Chapter XVI (4)

=Nails.=--There are many kinds of nails, many more than is worth while to specify here, as you will probably use those of wire for most of your work. When another kind would be preferable (as is the case for some purposes) it will be specified. The nails in common use before the introduction of those of wire were known as "cut," being stamped from a sheet of metal, and "wrought," the latter kind being much older and originally forged by hand into shape, one by one (hence the name), but now commonly made by machine. The expressions three-penny, eight-penny, ten-penny, etc., indicate the length, and come from an old custom of so designating the lengths, but you need only to call for them by the length, as 2 inch or 2-3/4 inch, in order to get what you want, and you can easily select whatever degree of stoutness you need. Copper or galvanised nails and tacks will be needed for your boat-building, copper being preferable, particularly for salt water.

=Nail-Set, or Punch.=--The nail-set, for sinking nail-heads below the surface, is quite important, and it is well to have a large one and a fine one. The end of the set or punch must not be allowed to become rounding or it will be all the time slipping off the nail-head and punching holes in the surrounding wood. A slight conical depression in the end of the set is good. Do not use a file for a nail-set, for the end is too hard and will dent the face of the hammer-head.

When setting nails, hold the nail-set firmly against the little finger, placing the latter on the wood close to the head of the nail, as shown in Fig. 611. This will keep the set from slipping off the nail-head and damaging the work.

=Nippers.=--A pair of these will often be of use in wood-working operations.

=Odd-Jobs.=--A very simple combined tool known as "Odd-jobs" can be used as a marking-gauge, mortise-gauge, scratch-awl, try-square, T-square, depth-gauge, mitre-square, spirit-level and plumb, inside-square, and beam-compass. It is well suited to much amateur work, and is cheap.

=Oil.=--Sperm oil is good to use with your oil-stones. Kerosene is good. Lard oil can be used. All thick and gummy oils should be avoided. Never use linseed oil or any similar vegetable oil, as it is not a good lubricator, and gums the stone. Glycerine thinned with turpentine or alcohol is sometimes used, and even turpentine alone. For oil for finishing and painting, see _Finishing_ and _Painting_.

=Oil-stone.=--It is very essential to have a good oil-stone. They can be found of many degrees of fineness. Those of very fine and hard grain, which give a keen edge but cut very slowly, will not be found so well adapted to your use as those of moderate coarseness and softness, which cut faster. The stone known as Red Washita is good to use for wood-working tools, as it cuts rapidly. It should be free from hard spots. The Arkansas stone produces a very fine edge, but is of so fine texture that it is not so well adapted for your tools as a coarser stone, unless you happen to find a quick-cutting one. The Turkey stone will produce a keen edge, but is not so good for your use.

Some stones (and excellent ones) cut best with water. When first trying a new stone use water, and if the surface does not become at all glazed or polished it will not be necessary for you to use oil.

The stone should always be kept covered when not in use, to protect it from the dust and dirt. Set it in a block with a cover or make a box for it. Always wipe it clean after using, to remove the paste of ground stone, steel, and oil left on the surface.

When an oil-stone becomes unevenly worn, it can be trued by rubbing it around on a sheet of sandpaper fastened on a flat surface, like the side of a board. Water can be used in this operation.

In addition to the ordinary flat oil-stone, slips of stone of various shapes are useful, a common and useful form being that shown in Fig. 612, wedge-shaped on one edge and convex on the other. If you have V-tools, carving gouges, or other tools sharpened on the inside, you must have slips of stone of various shapes with which to sharpen them. See _Oil_ and _Sharpening_.

=Painting.=--You can paint your work very satisfactorily--perhaps not quite as well or quickly as a skilled painter by trade, but well enough for all practical purposes if you observe carefully a few simple principles. If you disregard them and think, like many amateurs, that anyone can paint right off the first time without any knowledge or thought, your painting will be botch-work.

Keep your work well painted. It is cheaper in the end to paint frequently and keep the work protected from the decay and damage due to exposure--not to speak of the better appearance.

Do not use cheap paint, unless, of course, for some cheap or temporary purpose, and it is most important that the first or "priming" coat should be of good quality. If you are obliged to use inferior paint at all, use the best for the first coat and the poorer quality outside rather than the reverse, but it is economy of money and time to use good paint throughout.

Prepared liquid paints are the simplest, handiest, and cleanest for amateur work, and (if you do not try to economise on the quality) the best for you to use for many purposes, but for outside work (work exposed to the weather) you can probably do no better than to use the best quality of white lead and oil,[48] coloured if desired, which costs less, is more durable, and which you can easily mix yourself, or buy already mixed of a painter. If you need but a little, you can get a pot of paint with suitable brush at a paint shop, returning what you do not use and paying by weight. But if you have much painting to do, it is better and cheaper to have your own brushes and paint. The prepared paints of any colour you can also buy in the form of paste, to be thinned when used, which is usually cheaper than the prepared paint in liquid form.

The white lead you can buy by the pound, ground and already thinned with oil, or, what is perhaps more reliable, ground in the form of paste ready to be thinned with oil or, if for inside work, with turpentine. White lead, which is also the basis or an ingredient of the prepared paints, is a poisonous and unhealthful substance. There is, however, but slight danger (practically none) from such painting as you will do. But it is well to wear old clothes when you paint, and carefully wash the hands and face as soon as the work is done, and in case of continued indoor painting to see that the room is well ventilated. The mere odour from a can of paint is enough to make some people feel ill, as you may know, while it can be used for a long time by others apparently without harm.

In regard to coloured paints, the simplest way is to buy your colours ready mixed in oil, to be thinned for use, or in liquid form of any desired colour, prepared to use upon opening the can. You can, however, colour or tint your paint yourself with various dry colours, which you can buy in the form of powder at the paint shops for a few cents. It takes but very little of most colours. Do not stir these dry colours directly into your paint, but first mix them with oil or turpentine.

It requires considerable knowledge of colours and their combinations to know how to mix different colours or shades to produce some particular shade, or to match some tint, but when the exact shade makes no difference you will have no great difficulty in producing the colour you wish. Test the shade of your paint on a piece of wood. The way it looks in the paint-pot is often very deceptive. In making a shade darker, especially when tinting white paint, be careful to add but a very little of the darker pigment at first and be sure that it is thoroughly mixed, or you will be likely to find after you have begun to paint that you have a much darker shade than you intended. It is surprising how small a quantity is sometimes needed to tint a whole canful of white paint--the merest dab of chrome yellow will tint a quart of white paint to a good cream shade. Remember that it is much easier to add a little more colour if the result is not dark enough than to lighten the shade if too dark.

Linseed oil (either raw or boiled) is required with which to mix the lead and thin it to the proper consistency. Raw oil is best for outside work that is exposed to the weather, as it is more penetrating and more adhesive, although slower in drying than boiled oil. Boiled oil does very well for inside work where it is not exposed to the weather. There is some difference of opinion, however, in regard to the use of the two kinds.

Turpentine is also used for thinning paint. It makes the paint flow easily and is freely used for that reason, but it probably detracts from the durability of all paint if used lavishly and should never be used for outside work. It is commonly used for inside work and causes the paint to work more freely and smoothly from the brush and to dry more quickly. It gives the paint that dull, soft, or "dead" appearance often desired in inside work, instead of the shiny surface which is produced when mixed with linseed oil alone.

It is usual to add to the paint something else, known as a "dryer," to cause it to dry more quickly. Japan is one of the best of these preparations, but be careful to use very little of any form of dryer, as it is undoubtedly injurious to the durability of the paint and liable to cause cracking and checking. Avoid all kinds of "chain-lightning" dryers. Do not add a dryer to the colour until just before you use the paint and only to the amount you are to use at one time.

Another ingredient, which is not injurious to use, is zinc, but zinc paints are considered inferior. Red lead is commonly used to paint iron and is considered very durable for that purpose. Black japan varnish is often used. Iron must always be dry and it will be better to have it warm also.

Be sure that your work is thoroughly dry before beginning to paint, else the wood will be liable to decay, or the paint to peel, or both. Do not paint wood before it is thoroughly seasoned. Look the work over carefully and see that it is ready in all respects, before applying the paint. See that the surface is free from dust.

Look over the work for any knots or streaks of resinous or pitchy matter and wash them with a coat or two of shellac, to "kill" the turpentine and prevent its oozing through and spoiling the paint.

Try to mix enough, and only enough, paint for the coat you are about to put on, but do not mix a great quantity in advance with the idea of keeping it on hand.

The first coat should be thin rather than thick--with plenty of oil to saturate the wood. The oil will be quickly drawn into the wood, and you can readily see that the first coat should be thin to properly soak into the surface. If thick, the paint will not be sufficiently absorbed, but the oil will soak in quickly, leaving too much residue of the pigment on the outside. Work this first coat well into the wood. Take up but little paint, and draw the brush carefully over the edge of the pail,[49] or over a wire stretched across the top, to remove any superfluity of paint, and begin the painting at the highest part of the work, or the part farthest from you, to prevent spattering or dripping paint over the freshly covered surface. Begin, also, at one end or side of the surface, working toward the other end or side, drawing the brush back and forth both ways to distribute the paint as evenly and smoothly as possible, and try not to leave any part of a surface untouched until another time, or it will be likely to show a "lap" where you end and begin--that is, if you cannot cover the work entirely at one time, leave off where there is some natural line or break in the work. Finish the side or the end and do not leave off right in the middle of a flat surface. This does not matter quite so much in the priming, but will show plainly in the later coats.

After this coat has had time to dry thoroughly, carefully putty the holes and cracks. Remember never to use the putty until after at least one coat of paint has been applied and dried. The reason for this is that the fresh wood will quickly absorb the oil from the putty, leaving it dry and crumbly, while if a coat of paint has been put on first and dried, the wood will be already charged, so to speak; the pores will be more or less choked up and the bulk of the oil will remain in the putty.

Paint with the grain of the wood, or the long way of the work, using a large brush for large surfaces and finishing all corners, mouldings, and edges with a small brush. In doors or panel-work first paint the panels, then the rails, then the styles (see Fig. 505). You will thus follow the construction of the work and the grain of the wood, and where you daub the paint beyond the part you are painting (as you will have to do), the daub will be wiped out neatly when you paint the next part.

Paint joints in outside work, tenons and mortises, shoulders, etc., before putting together, with good white lead. It is not always customary to paint the hidden parts of joints before putting together, particularly in cheap work, but it is well to do so in all work which you wish to have endure, in all framework exposed to water and the weather, and in boat-building. Exposed work quickly decays at the joints and seams because the water and dampness collect in such places and do not run off or evaporate as readily as from a smooth surface, so the more you can protect these hidden parts with paint, the better, and the labour is but slight.

When you have paint left in the paint-pot which you wish to keep for use another time, pour just enough raw linseed oil over the top to cover it completely. This thin layer of oil will exclude the air and keep the paint from hardening. When you wish to use it again, pour off the oil or stir it into the paint, according to whether the latter requires more oil or not. When you get through painting, if you are going to do more in a short time, it will do to leave the brush in the paint, but do not leave it standing or resting on the bottom of the can, as that tends to bend the ends of the bristles and get the brush out of shape. Rig a wire hook on the handle and hang the brush so that the bristles will be covered by the paint, but without touching the bottom. If you are not going to use the brush again for some time, it should be cleaned and put away. Turpentine is often used, but kerosene answers every purpose. Be careful to wash out all the paint, however, as a very little left between the bristles will stick them together so as sometimes to ruin the brush. Another way to keep brushes which are in use is to hang them from the handles in a can partially filled with oil, the whole being kept covered. Water can be used instead of oil. Arrange it so that the hairs will be just covered.

The first coat especially should be given plenty of time to dry, for it is the _foundation_ and _basis_ of the whole operation and the firmness and durability of the painting depends much upon it.

Each succeeding coat should have plenty of time to dry before applying another, bearing in mind that applying a second coat, before the first is fully hard, excludes the air from the under layer of paint and causes it to dry much more slowly than if left exposed as it should be. In such cases, the outside surface may often seem to be dry and hard while the paint underneath remains comparatively soft. When the first layer finally does dry, the tendency is to crack the surface of the outside, which has dried first. You can find an extreme illustration of this point in some old paint and varnish shop where some convenient place on the wall has been taken against which to slap and work brushes. You can find daubs of old paint and varnish, sometimes an inch thick, made up in this way of hundreds of layers slapped on before the previous ones were dry, the inside remaining soft in some cases after twenty years.

Paint dries, as a rule, more quickly in a warm temperature than where it is cold, and more quickly where it is dry than where it is damp. So, if you are obliged to paint where it is cold or damp, you will be justified in using more dryer than where it is warm and dry.

Sandpaper _nice_ inside work after the first coat and between each two successive coats. Pumice can be used for old inside work to be repainted. Steel wool can also be used.

Keep a rag with you, when painting, to wipe off the spattering which you will be sure to make. It is not easy to get daubs of paint off after they are hard.

Turpentine will take the paint from your hands, but common kerosene will clean them satisfactorily when the paint is fresh, and is probably better for the hands.

=Panels.=--See _Doors_ and _Panels_.

=Panel-Saw.=--See _Saw_.

=Paring.=--In paring or trimming a piece of wood to a line, if there is much surplus wood to be removed, you can sometimes chop pretty boldly with the hatchet until you get near the line, provided you watch the direction of the grain carefully to see that the split cannot run up to the line; sometimes you can chop safely in one direction but not in the opposite (Fig. 613), but as a rule keep well away from the line for the first cut. Even wood that appears to be quite straight-grained will often split differently from the way you expect.

To trim a piece of wood, like the edge of a board, down to a line, with a hatchet, for instance, you can first score the piece with a series of short cuts, stopping short of the line, to break up the grain of the wood, and then trim these loosened chips off down to the line with the plane, chisel, draw-knife, or whatever tool may be suitable. The main point is to cut in such a direction that the grain will not cause the cuts to extend farther than the line or to run into the main piece of wood (Fig. 614). The same principle can be applied often in trimming and removing superfluous wood with a chisel, a draw-knife, or a knife. The cuts can often be made with the saw to better advantage (Fig. 614). It takes a little more time to make these cross-cuts with hatchet, knife, chisel, or saw than to whack away furiously lengthways, as if you were chopping kindling, but after you have spoiled a few pieces by splitting beyond the line you will conclude that the former is the more workmanlike and reliable way.

This same principle is applicable to making chamfers or bevels with a chisel or knife (Fig. 615). You will find frequent occasion to apply this principle of breaking the grain into small pieces before making the final cuts in many kinds of work. It is in constant use in "roughing out" carving.

To trim to a curve as shown in Fig. 616, begin at the edge just _outside_ of the end of the curve and work _with_ the grain from _a_ to _b_. It is often a help in such cases to first remove part of the wood with the saw, as on the lines _bc_ and then _ef._ Finally trim the curve smoothly close to the line. Frequently this can be done to better advantage with the work held in the vise instead of lying horizontally on the bench.

Paring off superfluous wood down to a given line or trimming off an irregular edge with the chisel is very easily done provided the grain of the wood is straight, or runs in the same direction, even if slanting, as in Fig. 617, because you can then cut with the grain. It is often better, however, to cut across the grain, or diagonally, with the chisel, as the wood is less likely to be split by the tool.

When the grain runs in several directions, and keeps cropping up to the surface and dipping down again as shown in Fig. 701, it becomes more difficult to pare the surface smoothly with the chisel. In such a case remember the sliding or drawing stroke and traverse the surface with a diagonal crossways motion (Fig. 619) that will trim off the fibres with a slanting stroke without causing them to be torn up. Slant the cut so that if the wood should tend to split, it will be in the direction of the part cut away and not towards the piece to be kept--_i.e._, so that the chips will split and not the body of the wood. Reverse the chisel and cut in the opposite direction when a change in the direction of the grain requires it. Some pieces are, however, so extremely irregular that you cannot do this, but must slice away the best that you can and leave the rest to other tools. In cutting off a corner or rounding or bevelling an edge you can use the slanting cut (Fig. 620).

In using the chisel for paring, let the left hand, which is nearer the cutting-edge than the right, act as a brake or countercheck or drag to check the progress of the tool. It is largely by the varying balance of these two forces--the pushing forward of the tool with the right hand and the checking and controlling with the left--that correct and effective control of the tool is gained. The left hand should in many cases rest upon or grasp the wood as well as the blade. See _Chisel_.

=Paring-Chisel.=--See _Chisel_.

=Parting-Tool.=--See _Carving Tools_.

=Pencil.=--See _Marking_.

=Pincers.=--There are various kinds of _pincers_, _pliers_, and _nippers_. A pair of common pliers and also cutting nippers will be very useful.

=Plane.=--A plane is in principle (roughly speaking), as you will readily see, nothing but a chisel stuck through a block of wood or iron. Small or narrow surfaces may be smoothed to a certain degree by the chisel, the knife, or even the hatchet, but for large surfaces something is needed which can be more exactly controlled than the knife, ax, or chisel, held in the hands. So, to hold the chisel firmly in one position and to apply force to it more advantageously, it is firmly fixed in a block of convenient size and shape and becomes a plane.

A very short block will prevent the chisel cutting deeper at one point than another, but the tool will follow the irregularities of the surface and, though it may make the surface smooth, it will not make it level, or flat; so the block is made longer, that it may not go down into all the little hollows, but plane off only the higher parts.

The two essential parts of a plane are the _iron_ and the _stock_. The bottom surface of the stock is called the _sole_ or _face_ (_ab_ in Fig. 621), the wedge-shaped hole where the iron goes is called the _throat_ (_c_), and the slot at the bottom through which the edge of the iron projects is called the _mouth_ (_d_).

Bear in mind that the shape of the cut made by the plane will be a reversed copy of the shape of the cutting-edge. If the edge is rounding, the cut will be hollowing. If the edge is hollowing, the cut will be rounding. If the edge is straight, the cut will be straight. If the edge is nicked, ridges will be left on the wood.

If buying new, you will do best, as a rule, to get iron planes, though very good ones can be had with wooden stocks, but with the convenient appliances of the iron planes. Some workmen still prefer the old wooden planes, but it is better to buy iron ones.

The _jack-plane_ is used for coarse work and to rough off the surface with large shavings, ready for the other planes. Fourteen or fifteen inches is a good length. The edge of the iron is not ground squarely across, like the chisel, but is rounded slightly so as to cut deeper in the middle (Fig. 622). Heavy shavings can be cut and the rough outside of a piece of wood taken off quicker and easier than with a more squarely ground iron, but it does not leave the surface smooth, as the strokes of the jack-plane form a series of hollows and ridges (Fig. 623, exaggerated). After taking off the rough surface with the iron projecting considerably, you can of course set the iron finer, and by going over the work several times you can take off the worst of the ridges, but without a great deal of labour you can never get a really smooth surface with a plane that cuts hollows. A common use of the jack-plane is for "traversing," or planing across the grain, which is often the quickest and easiest way to reduce a surface to the desired shape, and for cleaning off where pieces have been glued together. If you should use a jack-plane to do the work of a fore-plane, have it ground more squarely across like the fore-plane.

If you use an old-fashioned wooden plane, take the handle in your right hand, laying your left over the top and side, just a little in front of the iron, with the thumb towards you and the fingers on the farther side, as shown in Fig. 624. This position allows you to bear weight on the fore part of the plane when necessary and to control the tool to the best advantage. This applies to the old-fashioned wooden planes. If your plane is iron, there is a handle or knob for the left hand which you simply grasp in a natural way.

Push the jack-plane forward steadily an arm's-length. Then stop and start afresh for another arm's-length stroke. When drawing the plane back tip it on the farther edge. The cap or break-iron can be set quite far back from the edge for rough work, about one eighth inch, but much nearer for finer work.

In these days when almost everything is planed by machinery with greater or less smoothness, you will probably not have much use for a jack-plane unless you find you have a good deal of rough planing to do yourself.

The _fore-plane_ or _trying-plane_ is longer and larger than the jack-plane. Eighteen to twenty-two inches is a good length. It is used to straighten and level the surface after the worst roughness has been taken off. The surface having been roughed off by the jack-plane, the fore-plane is not required to take off such heavy shavings and the iron is therefore ground squarely across like a chisel, but very slightly rounded at the corners (Fig. 625). It is held in the same way as the jack-plane, but the stroke should be long and steady, for the fore-plane, which is long, will straighten the surface, and smooth it also. The iron can project more for soft and loose-grained woods than for hard, and the cap or break-iron should be nearer the edge for hard woods.

The _jointer_ (22" to 30" in length) or _long jointer_ (from 24" to 30"), is still longer than the fore-plane and correspondingly more accurate for making a surface level and true, or for shooting the edges of boards. Twenty-four inches is a good length. It is very useful for making joints to be glued, and is used in the same way as the fore-plane, the stroke being continued steadily the whole length of the piece if possible.

The _smoothing-plane_ is used, as its name indicates, for the final smoothing of the surface, so far as it can be done with a plane. It is from five to ten inches long.

It is an invaluable plane to the amateur, and the beginner can get along very well for a great deal of work with no other, for stock can be bought ready planed and can easily be trued and jointed, when necessary, at any wood-working mill or shop at slight expense.

A plane with a short stock, as the smoothing-plane, will make your work smooth, but it is hard to make it straight and level or true with such a tool, because, being short, it will follow the larger irregularities of the surface and will only plane off the smaller inequalities. It will go up and down over the hills and valleys of the wood, so to speak, while a longer plane cannot do this, but will cut off the tops of the hills until the surface is made level, as shown in Fig. 626. The smoothing-plane is therefore merely to _smooth_ the surface after it has been straightened by a longer plane, or in cases where smoothness only is essential and it is not required that the surface should be true. Small pieces can, of course, be straightened and trued by the smoothing-plane alone.

A wooden smoothing-plane can be held as shown in Fig. 627. An iron plane can be used by laying the hand naturally over the knob for the purpose.

The _block-plane_ is small and is meant chiefly for planing across the ends of pieces (for planing "end-grain"), but it is also frequently useful in other directions. The iron is usually set at a more acute angle with the face of the stock than in the other planes and with the bevel upwards, and the width of the mouth is often adjustable, which is a convenience. A block-plane is made which can, by means of a detachable side, be used as a rabbet-plane. The block-plane makes a quite good substitute for a smoothing-plane for amateur work and is a very useful little tool.

The _toothed-plane_ is about the size of the smoothing-plane, but the iron is corrugated or scored with grooves lengthwise, so that one side of the cutting-edge of the iron, instead of being smooth, is notched into little teeth somewhat like a fine saw or the edge of a file, and the iron is inserted in the body of the plane almost vertically. This plane makes scratches all along its course instead of taking off shavings. It is used in veneering and in gluing other surfaces. It can frequently be used to good advantage to break up the grain where two edges or surfaces are to be glued together, so that the glue may hold the two rough surfaces together more strongly, upon somewhat the same principle that the plastering on a lathed wall holds its place tightly through the hold it gets on the cracks between the laths, intentionally left for the purpose. The toothed-plane is used for this purpose in veneering. The idea upon which this tool is based originated with the Orientals, who have for ages scratched or toothed the joints of their wood-work.

It can also be used to subdue a refractory piece of crooked grain which you wish to get smooth, but which may crop to the surface in such a way that you cannot plane it without chipping the grain. By scratching the surface thoroughly in all directions with the toothed-plane set very fine, the obstinate fibres can be broken so that the surface can be smoothed with the scraper, not using the smoothing-plane. As a matter of fact, however, if you cannot smooth a piece of wood, the trouble is _usually_ with the edge of the plane-iron or its adjustment, or with your manner of planing, for a _very keen_ edge is supposed to be able to cut the most obstinate grain, unless, of course, the wood is extraordinarily hard.

The _bull-nosed-plane_ has the iron close to the fore end of the stock, to work into corners and awkward places which cannot be reached by the smoothing- or block-planes. The iron is reversed. A very small plane (perhaps four inches long) of this kind is useful.

The _circular-plane_ is used for planing curved surfaces, the sole being now made of a thin, flexible metal plate and adjustable so that either concave or convex surfaces can be smoothed. It is very useful at times, but is not essential for an amateur.

The _rabbet-plane_, which is used to cut rabbets, as the name indicates, is a useful tool, but in most cases you can dispense with it by having rabbets cut at a mill.

A _router_, for cleaning out and smoothing the bottoms of grooves and depressions, is very useful at times.

There is a variety of other planes for special purposes, as the _plough_, _matching-planes_, _hollow_ and _round planes_, _beading-planes_, etc., as well as various _combination_ and "_universal_" _planes_. Many of these are excellent, but, as a rule, are not important for the amateur in these days, as the work they do can be so easily and cheaply done at a mill. You will seldom feel the need of buying any of them, unless you live where you cannot reach a factory.

You will find it important to bear in mind the purpose of the cap or dull iron screwed upon one side of the cutting-iron, in what are called "double-ironed" planes. A plane with a single iron, like a chisel, will cut satisfactorily and easily for straight-grained, soft wood, and for hard wood when planing with the grain, but many pieces of stock are difficult to plane, because the grain does not run in the same way, but turns and twists, cropping up to the surface and dipping down again in all sorts of curious and perplexing ways. In planing them the wood is likely to be continually chipping or tearing and breaking off below the surface, instead of planing smoothly like a piece of straight-grained pine, leaving dents and rough hollows over the surface. The natural tendency of the plane-iron is to split the wood in front of the iron in such cases (Fig. 628). To remedy this the plane has a double iron. An iron or cap with a dull edge is screwed on to the face of the cutting-iron (Fig. 629) so as to help bend and break off the shavings before the split gets fairly started (Fig. 630), when the iron can cut it smoothly off. The thickness of the shavings is greatly exaggerated in the cuts for the sake of illustration.

The cutting edge is said to have "lead" in proportion to the distance it is in advance of the cap-iron. The cap can be set some little distance from the edge for the jack-plane, as far as an eighth of an inch, but with the fore-plane and smoothing-plane it must be set quite close to the edge, the distance varying according to the character of the wood. The more crooked or cross-grained the wood, the nearer the dull iron is brought down towards the edge of the sharp one. The nearer the edge, the smoother the result, but the harder to work the plane.

Something more than the break-iron is required, however, to insure breaking the shavings. There must be an angle, against which they can be broken, close in front of the cutting edge and above the shaving. This angle is the forward edge of the mouth or slot in the sole through which the iron projects (Fig. 631). Thus the width of the mouth makes a difference in the smoothness of the surface, for a narrow mouth is necessary to ensure the shaving being readily broken by the cap. With a wide mouth, the shaving will not be broken by the cap in time, because there is no corner against which to break it.

With straight-grained wood this does not make so much difference, but with crooked and broken grain narrowness of mouth is quite essential to a smooth surface, provided that the opening is wide enough to allow the shaving to pass through freely. Rough and knotty wood requires the mouth very narrow and the iron set very fine (_i.e._, projecting but very little from the sole) and the cap quite near the edge.

The modern iron planes have simple appliances for setting or adjusting the projection of the iron from the sole and thus regulating the thickness of the shaving. If, however, you are obliged to use the old-fashioned wooden planes, you raise the iron in the same way that you loosen it for removal, by lightly tapping on the top of the fore end of the stock, keeping hold of the plane with the left hand so as to prevent the iron falling through if loosened too much. When the iron is raised enough, fix it in place by tapping on top of the "chip" (Fig. 621, _e_) or wedge which holds it in place. To lower the cutting edge, loosen as before and, checking the edge with the finger, let it project the required distance, which you can tell about by looking along the sole (Fig. 632), and fix in place by tapping the "chip" as before. This is the process used in removing the iron for sharpening and replacing it, the chip being removed as well as the iron. Any carpenter will show you the operation. Always hold the plane in the left hand in all these adjusting operations. Do not strike or tap any part of it while it rests on the bench or on anything solid.

To smooth a rough piece of wood, use first the jack-plane, to remove the rough surface and superfluous wood, and then the fore-plane, to straighten and smooth the surface. If there is no need to have the surface true, but only smooth, you can omit using the fore-plane and follow the jack-plane at once by the smoothing-plane. With ordinary machine-planed stock you do not usually need the jack-plane, though it is sometimes useful in reducing a piece of wood to a given shape.

Before beginning to plane, see that all dirt or grit which might dull the tool is brushed from the surface.

Turn the plane over and sight along the sole (Fig. 632), not merely to see that the iron projects to the required degree, but also to see that it projects equally, lest one side or corner of the iron should cut more deeply than the other, and thus make a groove or scratch on the wood (Fig. 633). The latest iron planes have appliances to adjust any inequality of this sort, but if your plane is not so arranged a little tapping on one side of the upper end of the iron will correct the trouble. Try the plane on a waste piece before beginning on nice work.

Plane with the grain, as a rule, and the fibres will be cut off cleanly where they crop up to the surface and your work will be left smooth. If you plane against the grain, some of the fibres will tend to splinter or chip off just below the surface before they are cut off (Fig. 634).

Stand behind the work with the plane before you. Plane with the arms (and from the shoulder), not with the whole body. Try to shove the plane straight ahead, also to plane as equally and evenly as possible over the surface; for while it is comparatively easy to get a surface smooth it is quite another thing to keep it true or to make it true if warped or winding.

The natural tendency, and a common fault, is to begin and end the stroke as shown in Fig. 635. Rolling the body back and forth, instead of pushing steadily with the arms from the shoulder, aggravates this trouble. The result of this way (which is unconscious at first) is that the surface after planing is apt to be as shown in Fig. 636. To prevent this, press down with the _left_ hand on the _forward_ part of the plane during the _first_ part of the stroke, and with the _right_ hand on the _rear_ part of the plane during the _last_ part of the stroke (Fig. 637).

In planing wood which is dirty or rough, it is best to lift the plane from the work when drawing it back for a fresh stroke, or to draw it back so that only the point touches the board, or to draw it back on edge, but in planing small surfaces of clean wood it is not usually worth while to take this precaution.

In planing pieces with crooked grain, turn the piece when practicable, so as to plane as much of it with the grain as you can. But many pieces are so crooked in grain that you cannot do this. So at times it is well to turn your plane sideways to get a slicing cut and cross the grain at an angle (Fig. 638); but as a rule the plane should be pushed straight forward.

A few drops of oil rubbed over the face of the plane will make it run more smoothly, particularly on hard wood.

Test the accuracy of your planing of broad surfaces with a straight-edge, the blade of a square, or the edge of the plane itself (if straight). By applying such a straight-edge across the surface or lengthways or diagonally you can tell whether your work is straight and true (Fig. 639). Also "sight" with your eye. If the surface is large or long, winding-sticks can be used (see _Winding-sticks_). In planing edges test lengthways with the eye and straight-edge of some sort, and crossways by applying the try-square (Fig. 640). (See _Jointing_.)

It is, of course, harder to plane a broad surface, as the side of a board, than a narrow one, as the edge. When planing a flat surface, as a board, be careful not to plane off more at the edges than elsewhere (Fig. 641), as you will be quite likely to do if you allow the plane to tip sideways over the edge instead of keeping the sole parallel with the flat surface.

When planing across end-grain with the block-plane or smoothing-plane, either secure a waste piece of wood at the side where the planing ends, to prevent the edge chipping off, as shown in Fig. 642, or plane from both edges toward the middle (Fig. 643).

The use of the straight-edge will give the necessary clue to the process of making warped surfaces true. (See _Truing Surfaces_.)

Whenever you make nice articles from wood planed by an ordinary cylinder planer, the wood will seem quite smooth just as it is, but do not neglect to smooth it carefully so as to take out all the "planer-marks" or those little corrugations across the grain left by the machine will often show clear across the room as soon as the work is finished. See pages 44, 45, and 46, and also _Sharpening_.

=Planing.=--See _Plane_, _Jointing_, _Truing Surfaces_.

=Plank, Laying.=--See _Boards_, _Laying_.

=Plough.=--See _Plane_.

=Plumb.=--You can make a plumb-line by merely hanging any weight at the end of a cord, when the cord will of course be vertical as soon as it stops swinging (Fig. 644). For convenience in using hang the cord on a board as shown in Fig. 130. When the cord hangs exactly on the line or at the apex of the notch the edge of the board will be vertical.

A long board will give a more accurate test than a short one in most cases, just as a long plane will make a straighter edge than a short plane, for the long board will bridge over the irregularities of the surface to be plumbed. For example, to take an exaggerated case, the post plumbed as at _a_ (Fig. 645) is vertical, taken as a whole; while the same post plumbed as at _b_ leans over, because the short board happens to be placed where the surface of the post is not straight.

When the plumb-line is used to determine a point exactly over or under another point, as in surveying, the bob is shaped with a point like a top (Fig. 646). For making the plumb, see page 96. (See also _Level_.)

=Pod-Bit.=--See _Bits_.

=Punch= (=for Nails=).--See _Nail-set_.

=Putty.=--Common putty is (or should be) a mixture of linseed oil and whiting of about the consistency of dough. A mixture of white lead worked in with the whiting is, however, superior for some purposes, and is better when but one coat of paint is to be put on after the puttying. To colour putty, stir the colouring matter in a little oil and then work and knead it into the putty until the whole is coloured. Keep putty under water. Do not leave it wrapped in the paper in which you may take it from the painter's, for the oil will be absorbed by the paper and the putty will quickly become dry and hard. Use a square-bladed putty-knife for flat surfaces, and do not use your fingers. See also _Holes, To Stop_.

=Putty-Knife.=--An old case-knife can be used (better if reshaped squarely across or to an obtuse angle), or, in fact, any knife, but a regular putty-knife is best.

=Quill-Bit.=--See _Bits_.

=Rabbet.=--A rabbet is a recess or rectangular groove cut lengthways in the edge of a piece of board, plank, or other timber (Fig. 284). It is usually better for the amateur to get such work done at a mill, when practicable, rather than to do it by hand. The rabbet-plane is, however, a very useful tool to have. In some cases, as at the end of a piece, the saw can be used, the lines for the rabbet having been carefully marked with a knife or chisel. The chisel can also be used to make a rabbet, much as in cutting a mortise, taking pains when driving the chisel down next the line not to cut under or jam the wood beyond the line. In the final trimming to the line, the chisel should be held with the flat side toward the line. In removing the wood with the chisel, it is often best to pare across the grain rather than with it (see _Paring_).

A strip of wood can be clamped across the piece exactly on the line as a guide for the saw and the sawing be done with the heel or rear corner of the saw, keeping the latter close up to the gauge stick, and pieces are sometimes even clamped to the saw itself to guide it, but such arrangements, though useful expedients under some circumstances, are hardly the most workmanlike methods.

=Rabbet-Plane.=--See _Plane_.

=Rasp.=--The rasp--only used for wood--is a sort of coarse file, but instead of ridge-like teeth it is studded with projecting points, which tear off the wood more quickly, but also more roughly, than the file. It is extremely useful to remove surplus wood and to get curved objects roughly into shape. One good-sized half-round (or "slab-sided") rasp will be a great help. See _File_.

=Rasping.=--See _Filing_.

=Reamers.=--See _Bits_.

=Repairing Furniture.=--To repair thoroughly--to make things as strong as when new and to leave no sign of the mending--often requires more skill and ingenuity and more general knowledge of wood-working than to make new articles. Skill in repairing comes not merely from general knowledge of wood-working, but from experience and ingenuity in applying your knowledge to new problems. You will rarely have two jobs of repairing just alike, even if of the same kind, and the variety is almost endless. It is, therefore, impossible to give rules to cover all the different cases. In fact, to attempt to give complete directions for repairing would be to describe the majority of operations used in wood-working, and the reader is referred to other parts of the book for whatever information it may contain. Suggestions on one or two points may, however, be of use.

Suppose the arm of a chair comes off, after having been stuck on with glue perhaps a dozen times. How is it usually mended each time it comes off? The family glue-pot, containing the dregs of all the glue used since it was bought, is put on the stove, a little water poured in, and as soon as the glue gets warmed into a thick paste a lot of it is daubed on to the joints, on top of the thick coating they already have, and the arm pushed as nearly into place as it will go. It is then usually left for a few hours and sometimes even tied on with a string while the glue dries. Of course it sticks for a while and then the usual result follows.

Now how should you go to work to do this properly? First clean off all the old glue. This is important. You want to put the fresh glue on the wood, not on top of the old glue; but do not scrape away the wood in getting off the glue so that the parts will no longer fit. Next, see whether the pieces will fit together as they should. If they will, then contrive some way to clamp them in place while the glue is drying. Sometimes hand-screws will do this, sometimes clamps, sometimes a rope twisted, and often it will take all your ingenuity to contrive any arrangement, but clamped they must be if you wish to be sure of a good job.

The pieces often make an angle with one another, or are curved, so that the clamps or hand-screws will not hold, but slip as fast as you tighten them. In such a case the method shown in Fig. 647 can often be used. Screw a hand-screw firmly on each side of the joint, rubbing chalk on the insides of the jaws to help prevent slipping, and putting on the hand-screws so that the jaws will be parallel. Then, by using two other hand-screws, those first put on can be drawn towards one another and the joint firmly closed. Then proceed to glue the parts as with new work. For the way to do this see _Gluing_.

In patching old work with new wood, pains should be taken to have the wood match as well as possible, and, as a rule, pare or trim the new pieces after they are glued in place rather than before. Staining to match the older parts is often required (see _Staining_). See also _Holes, To Stop_.

The repaired joint may never be quite as strong as a new one, therefore it is well to reinforce it with a block glued and screwed on the under or inner side, in cases where this can be done without injuring the appearance, as inside of the frame under a chair, sofa, or table.

It is not uncommon, particularly in work which has come apart several times, for the tenons to be too small. If you can glue on thin pieces to make the tenon larger, trimming them afterwards to fit, it will be the best way; but if the conditions do not admit of this, a little muslin, laid in glue, can sometimes be wrapped around the tenon as the latter is fitted to place. The same can sometimes be done with round pins or dowels. The expedient of splitting and wedging tenons and dowels can often be applied in repairing (see _Mortising_ and _Dowels_).

Sometimes you may find it necessary to use screws in places where the heads will show. In such cases first make, when possible, a neat round or square hole with bit or chisel of sufficient diameter to admit the head of the screw and deep enough to allow a shallow plug to be inserted after the screw has been set (see _Holes, To Stop_). The hardest part in finished work is to make the patch match the rest of the work.

See also _Gluing_, _Clamps_, and whatever other operations may be required.

=Ripping-Saw.=--See _Saw_.

=Rivets.=--In heading rivets hold another hammer or piece of metal, or have someone else do so, against the head of the rivet while upsetting the other end.