer to the Center, as different Diameters Verges might require.

turning & molding

bird’s eye view

I have the construction of the cupboard just about finished. Now it’s time for moldings and turnings, then color. And on & on. Turning the large pillars is a particular challenge, but photographing turning in my shop is more of a challenge. To get the shot above, I climbed up into the loft, set up the tripod and camera and hoped I had it aimed well. Then clambered back down and went to work. The pillars are about 4″-4 1/2″ in diameter. This set for the lower case are 13″ long. This stock is cherry – I couldn’t find any maple worth bothering with.

lower case pillar and rough hewn blank

The photo above shows a rough-turned pillar. Dead-green, I’ll let it dry some before finishing the details. It doesn’t have to be bone-dry. As it dries, the round becomes oval. I just want it to not be too oval so I’ll finish the turning when it’s lost some moisture.

turning the coves

As soon as I can I establish the narrower cove areas – by wrapping the cord around one of them I get more revolutions per tromp than when the cord was around the full 4 1/2″ diameter. For this shot, the camera was outside the shop on a temporary shelf out the window. And up a ladder to set it up…there won’t be many of these.

deep drawer decoration

I don’t work at the pole lathe all day. I try to split that work up into half-days. So I worked on decorating the deep drawer (the last of the four drawers). After the 2″ wide beveled strips that frame each half of the drawer comes these little maple triangles. They’re 1 3/8″ across the base and 1 5/8″ long. Centered on each end.

next step – long moldings

The two long moldings across the top and bottom of this area are easy. 45 degrees at each end. I miter one end, hold it in place and mark the length. Then miter that. I use a miter box I got from Alexander – a modern German one – at first I thought I’d get rid of it, but I’m so glad I kept it. It comes in handy.

now some scribing

Next I cut the moldings that surround the triangles. I marked a centerline along the field of the drawer front – from the point of one triangle to the other. Then held a piece of the molding in place against the maple block and marked where it hits that centerline. Then cut it. This one I cut freehand, after clamping the molding to a piece of scrap.

if all goes well

When it’s going well, it looks about like this. The last little bits are mitered on one end, and scribed to some weird angle on the other. I didn’t get photos at that point because by then I was gluing things in place as I cut them – you get better results that way. And with sticky, hide-gluey hands I didn’t want to mess up the camera.

So that will be a chunk of my work coming up – turnings part of the day, moldings the rest of the day.

(pt 21 Essex County cupboard project 2021)

more cupboard work; drawer bottoms

V-shaped tongue & groove joint

A while back I took the cupboard’s lower case apart and began painting the integral moldings black, as well as the carved drawer front. Carbon pigment in linseed oil. So they’ve been sitting & drying while I tended to some other stuff. Today I got out one of the drawers and shot some photos while I worked on it. I’ll start with the drawer bottoms.

Last time I wrote about the drawers, I barely mentioned the bottoms. Thin oak boards, nailed to the bottom edges of the drawer sides & back. And in a rabbet in the front. At their adjoining edges, there’s a V-shaped joint that lets one board slip into the edge of its neighbor. Much like a tongue & groove; but not as precise. I have no idea how this was made in the 1680s – but I figured out a method that works pretty well. It starts with the V-groove. I made a scratch stock to create it.

scraping the V-groove

Here’s a bit closer shot of the cutter.

scratch stock

Then plane a bevel on both sides of the neighboring board.

beveling the edges of a floor board

Then test them with a scrap that has the groove in it.

good enough

I also worked on some of the applied moldings that decorate some of the drawer fronts. I had a custom molding plane made by Matt Bickford – https://msbickford.com/ I showed him some of the measurements and drawings from the cupboard & we settled on this plane. Its molding is on the drawer fronts, the side panels of the lower case and with some additional detail on the upper case as well. So I’ll get a lot of use out of this beautiful plane. What a joy to use a plane made so well. I would have taken days & days to fumble through a much-less-functional plane…

new molding plane & some of its result

First, I choose the best stock I can find for the applied moldings. Strength is not an issue – this is about looks and ease of working. I want slow-growing, straight-grained oak. The blank on the left below would be good if I was making chairs (that’s next month) – but I want the one on the right. Another reason for choosing that stock for this reproduction is that it looks like the oak I see in New England furniture of the 1600s.

fast & slow

The “fast” one has 7 growth rings in about 1 1/4″ width; the other over 30 rings in 1 7/8″ width. I ran the 5/8″ wide molding on each edge of this strip of oak. Thickness is 3/8″. I am holding it in a sticking board of sorts. I need all the help I can get, so I grabbed the blank with the holdfast to keep it steady.

molding the edge

Then once they both were done, I sawed the piece apart. This is very careful work. Lightly does it. Any extra pressure from the saw can split that thin stock, then I’ve wasted not only the work to make the molding but the work to make the blank to begin with. I ran that sawn edge across an upside-down plane to clean up that surface & bring it to the final width.

separating the moldings

Back when Jennie Alexander & I were selling off her extra tools, I tried to unload this miter box. And I am glad now I had no takers…

Ulmia miter box

Here’s the top drawer front, nearly done. 27 pieces of wood so far to decorate that drawer front.

(pt 20 Essex County cupboard project 2021)

Colonial Williamsburg Working Wood conference

I got home yesterday from my trip to Colonial Williamsburg’s Working Wood in the 18th Century conference. Or was it a symposium? This was the 20th year, quite an accomplishment. I had previously attended in 2007; I was especially pleased to be back. Lots of old friends, lots of familiar faces both on stage and in the audience. I took a few lousy photos, but found many on the facebook site from https://www.facebook.com/CWhistorictrades/ – so I “borrowed” many from them. Go to the link to see their whole pile of photos; they got good ones.

First thing I noticed upon loading my gear into the auditorium was that I had left my green wood billets at home. If there is anyplace you can go & expect to get green wood upon asking, Williamsburg is it. One of the carpenters’ crew found me some white oak that was so good that it needed no hewing when I split it. So I showed the camera just how flat the good stuff is when it splits:

 

 

The Williamsburg woodworking crowd; Kaare Loftheim, Bill Pavlak, Ted Boscana, Garland Wood, and my old cohort Brian Weldy all had presentations. Here’s Brian & Bill during the tool chest presentation…

And Kaare Loftheim showing the saw till under the lid of a tool chest the crew worked on several years back:

Ted Boscana and his crew of apprentices went through the steps to make some architectural moldings, including some crown/cornice molding. I didn’t get a shot of it, but there was a great demo of the apprentices pulling Ted through the air as he provided the weight to push down on the plane.

Ken Schwartz, the master blacksmith, led a presentation showing through slides and video how a drawknife and axe were made, then he had members of the coopers’ and wheelwrights’ shops briefly show the tools in use. Here’s a shot showing the axe “bit” and the eye/head:

For me, one great highlight was seeing W. Patrick Edwards’ presentation on Sunday morning.

His introductory story about an abrupt change of career early on in his life made me grin from ear to ear. If you get a chance to see Patrick as a presenter, jump. http://wpatrickedwards.blogspot.com/2017/09/the-risk-of-living-as-process-of-life.html

Don Williams de-mystified finishing on Sunday – (yes, it finished with finishing) – Don made it so accessible that I wanted to try some, instead of my usual cop-out linseed oil. http://donsbarn.com/the-barn/  His demonstration of the winding sticks-with-feet was especially good.

 

Jane Rees is often a fixture at the Williamsburg conference,and it was great to catch up with her again. So many historic tool questions were diverted from the audience to the stage, then down to the front row with “I don’t know, let’s ask Jane”  http://www.reestools.co.uk/books/

Jane understood when she heard I ducked out for half a day to go see eagles on the James River.

and then there was Roy Underhill. Do I have to say anything? Keynote speaker, moderator of a discussion panel, all around helpful schlepping on & off stage, native guide around CW; and poker-of-sacred-cows. When Roy is around, I stick close, because something worth seeing is going to happen.

My presentation was sponsored by EAIA; other sponsors were SAPFM and Fine Woodworking. My thanks to them for helping make it happen.

On any of my southerly trips, I try to get over to see my greatest friends; Heather Neill and her wife Pat. It’s always too much fun in too short a time when we visit. Here’s a sampling of Heather’s work, both painting & writing:  http://heatherneill.com/studio-blog/2017/07/18/in-my-element/ 

Her Instragram is here https://www.instagram.com/hnartisan/

I woke up to this idyllic sight today. Won’t make it to working in the shop today…but tomorrow I will.

moldings

I have been cutting some moldings lately for a chest with drawers I’m building. The moldings surround the panels, and the drawer fronts. While I was cutting these, I was thinking about this blog. I started it in 2008, and never thought it would keep going this long. Because I didn’t know what I was doing, I never really organized it well. So there’s lots of photos spread out all over the blog that are useful…but sometimes hard to find. Today, I thought I could just post some photos of period moldings found on New England joined works. So here’s pictures.

a chest from Salem, Massachusetts: Tearout, anyone?

moldings detail

a chest with drawers, Plymouth Colony. This large molding (2″ tall) is integral to the rail, not applied.

molding details, Plymouth Colony chest
molding details, Plymouth Colony chest

Inside one of the Plymouth Colony chests, moldings on the rails and muntins:

interior, Ply Col chest w drawers
interior, Ply Col chest w drawers

Here’s a panel detail from Plymouth Colony. This is a common profile for the period, technically an ogee with a fillet, I think:

molding-details

This one’s from Chipstone’s website – a Boston chest panel:

cf-chest-middle-panel-just-moldings

This is a muntin from a chest made in Braintree, Massachusetts. I used to make this molding with a scratch stock. I think that cutter is gone now…

molding

This Connecticut (Wethersfield? Windsor? I can never get it straight) chest with drawers was the model we copied last time at Connecticut Valley School of Woodworking. These moldings are oak:

center panel_edited-1

A lousy photo, but if you squint at the ruler’s shadow, you can see the profile of this molding. Dedham Massachusetts chest.

OLYMPUS DIGITAL CAMERA

Also Dedham, different chest:

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Back to Connecticut, more Wethersfield, Windsor, etc.

vine-carving-3

a drawer from a Woburn, Massachusetts cupboard:

molding-detail

An ogee on the bottom edge of a table’s apron. Maybe this square table is Boston?

ogee-and-bracket

 

I have more fun than I can stand

I keep plugging away. Yesterday I got to use some planes!

planes gauges

 

What a blast – the spoons and bowls are great fun, challenging, etc…but no planes. I need to make a molding to run around my most recent frame & panel – it’s one like this, all I have left is to make the molding & cut & glue it in. 

frame & panel
frame & panel

I keep a stash of riven Atlantic White Cedar, just for this purpose. First, I planed the stock to the proper thickness, in this case 1/2″

planing w jointer

Then I dig out one of those special wheelie gauges to mark out the rabbets, a la Matt Bickford. You already know I’m a fan; his book & video show you how to tackle this work easily. http://lostartpress.com/collections/books/products/mouldings-in-practice  & http://www.lie-nielsen.com/dvds/moldings-in-practice/

The gauge I got from the Alexander collection – thanks once again JA. 

wheelie gaiugethen rabbets. 

rabbet plane

and bevels, then hollows and rounds. 

round

 

Then it was time to pack it away & off to the Cape Cod League Baseball – we went to Wareham to see the Gatemen take on the Falmouth Commodores. We were there early, so Daniel watched batting practice – I carved spoons. Then we watched the game. Gatemen blew the lead in the ninth – took it on the chin. 

gatemen 1

gatemen 2

 

One of many great things about working at home is that I get to see stuff I only used to hear about. Here’s a marble game from yesterday:

marble game

That then turned into a painting by Daniel, who was learning about shadows and light sources this week.

daniesl watercolor marbles
Daniel’s watercolor of marbles in dirt

This one’s just thrown in there – it’s part of an ongoing series of raking light shots.

ongoing raking lght series

 

 

the cat’s out of the bag: that old joiner’s shop you saw here this fall….

Once again, remember this place? I’ve posted it a couple of times, https://pfollansbee.wordpress.com/2012/08/10/workbenches-lathe/ and https://pfollansbee.wordpress.com/2012/10/21/tool-racks/ and one more: https://pfollansbee.wordpress.com/2012/10/26/photos-from-a-great-day-of-study/

 

18th-century shop

 

Now you can read part of the story, from today’s Boston Globe:

http://www.bostonglobe.com/metro/regionals/south/2012/11/23/eighteenth-century-woodworker-shop-found-duxbury-said-one-kind/ou50acy7YQ5xwTlEFI05XK/story.html

(Ahhh…the link now only gives me a preview – says I need to subscribe. If the link fails you, do a search for “Luther Sampson Duxbury shop” or something like that. Might be that I reached the monthly limit on freebies at Boston.com…)

I hope you can read it, it’s exciting stuff. Kudos to Michael Burrey for seeing it for what it is…and to the many who have worked thus far on documentation, research, etc.

 

 

My shop is still a mess, so here’s what I have been looking at

 

Long-time readers of this blog know that I follow closely the work that Robin Wood does over in England.  Robin’s blog was the one that inspired me to do this one…

Just last week, he (and many others)  finished the first-ever spoon fest in Derbyshire. Robin posted a bunch of photos, as well as links to other blog posts about the event. I wished I could have gone, but I deserted my family enough this year with woodworking travels.  Be sure to follow the link that takes you to the audio portion of Jogge Sundqvist’s talk that opened the event. Great stuff, thanks for making it happen, Robin et al. Sounds like a good time was had by all.

here’s the link, read through about the past five posts or more. Great, great stuff: http://greenwood-carving.blogspot.com/

Robin Wood & Jogge Sundqvist

Now, another piece that you folks that have been here a while might remember is these fabulous drawings from Maurice Pommier.

feuilardier

 

French sawing

They came with very kind words from Maurice. His work intrigued me, so I looked up his books. He had a children’s book that I added to my list, and I finally ordered it. I couldn’t read a lick of it mostly…but I loved it. I showed it around at a Lie-Nielsen gig one time, & described it as a cross between Mad Magazine & Eric Sloane. I sent images to Chris Schwarz, and he replied that he already had the book in the works. Now it’s ready to go, so trot over to Lost Art Press and see for yourself.  I assume that Chris never sleeps. http://blog.lostartpress.com/2012/08/26/new-from-lost-art-press-grandpas-workshop/

Grampa’s Workshop

 

This follows almost instantly on the heels of Matt Bickford’s book on using hollows and rounds. http://www.lostartpress.com/Mouldings_in_Practice_p/bk-mip.htm

Matt Bickford Mouldings in Practice

I had read the book in a near-finished draft, and was knocked out. Even if you haven’t used molding planes, or especially if you haven’t, this book will make you want to.  Hollows & rounds are some of the next batch of JA tools here, later this week. Matt’s book makes the use of them so basic & simple. He really has demystified the use of these tools. If you have ever seen Matt at one of the Lie-Nielsen Hand Tool Events, then you understand. A nice guy, a great book. Lost Art Press, the hits just keep comin’.

 

 

joined chest progress

I’ve been working some on the joined chest I started a month ago…here I am fitting one of the panels into the frame. The panel is beveled on its rear face, all around, to fit into the grooves in the frame.

inserting beveled panel

Then knocking the stile in place. This is all a test-fit; I don’t even have the center panel yet.

on goes the stile

I had a little time left the other day, so cut some of the details on the framing parts, starting with this chamfer on the top edge of the bottom rail. I start it with a spokeshave, one of the few times I use these tools any more. In my chairmaking days I used them constantly; but now rarely.

spokeshave

Then finished it with a chisel.

paring the bevel or chamfer

and then cut a molding on the bottom edge of the top rail – this molding runs out at the juncture of the muntin-to-rail joint; so I use a scratch stock for it. We call it a “scratch” stock, but it’s really a scraper I think.

scratched molding

 

See this post for more about this these moldings that fade out:  https://pfollansbee.wordpress.com/2012/01/14/scratch-stock-evidence/

by then I was done for the day. More to follow at some point…