Mouldings in Practice

Mouldings
in Practice

Matthew Sheldon Bickford

LOST ART PRESS : FORT MITCHELL

First published by Lost Art Press LLC in 2012
26 Greenbriar Ave., Fort Mitchell, KY, 41017, USA
Web: http://lostartpress.com

Title: Mouldings in Practice

Author: Matthew Sheldon Bickford
Editor: Christopher Schwarz
Illustrator: Matthew Sheldon Bickford
Copy editors: Megan Fitzpatrick, Raney Nelson
Index: Suzanne Ellison
Page layout: Linda Watts & Christopher Schwarz
Cover design: Wesley Tanner, Passim Editions

Copyright © 2012 by Matthew Sheldon Bickford. All rights reserved

ISBN: 978-0-9850777-1-6

First printing.

ALL RIGHTS RESERVED

No part of this book may be reproduced in any form or by any electronic or
mechanical means including information storage and retrieval systems without
permission in writing from the publisher, except by a reviewer, who may quote
brief passages in a review.

This book was printed and bound in the United States.

 CONTENTS.

Preface vii
1.No Compromises 2
2.The Case for Hollows & Rounds 8
3.Overture 24
4.Rabbets & Rabbet Planes 38
5.Using Rabbets as Chutes 50
6.Using Rabbets & Chamfers 63
7.Layout 72
8.Snipes-bill Planes 76
9.Side-round Planes 87
10.
Work Backward Through Layout 98
11.
Make Ovular Shapes 106
12.
Plow Planes 114
13.
The Dark Side 118
14.
Maintain the Cutting Edge & Body 122
15.
Correct Mistakes & ‘Cheats’ 138
16.
Conclusion 146
Appendices
1. Antique Planes 149
2. From Wood to Paper (vs. Paper to Wood) 154
3. The Sticking Board 157
4. Mouldings from 8 Historical Pieces 160
Brewster Dayton High Chest 164
Wilcox Group Flat-Top High Chest 174
Isaac Tryon High Chest 182
Rhode Island Maple Chest 190
Chippendale Apple Secretary 198
Cherry Chippendale Tall Chest 206
Federal Tall Case Clock 214
Queen Anne Chest on Frame 230
5. Frequently Asked Questions 238
Afterword 240
Acknowledgments 242
Index 244
 Preface.

Our craftsmanship defines our work. Our work defines our fulfill-
ment. Unfortunately, there are times that our tools define both.
The attraction to woodworking is a personal story to most of us.
Some people become involved as young children watching a barn
being raised from large piles of timbers. Others start working wood
to customize a bird house, fraternity house or first house. For many of
us that path ultimately leads to building furniture or cabinets, while
others make spoons, decorations or fishing poles. The focus of each of
our attentions is relevant to our life, desires or needs.
The relevance of tool selection, like project choice, is not an arbi-
trary endeavor. Chop saws are purchased for hanging our first crown
mouldings. Table saws are purchased for our first hanging cabinets.
Jointers and planers come when we no longer want to be hung up by
lumber that was dimensioned by someone else. Routers are ordered
when we want to mould an edge on our first solid-wood tabletop.
As our craft progresses, the shop fills with tooling that is relevant
to our interests and pursuits. Unknowingly, this mechanical tool-
ing starts dictating our work. We never use wide boards because our
jointers are only 6" wide. We plane 4/4 material down to 1/8" because
our resaw capacity is much too small. We make moulded edges based
upon our router bit selection or those of the manufacturers.
It is at this stage of mechanical dictation that we start the slow
progression toward the regression to hand work. We find fore planes
and try planes to flatten a board that is the width of our 12" plan-
ers, then start dimensioning lumber that’s even wider. We buy chisels
to fine-tune joints and end up combining these keen edges with our
tenon saws to cut dovetails. We eventually make bowsaws to pierce a
back splat because there’s no good reason to have a scroll saw for this
single, one-time task. Plus, a turning saw can do so much, and mak-
ing it will allow us to once again use that rasp we acquired to shape
wood in a way that shop machinery simply cannot.
viii

Still, the scope of our work is dictated by the capacity of our tool-
ing. Some pieces are certainly beyond the scope of our skills, base-
ments and garages, but some of it is just beyond what tools we own.
Years ago I knew that I would never make my own kitchen cabinets
because my basement was not big enough to stage the build. Despite
growing up with the sound of a grandfather clock in my house, I knew
that I would never make one because the number of moulded edges
along its height were staggering to a 25-year-old with 15 router bits
and no desire to purchase stock bits that were of similar dimensions
but of staggeringly different shape. Several sets of custom knives
would have been an option if I had a shaper, but not to run just 4' of
moulding once.
Is there an answer?
Matthew Sheldon Bickford
Haddam Neck, Conn.
May 2012
 To the one person whose steadfast patience and support not only
encouraged this book and business, but has guided it through her
personal standard. For my wife, Molly, “... the only one of us who’s
achieved immortality.”
– Steven Mallory (in Ayn Rand’s, “The Fountainhead”)
 CHAPTER 1.
no compromises.

The day I received my DeWalt router in the mail was one of the
happiest days of my adulthood. I could already make wood square and
flat on my table saw and jointer. I could even change the thickness of it
with my planer. The addition of the router allowed me to add the last
thing I thought was missing from my work: a contoured edge.
All of the opportunities I now had in front of me were illustrated
in the web sites of various popular router-bit manufacturers. As I
scrolled down the architectural millwork pages I kept thinking, “Look
at all of the things I can now do.” A puzzle of shapes sat before me for
the mere cost of a bit. The sky was the limit. A $20 investment would
somehow lead to satisfaction in every corner of my newly acquired
first house. An $80 set of bits would give me more options than I could
imagine. At that point I smiled contentedly, knowing I no longer had
to settle for the offerings of the mouldings at the big box store.
Flash forward nine years.
4 MOULDINGS IN PRACTICE

I was by that time a professional moulding planemaker. When I dem-

onstrated the tools I made they were inevitably compared to routers,
shapers and moulders. There have been a few responses to my products
more common than any other: What makes these tools relevant? How
can you compete with a machine? Why? And, for what purpose?
I often defended the tools by simply putting them in people’s hands,
and I allowed them to draw their own conclusions. At one show, how-
ever, I went on the offensive and asked a woodworker to pick a profile
out of the pages of the Popular Woodworking Magazine on my bench.
He settled on a tabletop support moulding from the feature article: a
reverse ogee and bead. Before the end of our conversation I had com-
pleted that exact moulding. It was not a close interpretation or a near
compromise. It was exact. The profile was executed by hand with just
five of the tools I had in front of me.
I asked the man if he could make that profile with his current
tooling. He started to explain how he would adjust the profile to one
he could make.
This is the major reason moulding planes such as those that I make
remain relevant today: They offer the ability to reproduce exactly
what the craftsman wants, with precision and speed. No more “close
enough” approximations; no 1/2" beads where a 1/4" belongs; no coves
substituted for ovolos; and no more settling for “tricks,” such as a
mirror-image double ogee when a far more sophisticated (and pleas-
ing) complex profile is called for. These tools are relevant because they
allow the user to produce what he wants, not what he currently has
the tooling to do.
I told the man that during my first five years with a router, the
various edges and mouldings I created in my house and on my furni-
ture were, like he illustrated, all derivatives of the same dozen router
bits. The chair rails in my dining room had the same profiles as the
built-ins. The children’s changing table shared the same profile as a
pair of Queen Anne stools. Purchasing a router did not free me from
the offerings of the big box stores. The router simply supplied me with
a new avenue of limitations.
These limitations were one of the reasons I started woodworking. I
began by making shadow moulding in my living room that mimicked
 no compromises 5

profiles my wife picked from magazines. I purchased router bits that

looked similar to what she liked and were within my budget. As I
evolved as a hobbyist, though, the projects I was drawn to became
more complex. As I forced my skills to grow, I made more detailed
pieces that were attractive to me – I was drawn to Queen Anne and
Chippendale furniture. Through this evolution in my abilities and
tastes, though, one thing did not change at all: the edges. I had settled
upon the bits I had collected.
I started purchasing plans during this period. I labored over copy-
ing proportions. I drew carvings and translated them as best I could
to my work. I wanted everything to be the same as what I saw. I made
small compromises in back splats and on feet that were based on my
eye and, ultimately, my hand. I made large concessions, however,
when it came to the mouldings.
When I considered building a project I always looked first at its
moulding profiles. I knew that I could execute the joinery for a chair
with splayed legs or a horseshoe seat, even if I had never done those
joints before. Angled tenons on curved, angled stiles were a trophy.
Solving problems and puzzles like these was what originally attracted
me to the craft.
I knew that I would probably never make a large secretary or tall
case clock, however, because there was just too much new tooling that
would be required. On the one hand, I was satisfied with small, dif-
ficult projects, and on the other I was overwhelmed by the prospect of
spending so much money on router bits to be used just once.
I chose projects based on my tooling. And I regretted the compro-
mises I made in the mouldings before I’d even made them.
As I now walk through a museum, flip through a magazine or plan
a project, the last thing I consider is the moulded edges. I know now
that I can reproduce almost anything. The mouldings have gone from
an obstacle that must be avoided to a low- to mid-level hurdle. The
moulding stage has gone from a noisy string of compromises or expen-
sive bits to another source of pride, another area of my craft to which
I have put my hand.
What had changed?
6 MOULDINGS IN PRACTICE

In my ventures through antique malls and, subsequently, web

pages I became aware of moulding planes, specifically hollows and
rounds. Like router bits, there are some dedicated moulding planes,
such as side beads and ogees, that perform obvious tasks by creating
a single profile. Unlike router bits, however, there is a set of profiled
planes that allows you to make any shape that you can draw. These
planes are called hollows and rounds.
With a moderate collection of these profiled planes, you can create
various mouldings: from ogee bracket feet to crown mouldings; from
small thumbnails around drawer fronts to wide built-up mouldings
around cases; from picture frames to window trims; from the small
details of a new age jewelry box to the dozens of profiles that line a
Newport tall-case clock.
Whether running small lengths of a specific moulding, tweaking
existing router or shaper profiles to match a goal, sharpening a profile
or simply removing tool marks, hollows, rounds, rabbets, side rounds
and snipes-bill planes have a place in many modern shops. These planes
are quick, straightforward and nearly limitless in what they can do.
 no compromises 7

This book will help you put those garage-sale gold mines to work in
a way that will lead you to one day pull up that architectural millwork
web page of your favorite router-bit manufacturer and scoff at how
limited and unnecessary the machine-made profiles are.
These tools will grant you permission to add your hand to another
aspect of your work in a way that you will appreciate. You are a crafts-
man, and these tools will allow you to prove it again and again.
Nine years ago I was excited to look at all of the things I could do
with my router.
Now look at all of the things I can do with my hands.

Color Key to the illustrations.

As you progress through this book you will notice the color scheme
used to denote the order of steps in some illustrations. This order,
usually a series of rabbets and chamfers, is most often left up to the
user preference and is merely my suggestion. I tend to make the rab-
bet with the largest volume first. If possible, I use no more than three-
quarters of the width of my rabbet plane, which is 7/8". I tend to use
my largest hollows or rounds first and end with my smallest. As you
progress with your use of these tools, you may find yourself opting for
a different sequence, more steps or fewer. In these illustrations, the
order is as follows: dark green, brown, blue, light green and purple.
 CHAPTER 2.
The Case for Hollows & Rounds.

The term “moulding plane” is an inclusive one. Dedicated mould-

ing planes (also called “complex moulders”) have soles that consist of
multiple curves, flats, quirks, steeples and anything else centuries of
art have imagined. Dedicated planes create one profile and do it well.

Fig. 2-1. Ovolo with two fillets

(right). The profile this plane creates
is similar to that of a window sash.

Fig. 2-2. Cove with two fillets (below

left). Take note of the angle at which
these planes are held relative to the
wood. These planes are sprung; the
angle at which they are held is the
“spring angle.”

Fig. 2-3. Ogee with fillet (below

right). Like the other planes, this
ogee plane creates this single profile
at a single location relative to the
edges of the board, at a single angle.
 9
The Case for Hollows & Rounds 9

These planes, when small, are easy to push and are often much
quicker to produce a profile than any router bit, if only because the
router surface needs to be sanded. A 1/8" side-bead plane creates a
bead along an edge that is ready for finish after 10 quick strokes. A
thumbnail plane creates a convex ovular shape and adjoining vertical
fillet, and can consistently and quickly cut profiles along 20 edges of
five drawers in a dressing table. A 4"-wide crown moulder, with help
from a few friends (and perhaps a horse), creates a complex cornice
that is completely uniform from piece to piece across splices and from
wall to wall and through mitered corners.
The profiles these planes create are precise, uniform and consistent.
Therefore, any time a uniform profile is needed, but the mouldings
cannot be cut from a single long piece, a dedicated plane is desirable.
A drawer, after all, has four sides – and the lips of individual drawers
may sit a mere 1/2" apart – so efficient consistency is required.
There are dedicated planes that execute just about any moulding,
including all those already mentioned. Many of these dedicated planes
are also desirable for the craftsman who produces the same edge many
times, such as a harpsichord maker who adds a small quirked ogee to
the bridge of multiple harpsichords made months apart.

Fig. 2-4. Dedicated harpsichord bridge. This common profile in Italian and
German harpsichord bridges will always be 5 minutes away from comple-
tion for the user – less if the tool remains set up.
10 MOULDINGS IN PRACTICE

These dedicated, single-profile planes, however, serve little purpose

to the craftsman who produces numerous small lengths of moulding
in an ever-changing portfolio. These single-profile planes are dedi-
cated to one profile and, like most router bits, they do only one thing.
Though the profile these create can often be manipulated to some
degree (by removing a fillet, for example) specialty planes are without
value if you need to control the details of a profile, or create something
with major or even minor differences.
To fresh eyes, the complex profiles integrated into these planes’
soles are apparent; the integral fences and depth stops the planes
often include, however, are not. The fences require the plane to con-
tact the edge of a board as a reference, limiting the plane’s angle,
spring and location. The depth stop ensures a consistent depth of pro-
file, but often makes it impossible to use the plane to create part of a
larger, more complex moulding.

DEPTH
STOP

CUTTING
EDGE

FENCE

Fig. 2-5. A complex moulder. The width of the iron is

the same as the cutting edge illustrated above. No por-
tion of the iron is present at the fence and depth stop.
When the plane has progressed to the extent that the
depth stop registers against the face of the stock, the
iron will stop contacting the wood.
 The Case for Hollows & Rounds 11

Most dedicated planes also demand proper setup steps to be per-

formed prior to their use.
Without the minimal rabbeting setup in the example in Fig. 2-6,
significant edge maintenance will be required because the edge clos-
est to the fence takes dozens of passes more than the edge closest
to the depth stop. When the edge nearest the fence deteriorates, the
entire blade profile will need to be sharpened in order to keep the iron
matching the sole.

Fig. 2-6. The rabbets required. The

minimum number of rabbets desired
for using a complex moulding plane is
similar to those created when using
hollows and rounds. You, the user, will
need to determine how much stock
removal is necessary for each profile. I
imagine there are times when preempt-
ing a complex profile with a rabbet
plane, plus hollows and rounds, is
ideal. After all, these few planes with
individual curves are easier to main-
tain than a highly complex profile.

Fig. 2-7. Many passes required. The portion of the iron that is closest to the
fence may take 40 passes before the edge farthest away takes one. When it
is time to sharpen, the entire edge must be addressed, despite only a small
portion needing it.
12 MOULDINGS IN PRACTICE

The genius of dedicated moulding planes is in their absolute con-

sistency, made possible largely by their integrated fences and depth
stops. However, these same features also limit the versatility of the
planes, and make them poorly suited to address many people’s pri-
mary motivation for investigating moulding planes: eliminating
excess tooling.
The planes we will discuss in the pages to follow do not share these
limitations. We are going to focus on rabbets, hollows, rounds, snipes
bills and side rounds. Each of these planes serves a different func-
tion. All these planes, however, share a similar characteristic: They
have neither integral fences nor depth stops. Without these two char-
acteristics the planes are remarkably versatile. And by using simple
stock preparation techniques, the user can impose steering and depth
control on the planes to direct and focus their versatility to create all
manner of profiles precisely and simply with just a handful of planes.
These planes have no fences. We will make guides. These planes have
no depth stops. We will make gauges.
But how do these tools work? These planes cut specific portions of
an arc in a profile. Each size cuts a segment from a circle of a specific
radius. While a plane’s cut matches the circumference of a specific

Fig. 2-8. The limits of side beads. A 1/8" side bead can efficiently establish
that profile on the edge of the board. It cannot make a bead set in from the
edge or the convex portion of an ogee as the No. 2 hollow does above.
 The Case for Hollows & Rounds 13

circle, the percentage of the circumference is up to the user. There are

no fences that need to be registered on the work, no spring lines to
obey and no depth stop to adjust.
With hollows and rounds, the plane that cuts a side bead on the
edge of a board is the same plane that cuts the convex portion of an
ogee set 1" from the edge of a complex waist mould. Unlike a dedicated
moulding plane or even a Stanley No. 45 plane, these planes do not
need to reference an edge while being held at a specific angle.
Whether the specific arc created by these planes falls along the
narrowest edge of a board or onto the widest portion of a linenfold
panel, the arc’s location is not predetermined. If the arc you need is a
minimal 60° of a circle or more than 180°, that function is not deter-
mined by a depth stop. Whether the arc stands alone or in a sequence
is a decision made by the user, not the planemaker.
These planes do not have predefined purposes other than cutting
an ideal radius. Executing any moulding along a straight edge is
achievable with these planes – whether you are making moulding on
a board that will be applied beneath the top of a piece or even to the
top itself.

Fig. 2-9. Geometry of the sole. The

sole of this hollow and this round is
one-sixth of a circle. The sole’s width
is equal to the radius of the circum-
ference it creates.
14 MOULDINGS IN PRACTICE

The soles of hollow and round planes represent 60° of a circle.

Thanks to basic geometry and the properties of an equilateral trian-
gle, we know that the width of each plane’s sole is equal to the radius
of the circle each creates.
These hollow and round planes generally come in pairs, one convex
sole (round planes) and one concave (hollow planes). The pairs vary in
radius, which means they also vary in width. There are several num-
bering systems used when describing these planes, some dependent
upon the maker, some on the origin of the tool. For this book, the fol-
lowing numbering system will be observed.

R adius &
Plane No. Blade Width
1 1/16 "

2 1/8"

3 3/16 "

4 1/4"

5 5/16 "

6 3/8"

7 7/16 "

8 1/2 "

9 9/16 "

10 5/8"

11 11/16 "

12 3/4"

13 7/8"

14 1"
15 11/8"
16 11/4"
17 13/8"
18 11/2"
 The Case for Hollows & Rounds 15

In this system, the plane’s number (usually stamped on its heel)

designates its radius in 16ths of an inch up to 3/4", or 12/16". The num-
bering system then breaks, as subsequent planes increase in radius
by 1/8" instead of 1/16".
There are a few other planes we need to learn about that assist the
hollows and rounds – snipes bills, side rounds and rabbet planes.
Hollows are to rounds as snipes bills are to side rounds: The first
has a concave sole and cuts a convex shape, while the second has a
convex sole and cuts a concave shape.

Fig. 2-10. Other planes. Snipes bills (left) and side Fig. 2-11.
rounds are helpful planes for some profiles. The rabbet.
A rabbet
plane is
rectangular
in form and
cuts square
rabbets.

Many people look at the above planes and, for good reason, do not
recognize their purpose. But you soon will.
 16 MOULDINGS IN PRACTICE

Set up.
Moulding planes typically have a tapered iron. The iron is thicker
at the cutting edge than at the tang end.
This taper allows the wedge, once set, to hold the iron in place
mechanically. Two wedges – the iron and the wedge itself – act against
each other to prevent the iron from being pushed back into the body
while the plane is in use. A non-tapered iron, though used successfully
by several makers, relies upon a friction fit only and is not as secure.

TANG

BLADE

1/16"
1/8"

Fig. 2-12. The iron. The parts and characteristics of a correct moulding
plane iron.

To set the iron of a plane with a tapered blade, place the iron inside
of the mortise with its edge slightly retracted inside of the body.
Lightly tap the wedge. This sets the iron and wedge firmly in place.
Tap the iron’s tang until the cutting edge is at the desired depth.
Because the iron is tapered, each tap loosens the plane’s wedge.
Reset the wedge with a light hammer tap upon the wedge.
The desired depth of cut varies depending on the work at hand. It
can depend on the wood or even the stage of your work. You can be
more aggressive in softer woods such as mahogany than in harder
woods such as maple. A seemingly aggressive cut with a well-tuned
plane will leave an adequate surface for finishing with softer woods.
The same set will tear out or simply refuse to cut with the harder
woods. Start with the exposed edge slightly catching your fingernail
as you slide it across the sole. Subsequent passes with the tool will tell
you whether a heavier cut is warranted due to the ease of pushing and
the amount of material to be removed.
 The Case for Hollows & Rounds 17

Fig. 2-13. Setting the wedge. Use a tool to strike the

wedge finial that will not damage it. A dead-blow
mallet or a tool with a leather, plastic or (as pictured)
wooden insert will leave the wedge unscarred.

Fig. 2-14. Setting the iron. I strike the tang with a

brass head. The tang is annealed so the steel is soft.
The steel tang will damage this softer brass, but the
brass will limit the amount of mushrooming of the
steel tang.
18 MOULDINGS IN PRACTICE

When you are close to your desired profile, resetting the iron to
take a less-aggressive cut is often desirable. Taking the last few passes
with a finer shaving will improve the surface quality while also allow-
ing an increased level of accuracy. This increased accuracy is nec-
essary when working to specific points and blending one curve into
another. To retract the iron a bit, tap the iron out of the plane and,
keeping your hand clear of the mouth and edge, unseat the wedge.
Reset the iron to the new, less-aggressive depth.
The iron’s profile must match the sole’s profile precisely for proper
performance; it must be shaped and sharpened to exacting standards.
I shape my irons so that when the iron is pushed firmly against the
blind (hidden or back) side of the plane’s mortise with a single finger
the iron is in line with the sole. In this circumstance, the iron will
touch the blind side of the mortise at the top near the protruding
wedge and the bottom at the plane’s mouth. Profiling the iron in such
a manner eliminates the fuss that goes along with letting the iron
float in the center of the mortise at the top.

Fig. 2-15. Iron pressed against the blind side. I am using my forefinger to
press the iron against the blind side of the mortise. I keep pressure on this
portion of the iron at all points of adjustment for side-escapement planes.
This will prevent the iron from shifting in the mortise during adjustments
and from shooting out of the bottom of the plane and onto the floor or into
your finger. Notice the location of my fingers relative to the mouth of the
plane: They are behind it, not across it. With a rabbet plane, I slightly pinch
both sides of its iron to prevent any shifting of the iron’s orientation.
 The Case for Hollows & Rounds 19

As stated before, retracting an iron with a set wedge should be

done by tapping the iron forward through the mouth, disengaging the
wedge and starting over. Prior to the final setting of the wedge, while
still adjusting the depth of cut I will sometimes make fine adjustments
by holding the plane upside down and, while applying pressure to the
wedge and iron, slightly slap the plane’s front upon my bench. This
retracts the iron slightly.
I never opt to make adjustments or loosen a wedge by striking the
heel of my planes with a hammer. Many woodworkers do this, but this
can damage the plane.

Fig. 2-16. Strike the

plane against bench. I
am gripping the wedge
with my fourth and
fifth fingers. Without
this support even a
moderate blow can
send that wedge onto
the floor.

Again, apply pressure to the blade’s side. This will keep it properly oriented
in the mortise during slight taps and adjustments.
20 MOULDINGS IN PRACTICE

Use.
Most of the planes we are discussing are called “side-escapement”
planes, which means the shaving is ejected from the side of the tool
instead of the top. The iron of a side-escapement plane does not proj-
ect from both sides of the plane body. Side-escapement planes can
be fussy for beginners. Anything that prevents a smooth cut with a
smooth ejection of the shaving will clog the mouth. Here are some tips
to get you started.
Keep your fingers away from the escapement.
Do not skew the plane in the cut. Keep firm pressure on the plane
so that it does not skip. Always watch the tool to be certain that a
previous shaving is not caught between the plane’s sole and the work.

Fig. 2-17. Clogged mouth. A shaving that has not fully ejected does not
always qualify as a clogged mouth. The first few passes you take across a
corner will often not have the rigidity to eject. A clog has occurred when a
plane has stopped cutting. This can happen in the span of 1".
 The Case for Hollows & Rounds 21

Fig. 2-18. Don’t cover the escapement. Keep your hands away from the
escapement and wedge. Your hands may be closer than pictured, but they
should never encroach the escapement or be directly above it.

Fig. 2-19. Keep shavings clear of the sole. You need not make a pile of shav-
ings on your bench or wistfully appreciate each as it flutters to the floor (or
plummets from your rabbet), but you must make certain that each is away
from the sole of the plane and its path. When sticking your average mould-
ing length of several feet, you will often have the opportunity to clear the
escapement during your walk back to the beginning for your next pass.
22 MOULDINGS IN PRACTICE

Fig. 2-20. Ideal grain. I’ve drawn grain lines with a marker to show how
this piece has ideal grain for a profile on the single, near corner. Flatsawn
stock with limited wood movement on the face is desirable for anything on
the face or both edges (think fluting). The rise of the grain illustrated is too
much for anything involving three corners (think picture frame).

Never try to unclog a mouth by accelerating the current cut or mus-

cling through the next. It will not work. You will damage the mouth.
Once the mouth has been damaged, the plane will clog on the first cut
every time because the shaving will not eject smoothly.
Side-escapement planes do not function well when working against
the grain. Working against the grain will often clog the mouth. All
care should be given to stock selection. Straight grain, though poten-
tially hard to come by, is ideal. The wood’s grain should rise away
from you along the vertical face when standing at the beginning of the
board. The grain along the face of the wood should travel toward you
from the beginning of the cut to the end.
 The Case for Hollows & Rounds 23

If you are uncertain about the grain of a piece, check it. Keep a dull
chisel at your bench. Run the chisel from beginning to end along the
corner upon which you will work. If the chisel can be steered then you
are going with the grain.
If the chisel splits the wood ahead of the cut, flip and/or spin the
board.
This method will also allow you to justify not sharpening one of
your chisels. Generally speaking, each board has one corner that is
better than the other three.

Fig. 2-21. In control. The cut is controlled. The dull chisel can be con-
trolled. The individual parings are peeling off in a single strand.

Fig. 2-22. Out of control. The individual strands are heavily splintered. The
chisel is uncontrollable as it gets pulled farther into the edge.
 CHAPTER 3.
overture.

When I first became aware of hollows and rounds I read about the
heralded “half set.” A half set of hollows and rounds is 18 planes, nine
pairs, that incrementally increase in radius from 1/8" at the low end
to 11/2" at the high end. The half set of planes is generally the even-
numbered pairs in the previously referenced chart. (A full set is 36
planes, and also includes the odd numbers.)

Fig. 3-1. A half set. This pictured half set is nearly all that you will need
to reproduce the various moulded edges of all period pieces, regardless of
period. It’s also much more than many hobbyists will ever need.

A half set of hollows and rounds is an extraordinarily comprehen-

sive grouping of planes that allows the owner to produce a range of
moulding profiles that exist in the smallest spice box and largest sec-
retary. Centuries ago, the half set was often acquired over time.
For many users, myself included, the half set covers an unneces-
sarily broad range of work, and represents an undue expense. Many
woodworkers narrow their plane choice down to match the scale of
work that catches their fancy. For example, if you work only with 4/4
stock, then sizes above No. 8 may go unused. Starting with just a
 overture25

single pair of hollows and rounds – and an efficient method to accu-

rately establish rabbets and chamfers – allows the production of doz-
ens of different profiles.
The simplicity of combining only one convex and one concave arc
might seem limiting. There are, however, scores of profiles you will be
able to produce with just a single pair of hollows and rounds. These
profiles will often contain minute differences – adding a vertical or
horizontal fillet, or flat, adjusting the size of that fillet, increasing the
curvature or changing the general angle of the profile. These small
differences are important and are often glossed over or neglected on
a router table.

Fig. 3-2. Small differences. The differences between these profiles can
appear as slight. To many woodworkers, however, they are significant. See
more profiles on the following page.
26 MOULDINGS IN PRACTICE

Fig. 3-2. (Cont’d)

 overture27

Adding a second pair of hollows and rounds to your tool chest, a

step I always encourage, increases the number of possible profiles far
more than two-fold. Not only will you be able to create the 41 profiles
shown above in two different sizes, you will also be able to mix the
concave with the convex to form various cove and ovolo combinations
and ogees. Additionally, you can mix concave with the concave and
convex with the convex to form elliptical shapes. It is at this stage that
you will unlock the true versatility of these planes.

R5/8"
R3/8"
R3/8"
R5/8"

R5/8"

R3/8"
R5/8"

R3/8" R3/8"
R3/8"
R5/8"
R5/8"

Fig. 3-3. Add a pair. A second pair of hollows

and rounds will allow you to, when building a
chest of drawers, make mouldings that comple-
ment each other. They will not be merely deriva-
tives of the same circle.

The following are stepped examples of profiles that are primarily

made with one pair of No. 6 planes. (A No. 6 was defined as cutting a
radius of 6/16" or 3/8".) These profiles are a sampling that include the
basic shapes, with a few basic modifications. You can combine and
scale these to build large, intricate profiles that line and accent a piece
of casework or a room.
28 MOULDINGS IN PRACTICE

Cavetto (COve).
A cavetto, or cove, begins with a rabbet, which acts as both a guide
and depth stop for the work with the round plane. The layout and
execution of the rabbet will be the focus of much of this book and is
discussed in great detail beginning in chapter 4.

3/16"

1/8"

Fig. 3-4. First a rabbet. One rabbet followed by No. 6 round.

3/8"

3/16"

3/16"

1/16"

Fig. 3-5. Two rabbets and one round. Two rabbets followed by No. 6 round.

7/16"

1/4"

3/16"
5/16"
1/16"

1/16"

Fig. 3-6. Add a rabbet. Three rabbets followed by No. 6 round.

 overture29

1/2"

1/4"

1/4"
1/16" 1/2"

Fig. 3-7. Make a 90° cavetto. Widening the latter two rabbets, the turquoise
along its width and the brown along its height, and rotating the round,
results in a cavetto that is 90° of a circle.

Ovolo.
An ovolo, like all instances when you use a hollow, begins with a
chamfer. The chamfer, like the rabbet above, serves as both guide and
depth gauge for subsequent work with the hollow plane. Again, the
precise placement and execution of this chamfer will be discussed in
greater detail beginning in chapter 4.

1/4"

1/8"

Fig. 3-8. Basic ovolo. One chamfer (or two) followed by a No. 6 hollow.

1/16"

3/16"

Fig. 3-9. Add a fillet. Adding a rabbet and shifting the chamfers introduces
a single fillet.
30 MOULDINGS IN PRACTICE

3/8"

1/4"
1/
16"
1/
16"

Fig. 3-10. Two fillets. Two rabbets with the chamfers results in two fillets.

7/
16"

1/ 7/
16" 16"
1/
16"

Fig. 3-11. A 90° ovolo. Increasing the width and height of the rabbets, while
changing the angle of the chamfer, creates an ovolo that is 90° of a circle
with two fillets.

Torus (Bullnose).
When laid out in this way, two rabbets, two chamfers, and a No. 6
hollow create a bullnose.
1/2"

1/16" 1/16"

Fig. 3-12. A bullnose. Working from both corners of the stock can produce a
bullnose.
 overture31

Ogee (Cyma Recta).

An ogee, or cyma recta, is achieved by combining the procedures
for a cove and ovolo.

11/16"
9/16"
5/16"

7/16"
5/8"
1/8"

Fig. 3-13. Combine the procedures. A cyma recta is made by using both
chamfers and rabbets. The result is a “S” curve.

3/4"
3/8"

7/16"
1/16"
5/8"
3/16"

Fig. 3-14. Change the rabbet. Slightly deeper rabbets makes a difference.
32 MOULDINGS IN PRACTICE

Reverse Ogee (Cyma Reversa).

Minor changes to the rabbets can result in major changes to the
profile.

11/16"
9/16"

3/16"
1/16"
5/16"

Fig. 3-15. Reversing the order. A cyma reversa is made using the same
chamfers and rabbets, but the result is completely different.

13/16"
9/16"

1/4"
7/16"
1/16"

3/8"

Fig. 3-16. Change the rabbet. A slightly deeper rabbet makes a difference.
 overture33

OVOLO & COVE.

7/8"
11/16"

1/16" 1/2"
7/8"
1/4"
1/16"

Figs. 3-17 & 3-18. A deeper rabbet accelerates the changes. Continuing to
make small changes, in this case increasing the depth of the green rabbet,
results in additional large differences.

Side Bead.
A side bead starts with a snipes-bill plane that follows a gauge line,
and it ends with a hollow.

3/4"

3/8"

Fig. 3-19. The simple side bead. This fundamental pro-

file uses two planes and just a few strokes to complete.
34 MOULDINGS IN PRACTICE

Three-quarters Bead.
Executing the side-bead process on both faces of the corner results
in a three-quarters bead.

3/4"

3/8"

Fig. 3-20. On both faces. The three-quarters bead is completed using the
same tools as for the simple side bead.

Reeds.
Executing side beads across the width of a board creates reeds.

3/4" 3/4" 3/4" 3/4"

Fig. 3-21. Reeds. Once you master the beads, the reeds are not far behind.
 overture35

Scotia.
A scotia introduces the side-round plane plus the combination of
varying arcs to make ovular or hyperbolic shapes. Side-round planes
are the subject of chapter 9. Like a round, this convex plane creates
a concave profile. It is used in areas that a round cannot reach due to
the plane body’s dimensions. (A plow plane is also used here.)

11/8"

3/8"

5/16" 5/8"

Fig. 3-22. Deeper hollows. Once you master the cavetto, you can introduce
side-rounds to make more dramatic, hyperbolic shapes.
36 MOULDINGS IN PRACTICE

Venetian.
Rabbets, chamfers and a single hollow create a Venetian.

13/16"

1/8"

13/4"

3/16"

Fig. 3.23. Convex drama. This convex shape,

with its sweeping Greek appearance, is still
made with simple tools.
 overture37

Thumbnail.
Executing the previous process with a second, larger hollow and
snipes bill will create a thumbnail.

1/8"

1/4"

1"

Fig. 3-24. Thumbnail moulding. Add a snipes-bill plane to the Venetian

and you can create a thumbnail moulding.

The above profiles are a sample of the many mouldings that can be
scaled, manipulated and combined to form the extraordinary range
of mouldings that decorate the edges and faces of most American and
European pieces of period work. The same or similar profiles appear
both alone and in complex sequences throughout the centuries.
Looking at the above profiles and copying the layout in scale will
produce myriad results. Learning the layout – why the rabbets and
chamfers are where they are – and plane selection will eventually
make reference to these pages unnecessary.
As the chapter’s title stated, the previous examples are an overture
to this book as a whole, a sample of what’s to come. Learning to look
at a moulding and know what planes were used and how to lay out the
rabbets and chamfers to achieve a specific goal will be the purpose of
the following pages.
 CHAPTER 4.
rabbets & Rabbet Planes.

Hollows and rounds have no depth stops and no fences, and they
have cutting edges that are difficult to maintain. So how do we guide
these planes? Is it not a trial to keep them sharp? The solution to both
questions is a rabbeting plane.
Rabbets, which are grooves along the edge of a board, along with
chamfers (or bevels), are the basis for all mouldings when using hol-
lows and rounds. These rabbets serve three purposes: creating chutes
in which the planes travel, creating guides that serve to gauge your
progress, and removing as much material as possible with an edge
that’s easy to maintain and easy to guide.

Fig. 4-1. Moving fillister. This moving fillister has a brass depth stop that is
adjusted with the knob on top, along with an adjustable fence upon which this
plane is standing. The iron is skewed across the sole and has a nicker ahead of
the cutting edge for shearing wood fibers while working across the grain.
 rabbets & Rabbet planes 39

Cut Rabbets with a Rabbet Plane.

All the moulding profiles discussed in this book begin with a series
of rabbets and/or chamfers. These two shapes define the final mould-
ing profile. Therefore, accuracy is crucial. Much of your time making
moulding is spent laying out the profiles and transferring those lay-
outs onto the wood via rabbets. Only an efficient method of executing
these steps will lead to success. There are many methods.
Ventures through the Internet, books or magazines will introduce
you to many tools for cutting rabbets, including fenced rabbet planes,
moving fillisters and plow planes. A rabbet plane with a fixed fence
and fixed depth stop needs only to be pressed against the side of a
board, held vertically and swiped until the plane’s depth stop bottoms

Fig. 4-2. Plow plane. This plow plane also has a brass depth stop, this time
on the opposite side of the iron, that is adjusted with the brass knob on top.
The plane is leaning upon its fence, which is adjusted by the wedged arms
protruding through the plane’s body. When using my plow to make rabbets,
I use only the thinnest iron. That iron allows for the most aggressive cut.
40 MOULDINGS IN PRACTICE

out and the plane stops cutting. It produces one rabbet of a fixed width
and depth along the edge of a board.
A moving fillister plane might seem more versatile than a fixed rab-
bet plane. You can, of course, create rabbets of any width by adjusting
the tool’s fence. Its depth stop can also be adjusted so that the plane
cuts rabbets of various depths. Limitations still exist.
Though the plow plane is slightly different than a moving fillister,
it also has an adjustable fence with (usually) an adjustable depth stop.
A plow plane, in conjunction with a chisel, can be used to aggres-
sively remove material along the edge of a board. In addition, a plow
can cut grooves in the center of a board, which is necessary for some
mouldings.
A moving fillister and plow plane are very useful when creating
single rabbets of equal depth and width in different boards. But they
have shortcomings. Most profiles start with multiple rabbets of vary-
ing dimensions. Each time one rabbet is completed and the next is
started, the fence and depth stop need to be changed. In addition,
many of the mouldings involve chamfering a corner of a rabbet. When
using fenced planes, it will be necessary to set up a second plane to
execute this brief step.
A fence and depth stop predetermine the order in which rabbets
must be cut. This predefined order is not always efficient. Finally,
there are circumstances in larger profiles when the surfaces upon
which the fence and depth stop register are lost as subsequent rab-
bets are added.

The Simple Rabbet Plane.

For mouldings, an unfenced rabbet plane is ideal for the craftsman
looking to use fewer planes.
The simple rabbet plane has no depth stop and no fence. Therefore,
each time a new rabbet with new dimensions in a new place along the
board is needed, nothing needs to be adjusted. Despite this lack of
guides, it is possible to be as accurate with this plane as you are with
any gauge line made by a marking gauge.
Rabbet planes with no fence or depth stop excel at making mould-
ings because almost all profiles require multiple rabbets of varying
dimensions.
 rabbets & Rabbet planes 41

A rabbet plane that is 7/8" wide will cut rabbets as wide as the
plane’s sole and as narrow as you want or need. There are few limita-
tions to this plane. Contrary to common belief, at times you will wish
for a plane that is slightly more narrow, 5/8", but rarely for one that is
wider. Among other things, a smaller plane will let you see inside the
escapement when adding a small chamfer in a tight area. This narrow
plane also allows these facets to be added in tighter spaces while keep-
ing the sharp corners of the tool away from the surrounding facets.
Additionally, the individual rabbets you need to cut are rarely wider
than 7/8", even for the large, complex mouldings.
I prefer a rabbet plane of this width, 7/8", because I like to use
approximately half of the plane’s sole in normal circumstances. I am
able to comfortably reach under the plane and use my fingers as a
fence against the edge of a board which, as you will see, is vital. If you
have large hands, a narrow rabbet of 5/8" will likely suit you better
because you will use less of your fingertips. Many people simply prefer
a narrower plane for this type of work because it is easier to recognize
the vertical axis when holding a thin, tall plane body.

Rabbet: Setup & Use.

When setting the iron of a rabbet plane it is important that the
iron’s cutting edge be parallel to the sole. Additionally, it is vital that
the iron’s side projects very slightly from the side of the rabbet plane’s
body where the cut occurs. If the iron’s side is instead flush to the side
of the plane it will be impossible for the plane to cut down into the
wood vertically. The side of the iron must not be sharpened; if the side
of the iron is sharp, it will scrape the vertical portion of the rabbet, or
fillet. This will increase the rabbet’s width with each subsequent pass
and can potentially clog the plane.
Holding an unfenced rabbet plane with no depth stop might seem
intimidating. It is not necessarily obvious how it works. Some wood-
workers think it is an inaccurate tool and has the singular use of
cleaning up surfaces that were created by other planes. Perhaps you
have read how some woodworkers attach a batten, or auxiliary fence,
to the work for the rabbet to follow. This works, but it is another
unnecessary step that consumes time and effort in some situations,
and is useless in others.
42 MOULDINGS IN PRACTICE

When working with a simple rabbet plane, here are the basic steps
to follow.
Step 1: Mark the size of the rabbet with a marking gauge along the
board’s face, edge and two ends.
Step 2: Pinch the plane with your thumb leading on top and your
forefingers along the bottom. Hold the plane at an angle with its cor-
ner pressed into your gauge line. The plane will want to stay in that
line. Use your fingers as a fence and take two passes. The plane’s cor-
ner will want to stay in the gauge line; your fingers will help it.

Fig. 4-3. Tilting a rabbet plane. My fore and

middle finger, located in front of the cutting edge,
help lead the plane down the length of the stock.
Pressure is applied from the top of the plane
toward your body, the sole and cutting edge. Do
not apply this force away from your body against
the side of the plane. This second method may
result in the iron’s side scraping the far side of
the gauge line and slightly widening the rabbet
prior to starting.
 rabbets & Rabbet planes 43

Fig. 4-4. Tip the plane substantially. The closer it is to 45°, the easier it will
be for it to stay in the gauge line.

You have created a “V.” That “V” will give some slight room for
error in the following step. The more rabbets you cut, the less you will
use this second step.
Step 3: Hold the plane vertically (see Figs. 4-5 and 4-6). Keep the
plane pinched in the same manner with your leading hand. This is the
more difficult step because your fingers are now the only guide. Start
taking passes and keep the corner of the plane and iron that are on
the escapement side of the plane inside of your “V.” If you miss, try to
miss toward the edge closest to you. (I do not watch the corner of the
iron during this phase. I sight down the side of the plane’s body and
watch the edge of the body in front of the iron. A pencil line drawn in
the “V” will help the novice.)
44 MOULDINGS IN PRACTICE

Figs. 4-5 & 4-6. Holding square. The fore and mid-
dle fingers of my leading hand are guiding the plane
while my trailing hand applies most of the forward
force. Be certain to hold the plane square, which is
gauged by the existence of a full-width shaving.
 rabbets & Rabbet planes 45

Be certain that the plane you’re holding is vertical. A full-width

shaving should be ejected at all times. After only a few passes, the
fillet of the rabbet will be developed to the extent that your fenced fin-
gers will be less necessary. At this stage you can become less careful
and more aggressive by increasing your speed. Wispy shavings that
flutter in the air are fun, but not here.
Your progress then should be closely monitored in two ways. First,
make certain that the plane is being held vertically by comparing the
floor of the rabbet with the previously marked gauge lines on the two
ends of the work. Second, measure the depth of the rabbet against the
gauge line running along the board’s edge. Take abbreviated passes
along areas with high spots. The goal is to make one full-width, per-
pendicular shaving that removes the gauge line in its entirety on your
final pass.
Step 4: If at any stage the plane was held out of vertical for several
passes, or if the plane strayed from the gauge line, the vertical fillet
along the back of the rabbet will not be perpendicular to the rabbet’s
floor. To fix this, tip the plane on its face to clean the fillet.

Figs. 4-7 & 4-8.

Horizontal work. Hold the
rabbet plane horizontal
to clean up the vertical
fillet. Clean-up will be
necessary if you wan-
dered from the gauge
line at any stage or if the
vertical fillet is a finished
surface to appear in the
final profile. Be aware
that, depending on the
season the rabbet plane
was made and the season
that it currently is (or the
age of the plane) the iron
may protrude too heavily
on this opposite side or
not at all. This can affect
the results if several
passes are necessary.
46 MOULDINGS IN PRACTICE

As discussed, there are several ways to make a rabbet. This is a

simple method when dealing with square stock because it involves one
plane from start to finish. Other methods involve multiple planes and/
or other tools such as chisels.
A metal shoulder plane, along with many other planes that have
an iron that projects to the edge, can perform this task. This is not
ideal, however, because they are heavy and do not easily eject their
shavings.
In this way, a wooden rabbet plane is a luxury. Its tall body helps
you find vertical easily. Its light weight allows you to be aggressive. Its
escapement grants you speed. Its lack of a depth stop and fence allow
you to cut the next rabbet with no adjustments. A simple rabbet plane
can cut rabbets of any width less than their own – a 1/16"-wide rabbet
is easily executed with a 7/8"-wide rabbet plane. When a corner needs
to be chamfered, and roughly a third of your corners will, you don’t
need to find a new plane and set it up.
Adding a chamfer with a rabbet plane is also a straightforward pro-
cess. Your fingers will again serve as a fence. Progress will be gauged
by sight. Look at the surrounding facets. Not only should the chamfer

Fig. 4-9. Chamfering. Again, my fore and middle

fingers are guiding the plane. When possible, I al-
low my trailing fingers to fall upon the workpiece.
This will help gauge uniformity.
 rabbets & Rabbet planes 47

be of a uniform width, but the adjoining horizontal and vertical sur-

faces need to be uniform. Hold the plane at the desired angle and stop
at the desired depth.

Fig. 4-10. Even shavings and results. Your goal

when creating a chamfer is uniformity. All care,
however, should not be paid toward this goal
because efficiency is also warranted. Work for
consistency, but do not demand it. The length of
the hollow plane to follow will overcome moderate
variations. The width of the plane’s sole in rela-
tion to the chamfer will overcome slight facets.
Watch the surrounding horizontal and vertical
facets. If these features look uniform from afar
they are perfect for this step. Do not reach for
your double square.

Note: Using a plane on its corner for the first few passes will even-
tually cause problems. A significant amount of wear will occur on
the single point that runs in the gauge line. In time this edge will
become slightly rounded and will not sit in a gauge line. Many antique
planes show evidence of re-establishing that corner lost to wear. Some
soles have been planed back so much that they approach the tool’s
escapement; sometimes the face has been planed off to re-establish
the sharp corner.
48 MOULDINGS IN PRACTICE

The solution? “Boxing” a corner of a rabbet plane is recommended

if you use a rabbet on its edge. Boxing is where you inlay a wear-
resistant species, such as boxwood, into the corner of the tool. This
reduces that wear and the inevitable loss of that corner.

Fig. 4-11. Boxed corner. The boxing on this rabbet plane will help that cor-
ner of the plane remain sharp longer. It will not, of course, help the oppo-
site, unboxed edge. The unboxed edge is used less often, but it is still used.

A table saw or other power tool is also an economical method for

creating rabbets. When creating a large profile I often opt for this
method. Getting rabbets close on a table saw then fine-tuning them
with a rabbet plane is an efficient way to work. The main problem I
have when using a table saw is that, after multiple passes, it will often
turn a long, straight piece of thin wood into a long, bowed piece of
wood that will become difficult to hold and then work. It is also dan-
gerous to run many profiles to completion on power tools because the
final product often has a triangular cross section.
 rabbets & Rabbet planes 49

Fig. 4-12. With the table saw. An errant pass

across the table saw, with the blade raised too
high, can quickly change the final profile drasti-
cally. Do not bother with 1/100ths on the saw. Do
not feel like every rabbet on a single piece needs
to be executed in this fashion because you’re
already there. The risk of an extra rabbet can
easily outweigh the reward of saving the three
minutes it will take to do it by hand.

Rabbet plane use begets rabbet plane use. The more you use a rab-
bet plane and the more comfortable you become with one, the less you
will opt for the table saw. You will gravitate toward efficiency and
effectiveness, which a rabbet plane allows.
This last point will bring up the argument, “If efficiency and effec-
tiveness are the goal, why not stay with a router in the first place?” I
can create most profiles three days faster than a router user, unless
he pays for overnight delivery of his specialized tooling (in which case
I will only beat him by 24 hours). But I digress.
 CHAPTER 5.
Using Rabbets as Chutes
to Guide Hollows & Rounds.

Hollows and rounds have no fences and they are difficult planes to
manually steer. It is safe to say that, as a novice, almost any time you
find yourself manually steering a hollow or round plane significantly
it is because you have made a mistake in your layout or you have made
an errant transfer of your layout onto the stock.

Fig. 5-1. No rabbet. The sole of this plane is not progressing toward the
desired profile. The amount of steering needed is exaggerated and significant.

When the time comes to start making a specific profile, draw that
profile on the two ends of your board. Creating a template using
heavy-gauge paper – or even a profiled scraper – will give you the
most accurate results.

Figs. 5-2 & 5-3. Scraper at the start and finish. This scraper (the creation
of which is addressed in chapter 15) will serve as both a template when
starting a profile and a method for creating uniformity – or even as a tool
for ridding the moulding of plane tracks at the end.
 using rabbets as chutes 51

After laying out the ends, if you were to simply grab a hollow and
start planing a corner off of an edge and working to that profile, the
likelihood of you (or me) being able to hold that plane at a constant
angle, on a constant point along the sole’s width and throughout the
length of a board, is minimal. The chance of that angle equaling the
goal is nil.

Fig. 5-4. A difficult goal for a hollow. Achieving a consistent ovolo this way
is almost impossible.

Fig. 5-5. An impossible goal. Holding a round on this corner is futile.

52 MOULDINGS IN PRACTICE

I have found that holding a round on a chamfered corner will also

lead to low success because the round will slip and rotate.

Fig. 5-6. Not the answer. Some woodworkers use a chamfer to guide a
round plane. There’s a better way.

Note: I first started using rounds in the manner illustrated above.

It is possible and many swear by it. The trick is starting near the
end of the board and working your way back in progressively longer
passes. After the first pass, the plane’s toe will register in the previ-
ous pass. I have not had as much success with starting a round on a
chamfer, though I still opt for it when creating small profiles with, say,
a No. 2 plane. We will get back to this when we discuss steering planes
later in the book.

Fig. 5-7. Hard to steer. This No. 6 round is registered

on the chamfer by a single point of contact.
 using rabbets as chutes 53

Fig. 5-8. More

work than necessary.
Like using a rabbet
to make a cham-
fer, using a round
on a chamfer will
require guiding the
plane with your
fingers on both
hands.

Fig. 5-9. Easy to

slip. The round will
create a channel
for itself to subse-
quently fall into.
Once headed in the
wrong direction,
which can easily
happen with the
first errant pass
(and may not be
recognized until
the eighth), it is
difficult to change
that direction –
especially for a
novice.

Fig. 5-10. The

poor result. The
remaining chamfer
in this illustration
is not uniform;
correcting this uni-
formity is difficult
and frustrating for
a novice.
54 MOULDINGS IN PRACTICE

Hollows and rounds should not ride on a single point. For this rea-
son, establishing two points on which the plane will ride is necessary.
The two edges of a chamfer steer a hollow. The arrises of a rabbet
steer a round.

Fig. 5-11. A better way to steer. The points where the plane contacts the
wood are circled. So long as the cutting edge is cutting at both points, the
plane is heading in the right direction.

The angle of these two points are the angle at which the plane will
be guided into the cut. Slight variations in the angle at which the
plane is held are irrelevant as long as the plane is taking two full-
width shavings. (You will actually see the two wire-like pieces being
ejected from the plane’s escapement at first. As the cut progresses, the
width of the shavings increases.)

Fig. 5-12. Two shav-

ings. This round is
being nestled into a
channel created by a
single rabbet. The two
shavings you see are
the corners (or arrises)
of the rabbet.
 using rabbets as chutes 55

Fig. 5-13. Rabbet

guides a round. The
two full-width shav-
ings, which start out
as being thin and
wire-like, will expand
in width with each
subsequent pass of
the round plane on a
rabbet.

Fig. 5-14. One shav-

ing. The two shavings
will eventually become
one. You should lay out
the profile in a man-
ner that this point is a
milestone.

Fig. 5-15. Chamfer

guides a hollow. Here
this hollow is resting
on the outside edges of
a chamfer. The cham-
fer guides the plane
and takes the place of
a fence.
56 MOULDINGS IN PRACTICE

Fig. 5-16. The goal.

The two shavings will
eventually become one.
All care should be paid
for this single shaving
to happen during one
pass and, ideally, occur
at the point when the
plane is taking a full-
width shaving.

So long as the planes are registered against both points, the plane
is properly positioned. If the plane is not properly positioned when
compared to your final goal, the two points are out of alignment. Note
that the round in Fig. 5-18 is touching the tips of two rabbets at two
different angles but that it remains on the circumference of the same
circle. The plane’s profile is being presented the same despite the
plane being held at different angles.

Fig. 5-17. Not in trouble, yet. In this example, these angles will eject two
shavings. You still have time to correct the angle.
 using rabbets as chutes 57

Fig. 5-18. You can correct. Again, there’s still time to get the correct angle.

As the profile progresses, the angle at which you must hold the
plane will become more critical, but if the plane is still taking two full-
width shavings at the points of contact it is within range and proper.
The plane will settle into a specific angle as the profile expands.
The angle of the two points (the tips of two rabbets for a round, the
edges of a chamfer for a hollow) dictate the angle at which the plane
is presented to the work. Therefore, the angle of those two points is
crucial and dictates the final product, less any steering you do. If the
points are established at 30°, the plane will be presented at 30° and
the profile will, with proper execution, end at 30°.
(Note: I will always illustrate a round being registered upon the
arrises of a rabbet. In reality, I knock off these corners with one or
two passes of – you guessed it – a rabbet plane. Bearing down heavily
upon the plane on these sharp corners will mar its sole. These scars
are most often superficial but they are exaggerated on a plane made
of a softer wood, such as cherry.)
Whether creating or copying a profile, approximation of the angle
of the profile is warranted without specific drawings or access to
specific pieces.
Let’s look at some real-world examples now.
58 MOULDINGS IN PRACTICE

Do you want an ovolo at 30°? You need one hollow following a

chamfer that is angled at 30° (or use two chamfers as shown below).
The extra rabbets here are used to add the two fillets.

Figs. 5-19 & 5-20. Ovolo with two fillets. The

angle of this ovolo, created with a rabbet and No.
6 hollow, is 30°. The two fillets are each 1/16".
 using rabbets as chutes 59

Do you want a cove at 30°? You need one round following the arrises
of a rabbet at 30°. Take note that the angle of the finished profile is
parallel to the angle of the arrises.

Fig. 5-21 & 5-22. Cove with two fillets. The angle
of this cove, created with only a rabbet and No. 6
round, also stands at 30°.
60 MOULDINGS IN PRACTICE

Do you want an ogee at 30°? You need one hollow and one round –
one 30° chamfered rabbet for the hollow (or two), and then the arrises
of a rabbet for the round, also at 30°. Again, everything is parallel.

Figs. 5-23 & 5-24. Ogee with fillet. This

ogee is also laid out at 30°. It is made with
a rabbet, plus a No. 6 hollow and round.
 using rabbets as chutes 61

An ogee at 45°? Look at the differences in the rabbets in Fig. 5-25.

Everything is laid out at 45° here.

Figs. 5-25 & 5-26. A 45° ogee. The planes

involved in creating this ogee are the same; the
dimensions of the rabbets are the difference.
62 MOULDINGS IN PRACTICE

A reverse ogee at 30°? Again, look at the different layout. You will
use the same tools but get different results.

Figs. 5-27 & 5-28. Reverse ogee

with fillet. Again, the tools are the
same, the rabbets are reversed.

Hollows and rounds have no fences against which the planes are
able to register. Rabbets and chamfers serve this purpose. The accu-
racy of the layout and the execution of these rabbets and chamfers
will dictate the accuracy of the resulting profile.
 CHAPTER 6.
Using Rabbets & Chamfers as Depth Gauges
for Hollows & Rounds.

Many times the moulding being created is several feet long. Due
to human error, variations will occur throughout that length as the
profile progresses. Many times we will make too heavy a cut at the
beginning and/or end of each cut, even with short lengths. Hollows
and rounds have no depth stops. Rabbets and chamfers act as our
depth gauges.
As we’ve seen previously, each hollow and round plane rides on two
points. The round follows the arrises of a rabbet; the hollow follows
the edges of a chamfer. As you pass the plane along these chutes, two
shavings will initially be ejected from the escapement. After several
passes, as the shavings get wider, the two shavings will eventually
become a single shaving. You will measure your progress by watching
a rabbet or chamfer disappear as the profile progresses.

Fig. 6-1. Watch your rabbets. The remaining portion of the rabbet, high-
lighted by a pencil line in the middle of a cove, is not uniform. This is not
ideal but is unavoidable here. Pay attention to your progress. Take abbrevi-
ated passes where necessary to catch up.
64 MOULDINGS IN PRACTICE

Fig. 6-2. A consistent rabbet. Here, the remaining rabbet is uniform. Con-
sciously keep it this way. It is not automatic.

Fig. 6-3. Right rabbet; right result. At the point where no rabbet remains
and a single shaving is being ejected from the plane, the arc of the cove is
continuous. If you are making a cove that is one-sixth of a circle and is of
equal width to the plane’s sole, the profile shall be laid out in a manner that
this all happens within a few passes.
 Rabbets & Chamfers as Depth Gauges65

Once the two shavings have become one wide shaving, a landmark
has been reached – a predetermined depth has been achieved. By
deliberately laying out chamfers and rabbets with this in mind, you
can use them to gauge the progress and consistency of the profile, and
as a depth gauge to tell you when the desired depth has been reached.
The horizontal and vertical sections adjoining these facets will also be
used to gauge your depth.
Looking at the simplest case, mouldings with profiles with 60° arcs
(the full profile of a hollow or round plane) will illustrate the pur-
pose the rabbets and chamfers serve. In a perfect world these facets,
in these situations, should be established so that a single full-width
shaving will be taken in the final passes – but not before.
When using a round to create a 60° concave arc, the bottom of the
rabbet’s vertical fillet should be located a single shaving off of the
finished profile. Watch the vertex of the rabbet disappear. Watch the
horizontal and vertical sections that butt up against the fillets reduce.
Making certain that it is happening uniformly along the piece’s length
will produce consistent results.

Fig. 6-4. A rabbet in a cove. The line connecting the edges of the cove is par-
allel to the line connecting the arrises of the rabbet. The highlighted vertex
of the rabbet falls upon the finished profile.
66 MOULDINGS IN PRACTICE

In the case of using a hollow to create a 60° convex arc, the bot-
tom of the chamfer should be located a single shaving away from the
finished profile.

Fig. 6-5. A chamfer in an ovolo. The line connecting the edges of the ovolo
is parallel to the line connecting the edges of the chamfer. The highlighted
point of the chamfer falls upon the finished profile.

Laying out the rabbets and chamfers in this manner will allow accu-
rate and uniform progress throughout a piece of moulding, regardless
of its length. To reiterate: You will be able to watch these facets dis-
appear as the profile progresses. What starts as two thin wire shav-
ings coming off of the corners will evolve into wider shavings that
will ultimately become one full-width shaving. Your goal should be to
take that shaving in one full-length, full-width final pass. Please note,
though, that it is better to make the rabbet too shallow, where you
will need to take several full-width shavings to reach depth, than it is
to make the rabbet too wide or too deep, which will require a sacrifice
in the desired profile to eliminate the remnants of this rabbet.
The rule of establishing these facets upon the final profile does not
hold true when working with profiled arcs greater than 60°, however.
When working these larger profiles, rotation of the plane is necessary
as the cut advances. The plane should be presented into the cut at 45°
 Rabbets & Chamfers as Depth Gauges67

for a 90° profile. The rabbets and chamfers will act as a depth gauge
for much of the cut, up until that rotation is warranted.

Fig. 6-6. When to rotate. Once a full-width shaving has been achieved start
rotating the plane; hold it at 30° relative to the floor with one pass.

Fig. 6-7. Second rotation. Stand it up at 60° for the next. Holding the plane
beyond these angles for a profile that is one-fourth of a circle will lead to
undercutting the surrounding facets.
68 MOULDINGS IN PRACTICE

A chamfer that falls upon the profile of a 90° arc will be too wide for
that hollow’s sole. A rabbet that touches the arc of a 90° cove will also
be too wide for the round to register.

Fig. 6-8. Steering with 90° profiles. The hollow may sit upon the chamfer
and the round upon the arrises of the rabbet for one or two passes, but you
will soon be left with steering it sitting on one point or the other.

The rotation of the plane in the above examples will have to start
immediately. After a single pass, the plane will need to be rotated
to take a full-width shaving off of one corner, leaving the other
untouched. For all intents and purposes, the plane will be riding a
single point at that stage, which we have been trying to avoid.
In these situations of profiles with arcs greater than 60°, the points
for the plane to ride should be laid out as far apart as possible – wide
enough for the plane to register, narrow enough for the plane to take
several passes before rotation is required.
As a rule of thumb, keep the two points that the plane rides approx-
imately five-eighths of the sole’s width. For example: A No. 14 hollow
with a sole 1" wide should ride upon a chamfer that is 5/8" across. A
No. 8 round with a sole of 1/2" should ride upon two arrises that are
5/16 " apart. This width can certainly be less and even slightly greater,
but you should not intentionally go past 75 percent of the sole’s width.
 Rabbets & Chamfers as Depth Gauges69

Fig. 6-9. About five-eighths. When dealing with arcs greater than 60°, aim
to keep five-eighths of the tool’s sole in contact with the arrises.

Progress is made through much of the cut with the rabbets acting
as a gauge. The final portions, when the plane is rotated slightly in
subsequent passes, should be taken deliberately with the plane regis-
tered firmly inside the profile it has already defined. Progress is then
gauged by paying attention to the surrounding vertical and horizon-
tal facets. The plane will register against the circumference of the
circle it had previously created. Watch the flats leading up to the fil-
lets; they should disappear uniformly.
70 MOULDINGS IN PRACTICE

Fig. 6-10. Step by step. Here’s how these two mouldings progress and how
the tool is rotated as the cut progresses.
 Rabbets & Chamfers as Depth Gauges71

Take note of the amount of material that the hollow will need to
remove with a perfectly placed chamfer versus what a round will need
to remove with a single rabbet. When working with larger round
planes it will often be beneficial to take the time to make several rab-
bets. This will serve two purposes. Much more of the waste will be
removed by the square iron of a rabbet plane (or plow, fillister or table
saw). Additionally, because these rabbets will then be placed back on
the circumference of the final profile, you will have a few different
areas to gauge your progress. You should lay out the rabbets in such a
fashion that the round is always riding two points.

Fig. 6-11. Adding rabbets. As the moulding profiles get larger, you will find
it helpful to add rabbets or chamfers to reduce the work required of the
moulding planes.

As the size of the round increases, the number of rabbets will

increase. This increase will change from user to user, but for me, it
usually starts around the size of a No. 6 plane. Multiple chamfers for
a hollow to follow will also be useful as the profile size increases, but
I find that is only desired with much larger planes.
These extra rabbets and chamfers will become obvious as you gain
experience. Knowing that the option exists will eventually lead you to
their use. There will not be instances when two rabbets for a round
to follow are crucial and one rabbet is decidedly wrong. You will settle
into your own preferences. You will learn when to take time for the
second rabbet (or fourth) and when to make just one. Forty passes
with a No. 18 plane will undoubtedly remind you of this option.
 CHAPTER 7.
Layout.

We have seen how rabbets and chamfers serve as a guide for hol-
lows and rounds to follow by giving the planes two points to follow.
We also have looked at how these rabbets and chamfers act as a depth
gauge that gives the user a distinct landmark to watch as the cut pro-
gresses. In this chapter we will look in more detail at how to properly
place these rabbets and chamfers.

Fig. 7-1. Narrow rabbet. If the rabbet for a round to follow is too narrow,
the plane will have a smaller area to register against. A narrow rabbet will
also require the user to make many passes with the round plane, which of-
fers more opportunity for human error. If the rabbet is too deep, it will not
be completely removed when the desired depth is achieved.

Fig. 7-2. Narrow chamfer. If the chamfer that a hollow rides along is too
narrow, again, the plane will not be sufficiently supported, and the consis-
tency of the profile will suffer. If the chamfer is too wide then it will not be
completely removed once the desired depth is reached.
 Layout73

The ideal size for these facets is to make them as wide as possible
without jeopardizing the final profile. Erring on the side of being too
narrow is proper.
Looking at 60° arced profiles will showcase proper layout:

Fig. 7-3. First, the slope. When you are laying out a profile to create, use
a straightedge on a piece of paper to draw the general slope of the profile.
When you are laying out the rabbets and chamfers, again, draw the angle of
the two points. Compare the lines and make necessary changes.

In the drawings above there is only one option for perfect layout
of each. Look at the brown triangle in the cove on the left of Fig. 7-3.
There is only one rabbet dimension that will place the two points for
the plane to follow at the proper angle while putting the vertex of that
rabbet on the finished profile. Looking at the ovolo in its middle, there
is only one chamfer that puts the edges of the chamfer at the proper
angle while placing that chamfer upon the finished profile. The ogee
above shows the combination of these two layout strategies.
74 MOULDINGS IN PRACTICE

In all of these examples the triangles can be smaller, but they

should be similar, and they should be scaled so they still create the
desired angle in the end.

Fig. 7-4. Where to err. Too shallow and too narrow is better than too deep
and too wide.

In terms of profiles consisting of more than a 60° arc, the points

for the planes to ride need to be established at the proper angle while
being wide enough for the plane to follow – but not so wide that the
plane cannot register against both points after a few passes. Points
for a 90° arc should be approximately the same width as that of a 60°
arc. They can also be slightly wider.
As mentioned before, keep the two points that these planes ride
approximately five-eighths of the sole’s width. For example: A No.
14 hollow with a sole 1" wide should ride upon a chamfer that is 5/8"
across. A No. 8 round with a sole of 1/2" should ride upon two arrises
 Layout75

that are 5/16" apart. This width can certainly be less and even slightly
greater, but you should not intentionally go past 75 percent of the
sole’s width.

Fig. 7-5. Right chamfer. This chamfer hits the sweet spot when compared
to the width of the plane’s sole.

As mentioned before, there are times that multiple rabbets will be

desirable when working with larger planes and wider profiles. Keeping
the rabbets somewhat uniform will be the goal in these instances.

Fig. 7-6. The right rabbets (at right). The rabbets on the far right are ideal.
The final product is achievable with the first two examples, however.
 CHAPTER 8.
Snipes-Bill Planes.

Snipes-bill planes, named after the shape of a snipe bird’s bill, are
designed for very specific uses, unlike the open-ended nature of the
hollow and round planes we have discussed up to this point.
Snipes-bill planes come in pairs. The pair creates a mirror image of
the same profile. One faces left, one right.

Figs. 8-1 & 8-2. Snipes bills from the front. The soles of these snipes bills
are in the shape of a reverse ogee. However, only the concave portion of the
sole in these planes has a cutting edge.
 Snipes-Bill Planes77

Fig. 8-3 & 8-4. One facing left, one right. Snipes bills will not be required
on many mouldings. If, however, you want to produce any and all mould-
ings, a pair of snipes-bill planes is necessary. For some profiles, snipes bills
are indispensable.
78 MOULDINGS IN PRACTICE

Fig. 8-5. No quirk. A snipes-bill plane, like a hollow plane, cuts the circum-
ference of a convex circle. Unlike a hollow, however, a snipes-bill plane also
cuts an adjoining vertical facet.

Fig. 8-6. Not for hollows. A hollow

should not be used to set profiles
into the face of a board. The shape
of a hollow’s body prevents the plane
from setting in a quirk vertically.

Additionally, the tip of the snipes bill generates a lot of heat on a

single point. A significant amount of wear will occur on that point.
Due to this, the snipes bill’s leading edge is boxed. This secondary
wood is not only a harder wood than the plane’s body, it also orients
the grain of the boxing at an angle. As a result, the strip of boxing
at the snipes bill’s point is end grain, making it more wear-resistant.
 Snipes-Bill Planes79

The purpose of a snipes-bill plane is this leading tip. Most of the

time it is only this bit of the plane that is used. This tip is vital to the
plane’s performance and will only survive due to the boxing.
The question of the need for multiple sizes of snipes-bill planes
often arises. Take note of the finished profiles in the pages to follow.
Not a single example uses the curved profile of the plane – the vertical
section is the critical aspect. Snipes-bill planes are used for setting
quirks – sharp “V”-like facets – into the face of the stock. Most of the
time the quirks that are left will later be dressed with a smaller hol-
low to blend the curve into the mating profile.

Fig. 8-7. Many beads from

one plane. The snipes-bill
plane that can be used to
cut a 1/8" bead or smaller
will also cut a 1/2" bead and
larger. The small variation
left is visible only in a cross-
section of the moulding.

Fig. 8-8. Beads without beaders. I do not intend to suggest that snipes bills
and hollows were a preferred method for creating this profile. For the wood-
worker who is looking to limit the number of tools that he has, they can be.
80 MOULDINGS IN PRACTICE

I use a single pair of snipes-bill planes. The radius of the arc they
create is 5/8". I offer this as my standard size when I make these
tools for customers. I have never desired a larger or a smaller profile.
Remember, the plane is most often used to set in a quirk or facet. The
plane creates clearance for another plane to follow. The curved profile
the plane creates is rarely used in a finished profile.

Set-up.
Like a rabbet plane, the iron of a snipes bill must protrude slightly
from the side of the body of the plane. If the iron does not protrude,
the plane will not cut vertically. If you set the iron flush to the verti-
cal face of the plane’s body, each subsequent pass will step the plane
away from the fillet. Also, like a rabbet plane, this protruding edge
shouldn’t have an edge that scrapes the vertical fillet. This scraping
action leads to an inaccurate cut that moves progressively away from
the profile of the plane’s sole. A scraping edge along the body’s side
also will often lead to a clogged mouth.
You likely will need a pair of these planes due to the fact that these
profiled planes do not travel well against the grain. When the profile
of a snipes bill is needed facing an opposing direction the user does
not have the luxury of returning in the opposite direction. The pair
cut the same profile, but cut a mirror image.

Use.
There are various uses for snipes bills. We have already seen how a
snipes bill can establish the fillet of a side bead, or across the face of a
board – following gauge lines – for reeds.

Figs. 8-9 & 8-10.

Beads or reeds. A
snipes-bill plane’s pri-
mary purpose is used
to set elements of a
profile into a face. This
is shown in the bead on
this page and reeds on
the facing page.
 Snipes-Bill Planes81

3/4" 3/4" 3/4" 3/4"

In the example above, they are used to separate two parts of a con-
vex profile. In the example below, they are employed to set in a quirk.

Fig. 8-11. Quirked ogee. Here you can see how

the snipes bill sets the quirk in this profile.
82 MOULDINGS IN PRACTICE

Fig. 8-12. No snipes bill needed.

When the trend of a profile is
consistently regressing toward
an edge, a snipes-bill plane will
not be necessary.

Fig. 8-13. A sharp turn. When a profile makes a sharp turn out of one
convex profile and into another, however, a snipes bill is the plane to use to
separate the two facets.

In the above examples the body of a hollow plane will prevent it

from reaching into the quirk. Because the hollow lacks boxing, it
should not be attempted because the plane may fail.
When laying out the profile, the steps are the same as for any other.
First, break the profile down to its simplest forms.

Fig. 8-14. First, see the smaller bits. Like any complex profile, first reduce
the chores to simpler, individual tasks.
 Snipes-Bill Planes83

The next step is separating the profiles. Up to this stage we have

used only a rabbet to separate the individual profiles. For this reverse
ogee and bead we will also need a snipes bill.

Fig. 8-15. First the rabbets. Lay out

the rabbets that will make the basic
shapes of the profile.

Fig. 8-16. Then a chamfer. Then chamfer the hard corner and lay in the
snipes-bill plane.

Take note that a small chamfer was knocked off before using the
snipes bill. This chamfer allows the plane to enter vertically. Without
this chamfer, the corner would interfere with the snipes bill, causing
the plane’s profile to start at an angle.

Fig. 8-17. A chamfer helps. The

chamfer on the corner will allow you
to sink the plane in vertically.
84 MOULDINGS IN PRACTICE

The opposite snipes-bill plane could be used to start to define the

bead, but problems will often arise in this situation, too. The main
problem introduced in using the opposing plane, as seen below, is the
lack of clearance for the larger hollow. The hollow will ultimately be
addressed as shown.

Fig. 8-18. No room. A hollow cannot complete this profile. So you need a
chamfer, a hollow and a snipes bill to do the job.

Fig. 8-19. Another example. These

same issues are exaggerated with
this second example.
 Snipes-Bill Planes85

One instance in which a snipes bill excels and displays its versa-
tility was reintroduced by the research of Larry Williams and Don
McConnell of Old Street Tool Inc. When working off an angled face,
as we will touch upon in chapter 10 with the crown of a secretary, a
snipes bill rides inside gauge lines marking the rabbets’ widths. The
snipes bill will start to define the fillet against which the rabbet plane
will ultimately register.

Fig. 8-20. First the snipes bill. Here you can see how the snipes-bill plane
lays in the guides for the rabbet plane.
86 MOULDINGS IN PRACTICE

Cutting a rabbet in square stock with only a rabbet plane will be

successfully achieved in only a few tries. Cutting an accurate rabbet
on an angled face with a snipes bill and rabbet is usually achieved on
the first effort. Many even opt to start rabbets on square stock with
a snipes bill taking those first few passes. Snipes-bill planes stay in
gauge lines and quickly deepen them.

Fig. 8-21. Easy to steer. Even on a Fig. 8-22. Quick work. No need to
steep surface, little effort is needed go to final depth using this plane.
to keep this snipes bill cutting in the After only a few passes the verti-
desired gauge line. cal fillet on the far, high side of the
gauge line has been established.

Fig. 8-23. Then the rabbet. Once the Fig. 8-24. Plane to depth. Make
vertical fillet has been established, certain the rabbet is vertical.
the rabbet plane has a surface upon
which it can register. You will not
need to use your fingers as a fence
as you did when working on
square stock.
 CHAPTER 9.
Side-Round Planes.

Side-round planes are to snipes bills as rounds are to hollows.

Fig. 9-1. Convex sole.

The cutting edge of
these side rounds
spans the width of the
convex sole. The iron
projects slightly on
each side.

Fig. 9-2. Similar to a rabbet. The open, conical escapement of these side
rounds leaves the plane’s body with an inherent weakness. Finding a usable
antique pair might prove difficult.
88 MOULDINGS IN PRACTICE

A round plane cuts the circumference of a circle. A side round not

only cuts along the circumference of a circle, it also sets in a vertical
facet. The profile a round creates as it progresses into a cut is drasti-
cally different than that of a side-round plane.

Fig. 9-3. Different than a round. Here you can see how the profile differs
between a round plane and a side round.

You do not have the luxury of cutting nearly 180° of a concave circle
with just a round, as shown below.

Fig. 9-4. Limits of rounds. You can see how a round plane cannot reach
areas of a 180° arc.
 Side-Round Planes89

Side rounds often come in pairs for the same reasons as snipes-bill
planes – there are times when the profile faces the opposite direction.
When working a sharp 180° profile, a combination of side rounds may
be warranted because you don’t have the luxury of being able to turn
the piece around and plane in the return direction. Profiled planes,
such as these side rounds, do not travel well against the grain.

Set-up.
Like rabbets and snipes bills, the iron of the side round must proj-
ect slightly from the plane body along the edge creating the vertical
facet. If the iron does not project slightly the plane will not be able
to set the profile vertically – each pass will step the plane away from

Fig. 9-5. A case for side rounds. A sharp

180° profile will benefit from using side-
round planes.

the original gauge line (see below, left). If the iron has a cutting edge
along its projecting side, each subsequent pass will scrape the vertical
facet and move the fillet progressively farther away from the original
gauge line (below, right).

Fig. 9-6. Iron details. If the iron is not proud of the plane’s vertical face, it
will not cut straight down (left). If you sharpen the vertical part of the iron,
it will scrape the vertical facet (right), which is also undesirable.
90 MOULDINGS IN PRACTICE

Use.
Starting a cut with a side round is similar to starting a rabbet with
a rabbet plane. After marking a gauge line across the face of a board,
plus the depth on both ends, use your forefingers as a fence to keep the
edge of the plane along the gauge line. After a few passes, the vertical
fillet will be defined and, still holding the plane vertically, your speed
will increase.

Fig. 9-7. Finger fences. Use

your fingers as a fence to help
guide the side round along
the edge of a gauge line.

Fig. 9-8. A simple start. You will find that starting the profile of a side
round is actually easier than starting a rabbet. While holding a rabbet
plane vertical for the first crucial pass, a full-width shaving is desired.
Holding a side round vertical will leave a single point touching the wood.
The steadiness of your hand is all that matters because there is little force
acting against you.
 Side-Round Planes91

Multiple sizes of side rounds are not necessary for most wood-
workers. The profile created is more for the vertical fillet and creat-
ing room for a round plane – not for the curved profile of the plane
itself. Depending upon a person’s work, however, a smaller pair of
side rounds may be desired for finer profiles. A moderately sized side
round will not take the place of a very narrow one. A narrow side
round will not create the clearance necessary for a large round.

Execution.
When the trend of a profile is constantly regressing toward an
edge, a side round is not necessary.

Fig. 9-9. No side round necessary.

When the concave section of a profile
regresses continuously, as shown
here, you don’t need a side round to
reach the concave portions.

When a profile makes a sharp turn out of one concave profile and
into another facet, however, a side round is the plane to use. A side
round separates these two facets.

Fig. 9-10. A quick turn. But when a

concave section of moulding reverses
quickly to a bead, astragal or fillet, a
side round is a good tool.
92 MOULDINGS IN PRACTICE

The side round allows the cove to progress all the way to the bead.
A round’s body prevents this.

Fig. 9-11. Into the corner. The side round can get into areas that a round
plane cannot, as shown here.

Take note that only a minimal portion of the profile that the side
round creates will exist in the final profile. The side round separates
the facets and allows clearance for the round plane at the next stage.
When laying out the above profile, the first step is to separate the
profiles, breaking them down into their simplest forms.

Fig. 9-12. Separate the shapes. First simplify the moulding in your mind.
 Side-Round Planes93

Fig. 9-13. Lay in the rabbets and chamfers. Some chamfers, such as those
shown above, are to give clearance to the side round.

Notice the chamfers in the final step in Fig. 9-13. These give clear-
ance for the side round. If those corners are not knocked off in this
situation the side round will not be presented vertically.

Fig. 9-14. Guide the side round. I

will, on occasion, allow surround-
ing rabbets to influence the angle at
which I hold the side-round plane,
as illustrated at right. When the
cove does not flatten out before the
bead, this is my method of getting a
uniform result.
94 MOULDINGS IN PRACTICE

Once the various facets are separated, the profile continues as with
any other.

Fig. 9-15. The usual. With the facets separated by the side round, the work
is straightforward.

The side round is also used at an angle to blend the two curves.
This allows you to address the transition point that is often difficult
to reach with a round. When attempting this it is important to pay
heed to the iron’s corner. Do not let it mar the adjoining surface. The
plane must be steered or the iron adjusted in the tool’s mortise so the
tip is not exposed.

Fig. 9-16. Blending curves. Here the

side round assists in cleaning up a
part of the profile that is difficult to
reach with a round.
 Side-Round Planes95

Save shaping the bead until the adjoining cove is complete. This
will allow you one or two errant passes.

Fig. 9-17. Shifting the iron. A few people have

recommended shifting the iron in the mortise as
illustrated. This leaves the threatening tip vacant
of the iron, but it also leaves a rankly set iron
along the vertical side. You are likely to get chat-
ter marks.

I do not find shifting the iron in the mortise ideal. I have been
told that others do. By adjusting the iron’s profile versus the sole’s
you will stop the tip from cutting while being extremely aggressive
at the other side. I have found this to be finicky and often results in
chatter marks when the portion of the iron that is set too aggres-
sively makes contact.
96 MOULDINGS IN PRACTICE

Fig. 9-18. More work for the

side round. Here’s another pro-
file that calls for a side round.

A side round is also needed when a profile consists of a concave area

that approaches 180°, or half a circle. Here’s how to proceed.

Fig. 9-19. Simplify. Break the moulding down

to its simplest form.

Fig. 9-20. Remove the waste. Separate the profiles with a rabbet, plow and
side round.
 Side-Round Planes97

Fig. 9-21. Complete the profile. Hollows and rounds still do most of the work
in this unusual profile.

Fig. 9-22. A tricky spot. A side round is

used for reaching in tight places. Like
above, you may find yourself reaching for
a drastically undersized round in order
reach those tight places.
 CHAPTER 10.
Work Backward Through Layout.

Breaking a moulding down into a series of simple forms results in a

smooth execution. When you look at each aspect of a profile, consider
the following rules:

Fig. 10-1. Rule No. 1. A chamfered corner is needed for each convex portion
of a profile.

Fig. 10-2. Rule No. 2. Arrises of a rabbet are needed for each concave
portion of a profile.

Fig. 10-3. Rule No. 3. A rabbet is needed for each fillet.

 Work Backward Through Layout99

Fig. 10-4. Rule No. 4. The vertex of a rabbet will terminate at nearly every
point in the moulding where the profile changes direction: concave to con-
vex, fillet to convex, concave to fillet etc.

Fig. 10-5. Rule No. 5. A snipes-bill plane establishes all the quirks and can
be used any time the constant regression of a profile is interrupted: two
convex shapes next to each other or a convex shape rebounding out of a fil-
let (think side bead).

Fig. 10-6. Rule No. 6. A side-round plane

will be ideal when the constant regression
of a profile is interrupted where a bound-
ing convex portion, usually approaching
180°, is next to a concave shape. Also, a
side round will be needed when creating a
concave feature approaching 180°.
100 MOULDINGS IN PRACTICE

Fig. 10-7. Rule No. 7. A plow plane is ideal when creating moulding on the
face of a flat surface. More on plows to come in chapter 12.

Fig. 10-8. Rule No. 8. Use a hollow or round of the same radius as the
profile to be created. If you do not have the perfect plane for a feature, a
concave area is created by steering a smaller round and a convex area is
created with a larger hollow.

Following these rules will make complex mouldings achievable.

The first step in reproducing a moulding is finding all of the rel-
evant measurements and working backward. Break the moulding
down to its simplest form: coves, ovolos, fillets and quirks. Look at
this waist moulding for an 18th-century secretary in Fig. 10-9.
Going to the back of the secretary with a ruler and circle template
we can take measurements and find the following, Fig. 10-10.
Break the profile down into its simplest forms, Fig. 10-11.
The concave portion of the circle is slightly greater than 60° – a
fact we know because the the curve’s 7/16" width is slightly larger than
 Work Backward Through Layout101

1/4"
3/4"

R3/8"

7/16"
3/4"

R1/4"
1/16" 1/4"

Fig. 10-9. Look for simple

13/16"
forms. There are three
distinct profiles: one convex, Fig. 10-10. From the original. Here are
one concave and one fillet. the measurements taken from the origi-
nal moulding.

Fig. 10-11. In simple

terms. There are three
shapes.

its 3/8" radius; the convex portion is a 90° arc. Because we are break-
ing this reverse ogee into one cove, one ovolo and one fillet, we know
by following the rules above that three rabbets and a chamfer are
needed. Following rule No. 4, we know that one rabbet will terminate
at the inflection point – where the convex turns to concave – and sepa-
rate the cove and ovolo features. We also know that a second rabbet
will be used to create the fillet, rule No. 3.
Finally, following rule No. 2, a third rabbet will be required in the
concavity with the arrises matching the angle of the profile’s edges
(dotted lines). Because the arc is greater than 60°, this rabbet should
terminate a few passes off the finished profile. The convex portion will
be 90° of a circle, so the chamfer (rule No. 1), will be executed at 45°, and
due to the greater-than-60° arc, should also be a bit off the profile.
102 MOULDINGS IN PRACTICE

5/16"
3/16"
1/16"
1/4"
3/16"
1/2"

3/16"

Fig. 10-12. Two rabbets. By fol- Fig. 10-13. Add a rabbet and chamfer.
lowing the above rules you can see To complete the preliminary work,
how these two rabbets separate you will need a third rabbet and then
the shapes and create the fillet. a chamfer for the ovolo.

Once the rabbets are in place, just two planes will be needed to fin-
ish the profile: a No. 6 round for the cove (radius of 3/8") and a No. 4
hollow for the ovolo (1/4" radius).
Let us continue with the same exercise for the following profile – the
base moulding for the same secretary. In this profile we see four dis-
tinct features: one concave section, one convex section and two fillets.
Taking a ruler and circle template to the back of the carcase we
come up with the following dimensions.
1/16"

3/4"
R1/4"

R3/4"
11/4"

1/8"

1/16" 1/4"

13/16"

Fig. 10-14. Base moulding. Now Fig. 10-15. And the ruler says. Here
let’s work backward in laying out are the dimensions and radii for the
the secretary’s base moulding. base moulding.
 Work Backward Through Layout103

We see that the convex portion is again 90° of a circle. We see that
the concave portion is exactly 60° (because the radius equals the
width of the profile). Now break the profile down to its simplest form.

Fig. 10-16. Simplify. Here are the three parts to the base moulding.

1"
5/8"
1/4"

3/8"
9/16" 1/16"

3/16"

Fig. 10-17. Two rabbets. Again, Fig. 10-18. Third rabbet and a cham-
one rabbet defines a fillet and the fer. These two additional cuts cre-
other marks a transition point. ate the guides you need for the base
moulding.

When laying out the rabbets we know that one will terminate where
the convex turns into the concave. In this instance we will also define
a fillet. Another rabbet will create the fillet at the top of the concave.
A rabbet will be needed in the concave area with the arrises at the
same angle as the profile (dotted line) and because the curve is not
greater than 60°, the rabbet’s vertex terminates right on the profile.
Finally, a chamfer will be set in at 45° for the ovolo, this time a bit off
of the finished profile due to the greater-than-60° arc.
A No. 4 hollow and a No. 12 round will complete this profile.
104 MOULDINGS IN PRACTICE

Finally, take a look at this secretary’s crown. Can you label where
some of the rabbets will be placed? Can you draw them all?
Breaking down the crown into its simplest form makes the intimi-
dating elementary.
3/16" 115/16"

1/16"
R1/4"
1/16"

R3/8" R3/8" 1/8"

3/4"

33/16"

R 13/4"

13/4"

R3/8"

1/8"

Fig. 10-19. Looks tricky. The crown moulding looks like a complex mould-
ing that might be beyond your skills.

Fig. 10-20. But it’s simple. Once you can see the building blocks of the
moulding, the procedure ahead is straightforward.
 Work Backward Through Layout105

Fig. 10-21. Simplifying big cornic- Fig. 10-22. Looks complicated. But
es. Even the most complex mould- even the large concavity is easy once
ing is composed of simple shapes. you understand the role of the rab-
And the above rabbets begin defin- bets in steering the round plane.
ing the fillets and transitions.

We will be working off an angled face here to save wood and heart-
ache. This was touched upon in chapter 8. Don McConnell illustrates
this in greater detail in the DVD “Traditional Molding Techniques:
Cornice Mouldings” (Lie-Nielsen Toolworks). The placement of the
rabbets does not change, however. Start by terminating a rabbet at
every point that the profile changes from hollow to round.
There are two concave areas that will require additional rabbets
for the rounds to follow. The larger of these two concave areas will
require several rabbets. This larger area is 60° of a circle (the width
of 13/4" is equal to the radius of 13/4".) Therefore, it is only necessary
for the round to sit on the most extreme arrises in that profile. What
happens in between is irrelevant so long as you do not go deeper than
the final profile. Keep these outer two points (marked in small circles)
at the same angle as the profile (as indicated by the dotted lines.)
We will discuss large, intricate mouldings like this in detail as the
book progresses. This type of moulding is where hollows and rounds
excel. This original crown I studied was not built up from several
smaller pieces that were then brought together. Being able to produce
such a profile in a small amount of time, accurately, and with no need
for new tools is a luxury that only these profiled planes will provide.
This profile showcases the versatility of hollows and rounds, yet it’s
just one example of thousands.
 CHAPTER 11.
Make Ovular Shapes.

One of the most common questions I’m asked is what size pair of
planes to begin with. Like everything relating to woodworking the
answer lies in one’s own interests. In the material covered in these
pages, the small- to mid-sized pairs – Nos. 2, 4, 6, 8 and 10 – are used
much more frequently than the larger planes. By the completion of
this book you will see which planes and which profiles you are most
likely to make first. Many woodworkers narrow their sizes to a small
number (or many) in a small range. Others’ work will cover the full
scope of the hollows and rounds.
A single pair of planes can produce dozens of profiles. The differ-
ences in many of these profiles appear miniscule to some, but wood-
workers interested in these planes will certainly be concerned with
these seemingly minor differences.
With two pairs several sizes apart (e.g. Nos. 6 and 10 or Nos. 4 and
8) the number of possible moulding profiles increases exponentially.
Many times ogees consist of both a 60° and 90° profile of varying circle
sizes. Coves and ovolos sitting next to each other are also frequently

Fig. 11-1. Made with one hollow. By altering the angle of the moulding and
the fillets, you can vary your mouldings tremendously.
 Make Ovular Shapes107

Fig. 11-2. Different circles. Combining one cove and one ovolo greatly ex-
pands the number of mouldings you can create with a few planes.

Fig. 11-3. With a second pair of planes. Add a second pair of hollow and
round planes and you can make an even wider variety of shapes.

slightly different-sized circles. Moulding along the base of a piece may

be built up from several small profiles while those along the top are
often one or two large sweeps.
Even more interesting than these small variations in ogees are the
ovular shapes that are also possible once a second pair of planes is
introduced. Many times the cove that is the centerpiece of a crown is
not a simple single-radius arc of a circle, but an ovular curve as in the
examples in Fig. 11-3.
108 MOULDINGS IN PRACTICE

Fig. 11-4. Frame mouldings. A few pairs of

hollows and rounds can produce impressive
detail on small frame mouldings.

R9/16"

R3/8"

Fig. 11-5. Two radii. Unlike with circular

shapes, ovular mouldings use two radii.

Even small details on picture frames are often accentuated with

non-circular facets. This capacity to mix and match radii – not just
convex with concave, but also concave with concave and convex with
convex – leads to even greater levels of versatility in the form of ovals
and hyperbolic shapes.
Laying out ovular shapes is not quite as straightforward as laying
out circle segments. Ovular shapes should be addressed as two circles.
First, with a circle template find the two radii that approximate the
widest and tightest sweeps of the arc.
In this case (Fig. 11-5) we see that the planes used will be a No. 10
and a No. 6 round.
As with the previous chapter’s exercises, when recreating ovular
shapes we break the profile down into its component curves, placing a
rabbet with its termination at the break point, as shown in Fig. 11-6.
Because two rounds will define the rest of the profile, we use two
additional rabbets to guide the planes. These two rabbets will have
arrises at the approximate angles of the two profiles (dotted lines)
with the bottom of each fillet ending on the finished profile.
 Make Ovular Shapes109

Fig. 11-6. Point at the transition. The bottom of the large rabbet is at the
transition point between the two radii.

Fig. 11-7. Additional rabbets. Further divide the layout into smaller rabbets
to guide the hollows.

Fig. 11-8. Three rabbets at first.

An elliptical cove generally
begins with three rabbets. One
terminates at the point where the
radius changes. The others follow
the previous process for coves.

Working the profile from this point is not much different than cre-
ating simple circular arcs. Plane until a single shaving is ejected to
form each component curve. The planes will have to be steered to
some degree because the finished profiles are not a full 60° of either
arc, so only a portion of each planes’ sole will be used to knock the
corners off the rabbets and achieve a single shaving.
110 MOULDINGS IN PRACTICE

Fig. 11-9. Begin with the 10. I Fig. 11-10. Then the 6. Following
most often start with the larger with a No. 6 held nearly horizontal
plane, a No. 10 in this case, and I work to a full-width shaving.
progress to the stage that the rab-
bets are gone.

Fig. 11-11. Now blend. Working Fig. 11-12. Lots of steering. These el-
back and forth between the two liptical shapes present one of the few
planes, I blend the curve until the instances I have encountered in which
transition is smooth. I never take a full-width shaving and
only use a portion of the sole.

Any blending needed will be apparent, and it is simple to accom-

plish with a few freehand strokes.
Let us now look at the following ovular ovolo (shown in Fig. 11-13).
First, using a circle template, find the approximate radii of the two
circles that make the shape.
Break the profile down into its two main components. The angle of
the necessary chamfers should be apparent at this stage.
 Make Ovular Shapes111

1
R /8"

5
R /8"

Fig. 11-13. An ovular ovolo. Shown are the two radii for the ovolo.

Fig. 11-14. Break down the shape. Fig. 11-15. Find the angles. Once
Here you can see the two simple these angles have been identified,
curved forms that make the ovolo. you can lay out your chamfers.

Make the rabbets for the fillets, add the chamfers and remove the
corners with a No. 10 and No. 2 hollow. Blend as necessary.
Ovular and hyperbolic profiles are more difficult to lay out and
require light, deliberate final passes in order to blend the two profiles
smoothly and not cut into the adjoining shape. Much of the time only
half of the plane’s sole will be utilized, so steering the plane by adding
pressure to an edge will be necessary.
112 MOULDINGS IN PRACTICE

Fig. 11-16. The layout. Now you can lay out the proper chamfers.

Fig. 11-17. Begin with the bigger Fig. 11-18. Then the smaller one.
plane. After establishing the vari- Using the No. 6 hollow I establish the
ous chamfers I again start with tighter radius.
the plane with the larger radius.
Work until you get a single shav-
ing. It will not be full-width.

Fig. 11-19. Blend with caution.

Blending the two curves will be
necessary. Be careful of working
toward a full-width shaving.
Doing this might flatten the curve
and make it circular instead of the
desired ellipse.
 Make Ovular Shapes113

Fig. 11-20. For smaller profiles. Begin with a circular cove, then alter it.

Fig. 11-21. Small thumbnail. Begin with the larger plane and adjust the
ovolo with the smaller one.

Breaking the profiles down into distinctly separate profiles, the

same way any other profile has been addressed, will guide the user in
the correct direction.
Breaking the profile down into distinctly separate profiles is not
always possible, however, such as when the profiles are quite small.
Adding three rabbets or two chamfers into these areas will be nearly
impossible; doing so accurately, as illustrated above, is laughable.
These tight situations require accurate steering, and a deliberate
plan is necessary.
When making a small ovular cove such as the one in Fig. 11-20,
I like to start with a simple cove that is just a circle segment. I then
adjust the tighter portion of the curve with a smaller round, and
finally blend it with the larger.
When making a convex profile such as the thumbnail in Fig. 11-21,
I like to start with the larger hollow then use the smaller plane to
knock off the corners, again blending the curves together.
These are the methods I use and suggest you begin with. As you
progress, you will settle into your own preferences at your own bench.
 CHAPTER 12.
Plow Planes.

The planes we have addressed to this point have included neither

fences nor depth stops. Up to this stage, however, every profile has
been along the edge of a board. If a user of hollows and rounds wants
to have the option to produce any moulding along a flat surface effi-
ciently, a plow plane is necessary.

Fig. 12-1. Plow plane? Fig. 12-2. Oops. Sorry, I meant this.

Fig. 12-3. Thickish. This is not the thinnest shaving, and

also not the thickest, that a plow plane can make.
 Plow Planes115

Fig. 12-4. Plows for grooves. A plow Fig. 12-5. Speed the plow. Creat-
makes grooves for mouldings or for ing only a narrow groove allows
joinery in casework. you to go deep quickly.

Fig. 12-6. Chisel it off. A sharp chisel Fig. 12-7. Almost done. If a
and controlled mallet-work will remove finished surface is necessary, grab
the waste. your rabbet plane.

A plow plane is more aggressive than a rabbet plane. Many users

will favor the plow for making rabbets as well as grooves due to its
ability to remove stock quickly.
A plow plane creates a narrow, deep groove accurately and quickly.
A chisel is then used to remove the balance of the rabbet. The plane
will not leave a finished surface, but any imperfections along the
length can be cleaned up with a rabbet plane or eliminated with the
hollows and rounds.
For making multiple rabbets with the same dimensions, or deep
rabbets along a great distance, a plow plane is a luxury. This plane,
or some other method of cutting grooves (e.g. a table saw), will shift
from luxury to necessity, however, when it becomes necessary to cut
116 MOULDINGS IN PRACTICE

Fig. 12-8. Only the plow. Rabbet Fig. 12-9. Waste removal. Plow
planes cannot pierce the center of planes can mimic the shape you are
a board like the plow. after and get you close.

Fig. 12-10. Many grooves. Some profiles require lots of grooves.

profiles in the center of a board. A rabbet plane cannot cut a groove,

which is necessary to serve the same purposes as the rabbets we have
been using to this point: steering, gauging depth and removing stock.
With a plow plane, it is often desirable to set in a series of grooves
to roughly mimic a profile and remove as much waste as possible.
If the profile is large, even more grooves are warranted.
The addition of a plow plane will also allow the user of hollows and
rounds to produce profiles that cannot be cut with a router. Look at
the sweeping brackets that define the shapes of a linenfold carving
shown in Fig. 12-11.
Chamfers will guide hollows while arrises guide rounds. (Take note
that a rabbet plane will still be needed to add the chamfers.)
 Plow Planes117

Fig. 12-11. Linenfold. Plow planes excel at piercing the faces of boards.

Fig. 12-12. Following the guides. With the rabbets and chamfers in place,
the rest of the work is straightforward.

Fig. 12-13. Skip the side rounds. A plow plane

can reach into areas that might otherwise require
a side-round plane.

A plow plane is also used to separate profiles, often reducing or

even eliminating the need to use a side-round plane. This is desirable
as it drastically reduces the number of passes and amount of wear
on the side round, which is a much more difficult plane to sharpen
and maintain than a plow.
Like all of the planes in this book, once you add it to your kit and
become familiar with it, you will develop your own preferences with
the plow plane; the more adept you become with the planes, the more
new ways you will use them.
 CHAPTER 13.
The Dark Side.

I have spoken to scores of people regarding the methods of making

profiles with hollows and rounds that I have covered thus far. While
most new users find the techniques extremely simple and thorough,
some more experienced woodworkers find it too calculated. In many
ways I agree with this sentiment, particularly as you improve in your
skills. In this chapter I will address a few of the techniques that many
other woodworkers employ.
Many users much more accomplished than myself start the hollow
on the single arris of a single rabbet rather than on the dual arrises
of a chamfer. Similarly, for concave curves they start a round on a
chamfer rather than the arrises defining a rabbet.
With these techniques, it is recommended that the user start the
profile toward the end of the board, near where a pass with the plane
is generally ended, and work his way back in abbreviated steps. The
first pass with the round, using your fingers as a fence (I use my fin-
gers on both sides here), will start the profile in the last 6" of the
board. With the second pass, back the plane up another 6" and take
another pass all the way to the end of the board. Proceeding in this
way will create a profile that is ramped toward the end of the piece. To
correct this, once the plane is tracking properly the user should begin

Fig. 13-1. Other ways of working. Some users begin their mouldings with a
round plane on a chamfer or a hollow on an arris.
 The Dark Side119

Fig. 13-2. Less work? If you start a round on a chamfer there is less mate-
rial to remove, but also more steering of the tool.

Fig. 13-3. More wear on the tool. Using a hollow on an arris will wear the
sole and iron more in the middle of the tool.

to take passes abbreviated in the opposite direction – feathering the

plane off the profile before the end – thereby evening the profile across
its length. The toe of the plane will ultimately guide the cutting edge
and the heel.
The advantage of working in this manner, from end to beginning,
is that the plane creates its own chutes in which to fall. The first
pass may be imperfect. The second pass, using the plane’s length and
the chute that was started with the previous pass, will be slightly
more accurate and uniform, especially toward the end. With each
subsequent pass the profile will develop further and more uniformly.
Accuracy here depends upon skill with steering the hollow and round,
not on a square rabbet.
The advantage of this method in using a round is that there is less
stock to remove in profiles of 60° as shown in Fig. 13-2.
There is, of course, much more stock to remove with a hollow using
this method as shown in Fig. 13-3. There is, I guess, also one less step.
120 MOULDINGS IN PRACTICE

Fig. 13-4. Useful with small planes. Working right on an arris is the way to
go when dealing with the very small hollows and rounds.

R1/8"

Fig. 13-5. Another place for steering. When making very small coves, a rab-
bet plane is impractical.

The disadvantage of this traditional method of using hollows and

rounds is in its inaccuracy for beginners. It is much easier for the new
moulding plane user to achieve consistency when the plane has two
points upon which to ride. However, I have introduced this technique
here because there are times in which it is useful, even necessary.
 The Dark Side121

For example, I use this method exclusively when working with No. 2
planes. You will notice that I never illustrate knocking the corners
off the square facet before creating a bead, as shown in Fig. 13-4.
Working a rabbet plane into that tight area is dangerous in regard to
the surrounding profiles, especially given that the adjoining surfaces
are complete at that stage.
The rabbet necessary to guide a No. 2 round is absurdly small; the
two points upon which the plane sits are so close that they are some-
what irrelevant. I create a chamfer here and use the above method as
shown in Fig. 13-5.
I also use these methods at times when working with larger planes,
but their use is much more sporadic. Again, the further one progresses
in his skills, the more individual preferences develop. You may try this
method and prefer it – there is no question that many use it quite suc-
cessfully. I will not argue with success.
 CHAPTER 14.
Maintain the cutting edge & Body.

The routine upkeep that goes along with wooden-bodied, profiled

planes will likely be seen as the greatest hurdle to adding these planes
to your repertoire.
As with all planes, the soles of wooden-bodied planes go out of
alignment from time to time. This phenomenon happens more fre-
quently with wooden planes, but unlike with their metal counterparts
the fix takes a few minutes at most.
Unlike metal-bodied planes, the bodies of wooden planes expand
and contract from season to season. This is significant with profiled
planes because the profile of the sole may now be as much as 1.5 per-
cent wider than the profile of the iron. The iron’s edge must be sharp
and must match the profile of the sole for it to perform to the proper
level of expectation.
Depending upon the environment in your shop, you may need to
adjust a plane’s profile from season to season for optimal performance
and tissue-like shavings. The routine is quick and often done solely
with the most unaggressive Arkansas stone. After all, the changes
needed will be small.

Sharpening.
A word on sharpening techniques: I have no doubt that jigs help
many woodworkers initially find sharp and they have granted many
of these same craftsmen an easy, repeatable method for maintaining
“sharp” for the tools where their interests fall. However, the crafts-
man who is dependent upon these jigs for chisels will have difficulty
introducing carving into his work. New tooling will be necessary, new
skills will be needed. This person will not be able to use moulding
planes because the jigs do not exist, even to a maker who produces
scores of the same plane by hand. Slight variations in body dimen-
sions prevent this.
As with all edge tools, knowing how to sharpen the edge of these
profiled planes is necessary – both how to sharpen and when to
sharpen. The need for sharpening will frequently present itself in
the form of poor surface quality or a mouth that clogs despite proper
grain selection.
 Maintain the cutting edge & Body123

The amount of material that is to be removed with a profiled plane

is minimal compared to many other planes. A smoothing plane seems
to take hundreds of passes before needing to be addressed. I have
spent an entire weekend at a hand-tool event using primarily a rab-
bet plane and taking aggressive shavings in poplar without address-
ing the iron’s edge (and while being judged for performance). A block
plane can seemingly work forever.
This is one of the three main purposes of using the rabbet plane –
for bulk stock removal. The rabbet plane has a straight edge, and it is
as easy to sharpen as any bench chisel – and much easier than most
profiled planes. As we have discussed, there are many times when
additional rabbets are added in an effort to make the stepped profile
more closely approximate the final profile. This is done to remove as
much material with that iron as possible.
Limiting the use of the profiled planes limits your maintenance
and increases your efficiency and consistency.

Fig. 14-1. I’d rather use a rabbet. Remove the majority of the material with
the rabbet plane (left) because it’s easier to sharpen than a profiled plane.

These examples are not intended to give the impression that sharp-
ening profiled planes is unnecessary. They merely illustrate how much
material is being removed with the straight edge of a rabbet plane vs.
the profiled edges of the five different planes involved in making the
final profile above. It is still absolutely critical that the irons on pro-
filed planes be sharp and that their shapes match the planes’ soles.
The volume of wood they remove, however, can be minimized.
124 MOULDINGS IN PRACTICE

Fig. 14-2. Less wood, less wear. By using your rabbet

and plow to remove most of the material, you will do
less sharpening of your hollows and rounds.

The process of sharpening must be learned and it must be done

freehand, without the use of jigs. If you have not sharpened freehand,
practice on a chisel. Learn the motion of moving a tool across a stone
in a linear fashion. When you are comfortable with a chisel, move to a
carving gouge. With a mid-swept, mid-width (1/2", No. 5 for example)
carving gouge you will learn how to rock a tool across a stone. Which
direction works best will depend on you. I opt for a motion similar to
that shown below. I stand next to the bottom-right side of the stone
with the tool’s handle (or tang in the case of moulding planes) angled
away from me and traveling slightly away.
With a carving gouge you should also learn to use a slipstone to
add a slight secondary bevel to the cannel (inside) of the gouge. One

Fig. 14-3. Stroke this way. This illustration shows how I move a tool (in this
case a chisel) on the sharpening stone.
 Maintain the cutting edge & Body125

aspect of this will be determining whether you prefer to move the tool
or move the stone. I have seen both methods used successfully, along
with a few others.
For sharpening these planes, I recommend oilstones because a pro-
filed blade can wreak havoc on a soft waterstone. At first you will
undoubtedly tend toward using a single path across the stone as you
sharpen a single point upon the iron’s cutting edge. With waterstones,
this will lead to low spots, which will quickly lead to other problems.
While the use of oilstones won’t completely eliminate these concerns,
it does mitigate them significantly by substantially slowing the wear.
Profiled planes are more difficult to sharpen than the standard
straight edge of a try plane and even the convex edge of a fore plane.
The steps to sharpening are the same, but the process and needed
accuracy are much different. The iron of a profiled plane not only has
to be sharp, but unlike a scrub plane or carving gouge, it also must
match a predetermined shape precisely.
It has often been stated that once a profiled plane’s iron has been
matched to the sole, only the back of the iron should be addressed to

Fig. 14-4. Sharpening setup. With a little practice, there are only a few
tools needed to maintain the cutting edges of dozens of profiled planes.
126 MOULDINGS IN PRACTICE

keep the iron sharp and functional. I don’t subscribe to this method,
however. Neither should you. Not only does it fail to address both faces
that compose the arris of the cutting edge, but it also leads to an iron
that does not match the sole, a heavily used iron that does not cut and
a user who has not built the necessary skills to address it.
Simply flattening the back of an iron will not address the inevitable
adjustments the profile of the iron will need. Seasonal adjustments
are necessary, especially for the woodworker who is working a hard
wood such as maple and needs to take fine shavings. Additionally,
focusing solely upon the iron’s back will not rid the cutting edge of
the ever-increasing wear on the bevel. Inevitable clearance issues will
result between the blade and the stock. Work on the bevel needs to be
done. Skill needs to be built. The bevel needs to be addressed.
The iron’s back cannot be the only surface addressed. It is, how-
ever, the primary surface. If 80 percent of the work in sharpening
a bench plane is done on the bevel, let just 40 percent of the work in
sharpening a profiled plane be done upon the bevel, with the balance
done upon the iron’s back.
Not all work needs to take place on sharpening stones, however.
Approximately four out of five times that the cutting edge needs to be
addressed I will strop the iron on a leather strop charged with green
honing compound. This stropping, or polishing, will reestablish the
cutting edge. Proper attention must be paid to holding the iron at
the proper angle. If it is held too steeply, the edge will be dubbed over
quickly, sending you to the stones to fix it.
Stropping is a quick fix to an edge that is not 100 percent sharp.
Stropping, however, will eventually present problems. The more you
strop an edge, the more dubbed it will become.
It is important that stropping is not used excessively and as the
single strategy to reestablish an edge. The amount of work needed at
the stones will be much more significant if stropping is relied upon
too heavily. Again, heavy use of this single method will also leave you,
the user, without having developed the skill to address these issues.
When stone work does become necessary, start with your least-
aggressive stone (i.e. an Arkansas stone). I grind my irons with a hol-
low grind, but it is important to note that they do not ride the stone
upon these two points.
 Maintain the cutting edge & Body127

Fig. 14-5. Strop a round iron. Drag the iron toward you along the charged
strop. Hold the iron at an angle that is much more shallow than the bevel’s
angle. Rotate the iron with each of the few passes you will take.

Fig. 14-6. Strop a hollow iron. Pinch the strop and pull the iron toward
you. Be careful of slipping off the sides and onto your hand. For a small hol-
low, use the side of the strop.
128 MOULDINGS IN PRACTICE

Fig. 14-7. Strop the back. Charge a flat piece of hard wood to address the
back. Reestablish this flat surface often.

Fig. 14-8. Straight vs. rounded. The more you strop an edge, the more
dubbed it will become, as shown at right.

I use the hollow grind as a reference, then raise the iron slightly
from there as shown in Figs. 14-9 and 14-10.
This method gives a reference point for the cutting edge’s angle, but
avoids the problems that arise from the fact that hollow grinding does
not produce concentric arcs to the edge and heel of the bevel.
 Maintain the cutting edge & Body129

Fig. 14-9. Click. If you hollow-grind your edges, use that to find the bevel.

Fig. 14-10. Then raise. Find the bevel, then lift up the back of the iron.

Take five to eight full passes, then examine the edge. Has the mir-
ror polish of the previous stropping disappeared all the way up to the
cutting edge, or only at the heel of the bevel? If only at the heel, reg-
ister the iron on the stone again and lift it up slightly more. Repeat
until the mirror finish has completely left the cutting edge. At this
stage a noticeable wire burr will be established upon the iron’s back.
Just a few passes with the iron held at the proper angle are necessary
because the focus, again, is on the iron’s back. Now, flatten the iron’s
back, repeat with only a few passes, strop and continue working.
130 MOULDINGS IN PRACTICE

Fig. 14-11. Not concentric. Lifting the iron while honing gives a reference
point for the cutting edge’s angle, but avoids the problems that arise from
the fact that hollow grinding does not produce concentric arcs to the edge
and heel of the bevel.

Only a few broad, sweeping passes are necessary with the tool held
at the proper angle. Finding this proper angle may take time and,
ultimately, creates a bevel that is faceted with many micro bevels.
For this reason, this method, like stropping, will eventually lead to an
edge that is overly dubbed and needs more substantial reshaping. A
more aggressive stone (such as an India stone) will be necessary once
the bevel needs to be completely reestablished. As with the Arkansas

Fig. 14-12. Start the stroke. Find the desired angle at which you will hold
the tool. I am starting the stroke here upon a hard Arkansas stone.
 Maintain the cutting edge & Body131

Fig. 14-13. Finish. Finish at the opposite edge of the stone with the iron
resting upon the opposite corner. One smooth motion is required. Using this
method, the few necessary strokes needed for sharpening are unlikely to
affect the geometry of the profile.

Fig. 14-14. Stone a hollow. Find the desired angle of your tool with respect
to your slipstone.
132 MOULDINGS IN PRACTICE

Fig. 14-15. And stroke. One smooth stroke from the beginning of the stone
to the end across the entire cutting edge is ideal. This will limit any issues
that will arise from focusing on a single point.

Fig. 14-16. Finish. Press the tool (whether it’s a hollow or a round) firmly
onto the stone when flattening the back of the iron. Do not lift the tang.
 Maintain the cutting edge & Body133

stone, once at the more aggressive India stone you simply use the hol-
low-grind as a reference, pick the iron up very slightly, and sharpen at
that angle until you approach the cutting edge and ultimately develop
a wire burr across the entire back of the iron.
By the time you need to re-establish the bevel in this way, you will
likely have much experience with profiled planes on an Arkansas
stone. In this way, you will have built up the required skills – if you
allow yourself and don’t try to cut corners on keeping a good mainte-
nance regimen.
Most of the errors made in the processes described above occur
when the user takes many short, choppy, sawing passes with the slip
or bench stone. Force yourself to take full, deliberate passes. As with
a deep carving gouge, you might choose to address the iron of a larger
plane in stages, but the effort must still be controlled.
When an iron needs to be ground, I use a wheel that is 1/8" wide for
both the concave and convex shapes. The need for this will be rare,
assuming no damage has been done to the iron.
One last point: I sharpen a profiled plane so the plane’s iron matches
the sole across its entire width. I have had many conversations with
people who opt to fade one or both corners of their hollows and/or
rounds. I appreciate the argument in favor of this and the choice, but I
do not know how I could execute the profile in Fig. 14-20 with a hollow
that has either corner fading into the sole at the corners.

Fig. 14-17. Thin

wheel. This thin grind-
ing wheel is ideal for
the work that I do.
134 MOULDINGS IN PRACTICE

Fig. 14-18. Grind a round. The Fig. 14-19. Grind a hollow. ...being
thin width is not always neces- able to work on a single point is quite
sary, but... valuable at times.

Fig. 14-20. How? You cannot easily make these profiles if you allow the
corners of your irons to fade into the body of the tool.

Plane body Maintenance.

As stated before, the soles of wooden planes need to be addressed
from time to time. The luxury of wooden planes is that this required
maintenance takes very little time. An added luxury of purchasing
or creating a matched pair of hollows and rounds and spending the
time to have the irons match the sole to an exacting standard is that
minimal effort will be required to match the iron to the plane’s new
sole. Ideally there will be none.
The need for addressing the sole of a moulding plane tends to pres-
ent itself in two fashions.
 Maintain the cutting edge & Body135

Many times users take too-heavy passes at the beginning and ends
of a cut. This is a frequent issue with beginners, and will undoubtedly
present itself often throughout your progression to competency and
beyond. You will, in these circumstances, be able to recognize your
error. (Pay attention to the regression of the rabbets as they slowly
disappear.) Taking abbreviated passes in the middle of the piece will
fix this.
If, however, you find that the plane is cutting at the beginning and
end of a board in the first few passes but not in the middle, and you
are not able to take abbreviated passes to catch up in the middle, it is
likely that the sole needs to be trued. This problem is the result of the
sole being slightly concave along its length.
In this situation, simply use the matching hollow to adjust the
round (and vice versa). Take an unaggressive pass at the beginning
and end of the plane’s sole with it held upside down in a vise. Next,
wrap a piece of fine sandpaper around the hollow’s body with both
blades retracted into the body, and both irons set fast with the wedge.
Sand until the sole is flat. Little sanding should be necessary when
you get close by first planing the soles with the planes.

Fig. 14-21. Concave sole. If the plane will not cut in the middle of the
board, likely the sole is concave along its length.

There is a second manner in which a sole that is out of alignment

will present itself. If you set the iron at what feels like the proper
depth but the plane does not cut, then you set the iron only slightly
more aggressively but find the plane takes a very aggressive cut, you
likely are faced with a sole that is convex along its length. (Note that
this circumstance may also occur with a misbedded iron.)
Again, using the hollow to address the round, first take an abbrevi-
ated pass in the middle of the plane with the round’s iron retracted but
set in place with the wedge. Then proceed with sandpaper with both
irons retracted until the sole is once again properly flat and shaped.
136 MOULDINGS IN PRACTICE

Fig. 14-22. Adjusting the sole. When addressing the sole of a plane, take an
abbreviated pass that covers the high spot and half of the sole. Stay away
from the ends if the high spot is in the middle.

Fig. 14-23. Sand the sole. Use a piece of fine sandpaper for the final few
passes. With sandpaper you will remove the bare minimum.
 Maintain the cutting edge & Body137

Fig. 14-24. Convex sole. If the plane is too aggressive – no matter what you
do – likely the sole is convex.

A bench plane is used to address a rabbet plane, but the process is

quite similar. Various hollows and rounds can be used to address the
more specialized planes such as side rounds, snipes bills and dedi-
cated moulding planes.
Note that when buying antique planes, the soles should generally
be addressed immediately upon bringing the plane home, prior to any
sharpening. In the vast majority of cases, if not all, this process will
be warranted.
In the event that both a hollow and its matching round are out of
flat, a bench plane can be used to address the sole of the round. The
resulting surface will be slightly faceted, but it will be addressed with
the hollow once it is flat. After matching the iron to this new sole and
sharpening, if the plane still suffers from clogging and/or chatter, the
problem is often the result of a bed that has gone out of flat and no
longer mates properly with the sole. Clogging may also be the result
of a damaged wedge or mouth.
Generally, a mouth of a moulding plane only needs to be opened if
it is damaged. In this instance, opening the mouth is done to rid the
plane of any chipping that has occurred over time due to misuse, not
because the mouth is too tight.
 CHAPTER 15.
Correct Mistakes & ‘Cheats.’

There is no doubt that plane tracks are seen as a nasty feature of

these tools. Their complete elimination escapes me. Taking light final
passes helps. Saving the final cuts at transition points to flip from
hollow to round and back with the iron set lightly will reduce plane
tracks. This method allows the user to slowly approach the transi-
tion with greater accuracy because the final profile is in full view.
Learning to steer the planes will also help in this transition. You will
develop the skill of cutting with only a portion of the iron as opposed
to being hindered by only allowing the plane to nestle in the profile
you have created. Transition points in ogees are fierce – and a lack of
plane tracks does not necessarily indicate a seamless transition.
Scraping or sanding (it’s OK) a profile may be required. Recognizing
the point where that is necessary is a skill. Once you start chasing the
plane tracks – switching from a hollow that leaves tracks to a round
that leaves another – you have gone too far, and are likely to experi-
ence a fatal error soon.

Fig. 15-1. Not a smooth transition. Note both the plane track at the tran-
sition from convex to concave and the sharp transition at the edge of the
reverse ogee into the vertical edge.
 Correct Mistakes & ‘Cheats’ 139

Fig. 15-2. Gone too far. The hollow has gone too far in the instance pic-
tured. The plane is digging into the vertical fillet and the concave portion.

Fig. 15-3. Scraping. Making a shaped scraper is easy to do and highly

effective when evening out profiles across a moulding’s length and width.

If you can sharpen a moulding plane iron, then you are quite capa-
ble of making the appropriate scraper. (Hint: They can work right
off the grinder.) Use these methods to rid your profile of tracks and
improper transitions. Scrape early when building this skill.
140 MOULDINGS IN PRACTICE

Fig. 15-4. Grind a scraper. When Fig. 15-5. Quick work. The thin
making a profile I often practice grinding wheel is used to make a
on a 16" length to make certain functional scraper in 5 minutes.
that all is well with my layout. I
will also use this practice piece as
a template for making a scraper.

Fig. 15-6. Filing

a scraper. Working
to a tight corner is
done with files. I am
supporting the piece
by working into a
dog hole.

Fig. 15-7. Common error. Chasing plane tracks – instead of scraping – can
result in fatal errors, as shown at right.
 Correct Mistakes & ‘Cheats’ 141

Like all skills required for this craft, regardless of your experience,
mistakes will happen. Recognizing these mistakes early and know-
ing how to fix them is what separates the novice from the accom-
plished. I have found in my own quest that being able to recognize
fatal flaws early, acknowledging them as such and being able to walk
away quickly may be what separates the profitable from the not. It is
always a struggle, and always difficult. It is necessary.
Mistakes will initially be made during the several steps involved
in laying out and executing a specific moulding. Rabbets may be too
tight, too wide or too deep.
If you want a reverse ogee and end up with a cove and ovolo, the
problem is the depth of a rabbet, as in Fig. 15-8. If a curve is too steep
or too shallow, the issue is the angle of the chamfer or arrises of the
rabbet, as in Fig. 15-9.
Rarely, I have found, does a user complete a moulding and not know
where he erred. The mistakes are obvious.
Often, when recognized early, an errant angle can be corrected by
reestablishing the two points that guide the plane. Check your work
against the profile you have drawn. If you are headed in the wrong
direction, take out your rabbet plane and correct the angle.

Fig. 15-8. Rabbet problems. If your cove and ovolo don’t meet in a reverse
ogee, look to your rabbet’s depth as the problem.
142 MOULDINGS IN PRACTICE

Fig. 15-9. Wrong angle. If a curve is too steep or too shallow, look to the
angles of your chamfers or the depth of your rabbets.

Fig. 15-10. Early detection and correction. If you’re headed in the wrong di-
rection (too shallow in this case) get your rabbet plane and fix the chamfer.

Recognizing these mistakes early often allows them to be quickly

corrected with the methods described to this point. The reality of
working with these planes is that nothing will work out as perfectly
in wood at your bench as it will on my computer. Steering the plane is
necessary and is part of the skill set you acquire with experience. As
you progress you will look back at the lessons in this book and smile
at the amount of calculation that went into learning how to initially
present the plane to wood.
Steering the plane by adding pressure to one of the sides and forc-
ing the plane to cut on a certain portion of its sole will eventually
 Correct Mistakes & ‘Cheats’ 143

take the place of sitting down with a bevel gauge and fussing over
the minutia of tiny measurements and angles, or the need to correct
slight errors with additional chamfers. Using your fingers as a fence is
a skill that you will have after just a few practice rabbets. Translating

Fig. 15-11. Steer a hollow. Learning to steer these planes is vital. Paying
attention to the mouth and from where the shaving is being ejected will al-
low you to cut with a small portion of the sole.

this skill into the use of hollows and rounds will eventually replace
many of the calculations and steps we have addressed.
The more profiles you cut, the less you will worry about chamfers
being executed at specific angles. Slight variations will be overcome
by skill. The mathematics will be replaced by feel.
Paying attention to the disappearance of the facets that guide the
planes throughout the progression of the profile, not blindly taking
several passes due to certainty and hubris, will encourage you to
make corrections during the process rather than sacrifices at the end.
Sacrifices for the sake of ease may, however, be warranted. Know
that it is easier to make a bead without plane tracks using a No. 2 hol-
low if it has a diameter of 7/32" than it is to make one at the “proper”
8/32 ". The variations will be unrecognizable so long as you do not need
to fit four of them in a precise 1" space.
144 MOULDINGS IN PRACTICE

Fig. 15-12. Learn to steer. When you can steer a plane you can easily make
corrections when your chamfer is not at the right angle.

Making all standalone concave areas slightly (I repeat, slightly)

larger than the diameter of the plane’s profile, and all convex areas
greater than the plane’s width (a.k.a. 60°) slightly smaller than the
plane’s diameter will help eliminate plane tracks.
Instead of making an ogee that is two 60° arcs, make an ogee that
is 60° of a concave circle and 60°+ of a convex circle that is slightly
undersized. The ease of removing plane tracks will often be worth the
sacrifice. The beauty of these tools is that it is your choice.
Note the slight difference in Fig. 15-15.

5/8"
R5/8"

R5/8"
5/8"

Fig. 15-13. Two 60° arcs. To help eliminate plane tracks you can avoid
making two equal arcs, as shown above.
 Correct Mistakes & ‘Cheats’ 145

5/8"
R9/16"

R5/8"
5/8"

Fig. 15-14. Slightly undersized. Make the convex curve undersized.

Fig. 15-15. Little difference. The end result looks almost identical.

In this book, the presentation of these angled chamfers and arrises

is nearly scientific in its accuracy, but real-world execution will have
variations. Once you are able to correct mistakes early, and once you
are able to steer the planes accurately and uniformly, the execution of
setup facets, such as chamfers, becomes less important.
Remember that any time a hollow or round is being guided manu-
ally there has been a “breakdown” in either layout or execution of
layout. This does not mean that all time and precaution should be
given to executing a chamfer at 40° instead of 38°. Get close. Guiding
these planes manually is a skill that will be picked up quickly. It will
be done without you being aware of it. Practice will lead to more accu-
rate execution, and the ability to overcome more and more errors.
Be willing to make mistakes in your basements, garages, apart-
ments and palaces. I have made many. Your first attempts may be
poor. They will not be futile. You will know where you erred. Correct
it. Evolve. Sell me your better way. Teach me.
 CHAPTER 16.
Conclusion.

I do not know what attracted me to working wood in the first place.

I have had the discussion with scores of people. I am always amazed
that nobody really knows why he started in the craft. Why did I start?
The answer is often a cliché.
I am regularly asked why I chose to make moulding planes for a liv-
ing. To this, my response is always “carving.” It does not always make
immediate sense to the person who posed the question.
“How does something so artistic in nature lead a person to some-
thing so mathematical in explanation?” These tools uphold the integ-
rity of the carving by complementing it with shadow lines derived
centuries ago – instead of a retailer’s interpretation of what he thinks
the masses desire today. Of course, the answer may simply be that
these seemingly simple tools allow people to put their hands to their
work in yet another way.
I bought mortising chisels instead of a mortising machine. I pur-
chased a fore and try plane so I could be happy with a 6" jointer instead
of chasing the “jointer high” of buying one that is of equal width to my
planer, which is also too narrow. I bought a smoothing plane so I did
not have to turn on my random-orbital sander. I purchased a dovetail
jig, used it on one project and then worked a week in my friend Don
Boulé’s shop so that I could learn to saw them by hand.
These tools allow me to create, not to purchase, turn on and push.
I imagine that many people introduce themselves to the craft, con-
sciously or subconsciously, as a result of needing something physical.
So many of us work at a chair and desk producing things that our
spouses, our parents and our children cannot touch and, thus, may
not truly appreciate. My coworkers and bosses in the corporate world
were, I surmise, happy with my product. I, however, needed to touch
it; I needed my friends and family to see it.
I often reflect upon my real introduction to working wood in Don’s
shop and that first time I viewed a carved finial on one side of a head-
board with the layout lines on the other. The result was immediate.
My need to produce something physical was instant. My conclusion
 Conclusion147

had been reached. I wanted to create. I needed something upon which

I could put my hands.
With these tools my guests are able to see the products of my
work. They may not recognize what I did, exactly. I imagine that they
assume it was done by some “crazy” machine. I like that. I leave it at
that. A simple swipe of their fingers across an edge acknowledges an
appreciation more than they know. The greatest compliment a per-
son can give you is the assumption that a machine must have done it
because your hand could have not.
I am still, to this day, drawn to what I have made. When I play with
Legos with my sons I glance at my carving. I too often point out one
specific curve to my wife that I drew, cut and carved perfectly. When
an extra chair is needed around the dining room table I truly enjoy
sitting in the $60 chair I purchased with my mentally hard-earned
dollars from Pier 1 Imports at the age of 22, while my guests sit in the
oft-unused Queen Anne side chairs I toiled over for six months at the
age of 26.
These guests always sit up straighter. Is this because they subcon-
sciously feel the need to meet the chair’s expectations? Or is it because
a carved back splat is not designed for lounging? Either way, I have
affected them directly, if only momentarily.
Hollows, rounds and the other planes discussed in these pages will
not grant the user unbridled permission to hang outrageous crown
mouldings in every room, closet and garage of the house. What these
tools will allow is you, the user, to produce exactly what you want.
These will allow you to put your hand to yet another aspect of
your work. These tools will grant you permission to act as an artist
by creating and incorporating a series of convex and concave shapes
that we have never seen before. (Trust me, after seeing a catalog for
harpsichords throughout centuries of evolution, new designs are still
out there, and old ones have passed by the wayside.) Or they will allow
you to act as an engineer by producing, perfectly, that which you have
seen, wanted and needed to make.
The instruction that you have read to this point is one interested
person’s conclusion about how to use these extraordinarily nimble
tools. There are, no doubt, other ways to produce the same results.
148 MOULDINGS IN PRACTICE

I do not doubt that I have overlooked better ways to do things (thank

you Don McConnell of Old Street Tool for your rediscovery of snipes
bills). Try other methods. Try other profiles. With these tools you can
and you will.
So, why did I start working wood? I do not know. I liked puzzles.
Now I make the pieces.
 Appendix 1.
Antique planes.

I have neighbors who live in the oldest house in Haddam Neck,

Conn. The house was built in the early 18th century. I love visiting
their home because I am infatuated with the idea that the American
Revolution, the Civil War and Beanie Babies were all discussed in
front of their fireplace. When we gather in front of that fireplace
and the talk turns to our kids, my mind wanders, and I imagine the
house’s previous occupants’ conversations about, “What are we going
to do?” in several different historical contexts.
One of the subjects I wrestled with when writing this book was
whether to include a chapter on antique planes. I started with these
tools. You likely will do the same. Antique planes are available, plenti-
ful, cheap and have a great patina. These planes, like that house, have
history. These tools have contributed to the pieces that we ogle, much
like that house played a part in our country’s history. They have a lin-
eage of which we are only a part. They have been used by hands more
adept than our own. It’s awe-inspiring, intimidating and romantic.
I struggled with writing the chapter, though, because I am sim-
ply not the man to do it. I have restored a bunch of antique planes
in my woodworking life. It is often difficult, tedious and blind work
for the beginner. The knowledge that these vintage planes did work
was often the only thing that kept me trying to transform them into
workable tools. The idea that they did work and now, with the current
wedge, iron or body, cannot wasn’t apparent until I had made several
moulding planes for myself.
In short, my experience with antique planes led me to jump at the
opportunity to make my own when Lie-Nielsen and Clark & Williams
collaborated to begin producing the necessary tools and instruction.
The only source I had when I set out to produce my own tools, out-
side of my blind experience, was Larry Williams’s DVD “Making
Traditional Side Escapement Planes” (Lie-Nielsen Toolworks). I
watched the entire thing once (with my mother, who loved it! I was
two weeks out of major back surgery, and I love her so leave me alone)
and a few select chapters of that DVD a couple times more.
150 MOULDINGS IN PRACTICE

There are a few things that I do now when making my planes that
differ from the methods Larry shows, but there were none when I
made my first planes. That DVD and my limited experience led me
to creating functioning planes that hold an edge. The journey is well
worth it. I recommend it highly. There is so much information that is
superbly presented in that DVD that you could practically start your
own business... .
I am not the man to write this chapter because my conclusion was
ultimately that, given the time commitment, I would rather make my
own. Should you choose to make this antique tool trek on your own,
with the help of only books, videos or the Internet, keep the following
10 points in mind when dealing with antique planes:
1. Assume that the sole needs to be addressed, and know that you
will need a way to address it. A No. 8 hollow is easy to fix if you have
the matching No. 8 round that works. A 1/8" side bead will likely need a
matching router bit in order to repair its sole. For a cove and astragal
 antique planes 151

you will need either a mother plane, or a matching hollow, a router bit
and a method for holding the plane at the spring angle across a router
table. You are on your own for anything with a Grecian shape.
2. Assume that the iron will need to be reground and resharpened.
This often will lead to annealing and re-hardening the steel. Again, I
am no authority regarding either of these subjects, and I chose not to
write about them. The DVD “Sharpening Profiled Hand Tools” (Lie-
Nielsen Toolworks) by Larry Williams of Old Street Tool addresses
these both. There are certainly other sources.
3. Warped planes can often be fixed. This will involve planing the
chamfer and face flat and, ideally, parallel. It will also require re-
establishing the profile upon the sole and getting it centered. The iron
will then likely need significant work.
4. The plane’s mouth will never need to be opened because it is sim-
ply too tight. It might need to be opened because even a small amount
of damage has occurred there and even the slightest shaving will not
eject. Which leads me to...
152 MOULDINGS IN PRACTICE

5. There are a wide range of reasons why a plane clogs. I will limit
myself to what I can think of in the next five minutes.
a. The mouth is damaged.
b. The wedge is damaged.
c. The blind side of the mouth is damaged.
d. The iron is not sharp.
e. The iron does not match the sole.
f. The iron’s sides have been misground.
g. The sole is not flat.
h. The sole is warped.
i. The ramp is damaged.
j. Etc. (The list really does continue.)
6. Making an old plane functional will destroy its resale value to
anybody but people who make furniture using these tools.
7. “User” grade does not mean ready to “use.”
8. “Fine” does not mean “fine” to go.
9. “Ready to go” does not mean “ready to go.”
10. These planes were often used for several successful working
generations. They then sat, were mishandled or, most likely, a combi-
nation of both for more than 100 years.
Bottom line: There is much that can be wrong with antique planes.
If you have limited experience with troubleshooting these matters it
is often frustrating and, in my experience five years ago, sometimes
futile. I could economically fight this fight now, but I do not want to.
Sometimes I look at my old planes and want to finish what I once set
out to do. There is a failure that literally stands above my bench. We
mock each other daily. Then I think about the other things I like.
When these planes are made functional there is no question that
they can perform the same way that a new plane will. On top of that
function you will also be included in a noble lineage that new planes
do not have. The owners’ name stamps will inspire you. Buy a name
 Antique planes 153

stamp of your own and add it. You might hold the plane and think
about the time when these curved embellishments were a living art.
Imagine the conversation that begins with, “What’s next?”
When I stand in front of a high-style Philadelphia highboy at the
Philadelphia Art Museum I imagine the same question being posed. It
might have happened at that case’s foot before it was shaped. “What’s
next?” This history in wood cannot be replaced. It cannot be trumped.
And a lack of this historical lineage is a major shortfall of the most
sublime reproductions. Even a reproductionist extraordinaire such as
Charles Bender cannot replicate that true history – though his appre-
ciation, coupled with his skill and execution, does challenge it.
154

Appendix 2.
from Wood to Paper (vs. Paper to Wood).

This book has addressed transferring moulding profiles from paper

(this book) onto wood. My goal is for you to able to look at a profile and
know the steps needed to produce it. It is, however, likely that even if
you feel fully competent in the methods I’ve described that you will
still stand in front of an actual piece of furniture and not know how
to translate its profiles from wood onto paper.
My best recommendation is go to the rear of the piece of furniture.
There you will often find the moulding terminate at a 90° angle and
the cross section is available. Begin recording the moulding by mea-
suring the basic dimensions of the profile (Appendix 2-1).

2"

211/16"

Appendix 2-1. Basic dimensions.

The next step is to find the location of the fillets using the edges of
the profile as a reference (Appendix 2-2).
Draw the fillets onto a piece of paper (Appendix 2-3).
The following steps can be much more scientific and, again, I am
not the best person to write about this subject. I usually just bring
 from Wood to Paper (vs. Paper to Wood) 155

3/16"

11/16"
17/16"

1/8"

Appendix 2-2. Find the fillets.

1/8" 5/8"
3/16"

11/16"
5/8"

1/8"

5/8"

1/8" 5/8"

Appendix 2-3. Draw the fillets.

156 MOULDINGS IN PRACTICE

Appendix 2-4. Connect the fillets.

either a circle template or, ideally, my planes. Use your planes to find
the various radii of the circle segments involved. Connect the fillets
(Appendix 2-4).
The custodians of the piece will not let you close to the piece with
a pencil, but they often will let you place a wooden plane that has no
iron (let me reiterate: has no iron) against it.
I have found that these people are often as intrigued by the plane
you are holding as you are with what they are holding you from. It is
likely that you know more about execution of these mouldings than
they do. Remember that they studied a lot for their job but they prob-
ably did not study how mouldings were executed. This will lead you to
a conversation that will often bear fruit.
Use the plane to judge the radii and the percentage of the circle
involved. With a circle template it is often difficult to see if you are
looking at a circle or an ellipse; with a plane it is easy. Connect the
fillets with these circle segments.
And then you are done... .
 Appendix 3.
The Sticking Board.

A table saw has a fence, a powered jointer has a table, your bench
has dogs or a stop. Like any other task in our craft, bracing a piece
while working is necessary. The solution is not always obvious. A
sticking board is the appliance you will make to hold your work as
you create profiles using your planes.
A sticking board in its simplest form is a base, a backer board and
a stop. I use 1/2"-thick MDF (medium-density fiberboard) with screws
set in a few inches from the end for the stops.
I add screws on both ends of the sticking board for the times when I
need to plane in the opposite direction so the board’s grain runs in my
favor. I make the sticking board wide enough so that it can be pinched
between the dogs on my workbench and puts the work near the front
edge of my bench.
Most of the force you exert upon the piece with these planes will not
simply be downward against your bench. The piece you are working is
often angled, so the planes are held at an angle, too. Simply clamping
a piece between two bench dogs is not ideal for several reasons. This
is one of those reasons.

Appendix 3-1. Sticking board.

 158 MOULDINGS IN PRACTICE

A sticking board gives you a backboard to press against and resists

this lateral pressure. The sticking board can be clamped in your bench
between dogs and/or held down with holdfasts, screws or numerous
other solutions. A firmly held sticking board prevents the workpiece
from snapping out of the dogs and you from doing a belly flop across
your bench and damaging the plane, iron and the moulding being
stuck on your bench.
The sticking board will also prevent the clamping pressure of the
two dogs from distorting a thin moulding.
Because the piece being worked upon is not usually pinned in the
sticking board, gauging your progress does not require you to bend
down and look for gauge lines, leftover rabbets or flat spots in less-
than-ideal light. Simply pick the piece up, rotate it and examine it.
As a moulding becomes more intricate, so does the sticking board.
The rabbet for a picture in a frame is cut first, making it more difficult

Variable 3"

1/2"

1/2"

1/2"

1/2"

3"

Appendix 3-2. Sticking board dimensions.

 The sticking board 159

Appendix 3-3. Sticking board options.

to work from that point. Attaching a perfectly dimensioned piece to

the board can make a non-square piece sit square again.
Attaching an angled plate to the sticking board allows the user to
attach a crown moulding to the board.
The options for specialized sticking board design are too many to
list. Change the board to fit the piece.
Finally, a sticking board, if rigid enough, can turn a typical 7'-long
workbench into something more than 8' long. I even have a game plan
for the time when I need something even longer.
 Appendix 4.
Mouldings from 8 Historical Pieces.

Hollows, rounds and the other planes that we have discussed to

this stage allow and encourage a staggering number of options. There
are so many profiles you can make that you will likely find yourself
not knowing where to begin if you do not have a source for motiva-
tion. Plus, knowing how to make a profile does not mean that you will
know what profile adds the correct amount of highlight, detail and
weight to a piece of furniture.
Whether your goal is to create a new design or copy an old, seeing
what has been done in the past is encouraging. For those with limited
exposure to furniture and who are new to the craft, seeing pieces of
finished work is necessary. The cabriole leg or straight bracket foot
that you prefer might be staggeringly different than those that you’ve
seen. You might not like the ball-and-claw foot and have no desire to
make one. Still, they are good to see.
If you do not look at the work made over the past centuries you will
likely never be able to improve or build upon it. If you never see or
make these various pieces, you will not know that the designs of the
past were part of a progression, and never a conclusion.
I have made a few pieces of furniture that were my own design. I
have copied several pieces, too. As I look at my work from years past I
have seen small successes and moderate flaws.
You may find, as I have, that copying is a good starting point. I
now make changes to the original plans in all of my work. I have
found that the more pieces I make, the more aspects I change. But
the period pieces are a needed helping hand in a lonely basement with
stagnant ideas. And so with much time at my bench, I am now slightly
adding to the progression of moulding designs.
My work may eventually lead to my own take on furniture design.
Or it might just lead to a living room full of Chippendale furniture.
Go to museums and stand in front of the various pieces. Look at
auction catalogs. Search for modern makers on the Internet or at fur-
niture shows. Find a boutique that sells high-end antiques.
 Mouldings from 8 pieces 161

Nathan Liverant and Son Antiques of Colchester, Conn., is one of

the many antique houses dealing in museum-quality pieces. A place
like this is ideal for you to visit. Not only can you slide under a dress-
ing table, but you will meet new acquaintances who share your pas-
sion – but from a different perspective. You will find a helping voice
who will delve into his high regard for high art.
At these galleries you will find a helping hand from the craftsmen of
the past who built this furniture. By standing in front of these pieces
you will see how to successfully join a case that will last for centuries or
manipulate shadows through mouldings that highlight a highboy.
At Nathan Liverant and Son I can open the drawers and even take
them out. I can measure the moulding or remove a hood to see how
it was constructed. In fact, I was searching for hidden compartments
a few minutes after I walked through the front doors the first time!
162 MOULDINGS IN PRACTICE

Seeing this furniture – touching it or taking it apart – is necessary

even if you have no intention of making period pieces. Once you have
the ability to create any option, you will need options. By standing in
front of a piece or even looking at measured drawings you are able to
join the progression of design by standing on the shoulders of those
who worked before us.
You might not be interested in Connecticut Valley period furniture,
but it will stimulate your thoughts. The following pages contain a
small sampling of the pieces recently for sale at Nathan Liverant and
Son. The descriptions of the pieces were written by Kevin J. Tulimieri
of Nathan Liverant and Son Antiques. The formal photos were taken
by Ron Meadows of Meadows Marketing Inc. and are courtesy of
Nathan Liverant and Son Antiques. The photos in the showroom were
taken by me.
Let them serve as a portion of your inspiration.
Mouldings from 8 pieces 163
164 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 165

Brewster Dayton High Chest

A rare Queen Anne cherry high chest of drawers with Spanish feet
and carved shell. Attributed to Brewster Dayton (active 1755-1796) of
Stratford, Conn., 1765-1795.
Dimensions: height: 75", width of lower case: 39", depth of lower
case: 21". Width of upper case: 37", depth of upper case: 191/8 ", width of
cornice: 41", depth of cornice: 213/8 ".

This rare Queen Anne cherry high chest is attributed to Brewster

Dayton (active 1755-1796) of Stratford, Conn. Among the notable design
and construction elements associated with Dayton’s furniture are the
carved Spanish feet with a wide center toe, mouldings and pilasters
joined to the case with wooden pins, drawer blades constructed of a
1" strip of cherry backed by a wide piece of tulip poplar and the use of
a toothing plane to finish the inside of the upper case. Dayton’s work
features a fine attention to detail, quality native materials, classic
proportions and an eclectic mix of architectural and regional influ-
ences. Among the most distinctive design elements used by Dayton on
this Queen Anne high chest are the large moulded keystone-shaped
capitals worked into the complex cornice moulding. Supported from
below by engaged pilasters, these large cornice moulding projec-
tions are related to furniture made in Boston and the North Shore of
Massachusetts. However, Dayton was trained in Long Island and the
large “C”-scroll returns and carved Spanish feet reflect a connection
to New York City and Philadelphia. But Dayton was not only aware of
regional styles, he was also aware of the changes in styles over time.
This fine high chest retains the double waist moulding often associ-
ated with the earlier William & Mary period. The use of this older
design reflects Dayton’s efforts to please the conservative taste of the
Stratford and Housatonic River Valley community. Combining sophis-
ticated design and an attribution to Brewster Dayton, this Queen
Anne cherry high chest illustrates the high quality of craftsmanship
that thrived in 18th-century Connecticut.
166 MOULDINGS IN PRACTICE

Brewster Dayton High Chest, Crown Perspective.

2"

R3/16" 1/8"

R7/16"

R7/16"

1/8"

31/4"

R 11/2"

R1/8"

1/16"

R3/8"
3/16"
Brewster Dayton High Chest, Crown.
 Mouldings from 8 pieces 167

11/8"
3/4"
3/16"
1/8"

113/16"
19/16"
17/16"

5/16"
11/16" 3/16"

7/16"
5/16"
1/4"

Brewster Dayton High Chest, Crown, Step 1.

3/4"

3/16"

Brewster Dayton High Chest, Crown, Step 2.

168 MOULDINGS IN PRACTICE

9/16"

Brewster Dayton High Chest, Crown, Step 3.

Brewster Dayton High Chest, Crown, Step 4.

 Mouldings from 8 pieces 169

Brewster Dayton High Chest, Crown, Step 5.

Brewster Dayton High Chest, Crown, Step 6.

170 MOULDINGS IN PRACTICE

Brewster Dayton High Chest, Waist &

Undermould, Perspective.

5/16" 3/8"

1/16"
5/16"
9/16"

R7/16"

11/8"

Brewster Dayton High Brewster Dayton High Chest,

Chest, Waist. Waist, Step 1.

23/8"

1/32" R1/4"
5/8"
17/8" 7/16"

R3/8"

Brewster Dayton High Chest, Undermould.

 Mouldings from 8 pieces 171

5/16"
1/4" 17/8"

1/4" 3/16"
3/8"

Brewster Dayton High Chest, Undermould, Step 1.

Brewster Dayton High Chest, Undermould, Step 2.

Brewster Dayton High Chest, Undermould, Step 3.

Brewster Dayton High Chest,

Undermould & Waist, Step 4.
172 MOULDINGS IN PRACTICE

Brewster Dayton High Chest, Base Perspective.

1/8"

R3/8"

1/16"
R1/4"
13/8"

11/16"

5/8"

Brewster Dayton High Chest, Base, Complete.

11/16"
3/8"
1/16"
3/16"

5/16"
7/16"

Brewster Dayton High Chest, Base, Step 1.

 Mouldings from 8 pieces 173

Brewster Dayton High Chest, Brewster Dayton High Chest,

Base, Step 2. Base, Step 3.

Brewster Dayton High Chest, Crown.

Brewster Dayton High Chest, Waist & Undermould.

174 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 175

Wilcox Group Flat-Top High Chest.

A fine and rare Queen Anne cherry flat-top high chest featuring
bold cabriole legs, a complex scrolled apron and double-fan carved
box drawers. Wethersfield School, attributed to the Wilcox Group of
Middletown, Conn., 1765-1790.
Dimensions: height: 70", width of lower case: 381/2 ", depth of lower
case: 191/4 ". Width of upper case: 353/4 ", depth of upper case: 171/2 ",
width of cornice: 39", depth of cornice: 191/4 ".

This fine and rare Queen Anne cherry high chest features design
and construction details that support an attribution to an impor-
tant group of Connecticut Valley furniture makers. The fitted small
drawer arrangement flanking the carved fan drawer in the upper
case is typical of high chests made in Wethersfield, Conn. However,
the rare and important variation of the scrolled apron with spurred
returns supports an attribution to the Wilcox Group of Middletown,
Conn. Although separated by only 12 miles, the 18th-century towns
of Wethersfield and Middletown produced different furniture forms.
Closely associated with the capital in Hartford, Wethersfield furni-
ture features a conservative aesthetic of gentle sweeping curves. As
Middletown grew into an active river port, involved in the Caribbean
and coastal trade, its furniture began to reflect the energy and vigor of
its citizens. During the mid-to-late 18th century, Middletown cabinet-
makers began to employ compact reversing cyma curves and pointed
scrolled returns to activate space and create rococo-inspired decora-
tion. Identification of the Wilcox Group is based on a closely related
Queen Anne cherry bonnet-top high chest illustrated in “Connecticut
Valley Furniture,” by Thomas Kugelman, Alice Kugleman and Robert
Lionetti, Catalog 51, page 122. The Wilcox high chest was originally
owned by Joseph Wilcox (1741-1832) and Marian Bacon (1762-1825)
of Middletown and was likely made at the time of their marriage in
November 1785. Both high chests share the standard Wethersfield
scrolled apron design activated and invigorated into a new aesthetic.
The design, proportions and carved details of this Queen Anne cherry
high chest all suggest the hand of a master cabinetmaker.
176 MOULDINGS IN PRACTICE

Wilcox High Chest, Crown, Perspective.

11/2"

R3/8" 7/16"

3/8" 11/8"

R1"
23/8"

7/16"
1/16"
R1/4"
7/16"

R1/4"
1/8"

Wilcox High Chest, Crown.

R3/8" 5/16"
1/4"

Mouldings from 8 pieces 177

17/8"
11
1 /16"
7/16"
3/16"
1/8"

7/16"
15/16" 11/16" 5/8"
7/8"

Wilcox High Chest, Crown, Step 1.

3/4" 5/8"

Wilcox High Chest, Crown, Step 2.

Wilcox High Chest, Crown, Step 3.

178 MOULDINGS IN PRACTICE

Wilcox High Chest, Crown, Step 4.

Wilcox High Chest, Crown, Step 5.

Wilcox High Chest, Wilcox High Chest,

Crown, Step 6. Crown, Step 7.
 Mouldings from 8 pieces 179

Wilcox High Chest, Waist, Perspective.

7/16"

3/16"

7/16"
R7/16"

7/8"
R5/8"

3/16"

11/4"

Wilcox High Chest, Waist.

13/16"

9/16"
3/8"

7/16"
9/16"
5/8"

Wilcox High Chest, Waist, Step 1.

180 MOULDINGS IN PRACTICE

Wilcox High Chest, Waist, Step 2.

Wilcox High Chest, Waist, Step 3.

Wilcox High Chest, Waist, Step 4.

 Mouldings from 8 pieces 181

Wilcox High Chest, Crown.

Wilcox High Chest, Waist.

182 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 183

Isaac Tryon High Chest.

A Queen Anne cherry bonnet-top high chest of drawers featuring

bold turned finials, complex carved fans and scrolled apron. Attributed
to Isaac Tryon (1742-1823) of Glastonbury, Conn., River Valley (1775-
1800). Cherry with Eastern white pine secondary wood.
Dimensions: height to top of finial: 855/8 ", width of lower case: 42 ",
depth of lower case: 16 ", width of upper case: 38 ", depth of upper case:
18 ", width of cornice: 401/2 ", depth of cornice: 193/4 ".

This fine Queen Anne cherry bonnet-top high chest of drawers

features the maximum decoration available at the time and required
the full extent of the Connecticut cabinetmaker’s expertise. The skill
required to turn the bold finials is matched by the skill required to
carve a perfect bead around the upper fan without leaving a tool
mark. The combination of turning and joining expertise in one shop
marked the highest level of an 18th-century cabinetmaker’s ability.
And this high chest is attributed to one such master, Isaac Tryon of
Glastonbury, Conn. Glastonbury’s early roots as part of Wethersfield
are seen in the furniture design and construction. Tryon was clearly
influenced by, and likely trained in, Wethersfield. However, he adds
details to the carving and scrolled apron that show an important con-
nection to New London County furniture. The carved sunburst in the
center plinth is found on the best Wethersfield School high chests.
Tryon adapted and enlivened the design by adding a series of punch-
work dots around the outside. He also enlivened the shell carving in
the upper case by adding a deeply carved bead around the outside and
part way down the rays. And to make sure he had enough decoration
on the shell, he finished by adding more punch-work around the bead.
This technique of adding carved decoration outside of the carved
shells was used widely in New London County and in Colchester, in
particular. Glastonbury’s location just north of Colchester allowed for
the combination of elements to mix together and resulted in a new
style. In the fine Queen Anne high chest, Tryon succeeds in com-
bining the intricate carved details of the Colchester School with the
graceful curve of an arched bonnet top from the Wethersfield School.
184 MOULDINGS IN PRACTICE

Tryon High Chest, Crown, Perspective.

11/2"

R3/8"
R5/8"

3/8"

2 5/16"
R5/8"

R1/4"
3/16"

R1/4"
5/16"

Tryon High Chest, Crown.

 Mouldings from 8 pieces 185

7/16"
1/8"

7/16"

3/16"

1/8"

1"

9/16"
1/2" 5/16"
7/16"

Tryon High Chest, Crown, Step 1.

Tryon High Chest, Crown, Step 2.

Tryon High Chest, Crown, Step 3.

186 MOULDINGS IN PRACTICE

Tryon High Chest, Crown, Step 4.

1/32"
1/4"

1/4"
R1/4"

Tryon High Chest, Drawer Lip.

1/4"

1/32"

Tryon High Chest, Drawer Lip, Step 1.

Tryon High Chest, Drawer Lip, Step 2.

Tryon High Chest,

Drawer Lip, Perspective.
 Mouldings from 8 pieces 187

Tryon High Chest, Inside Bonnet, Perspective.

3/8" 3/8" 9/16"

5/16"

3/16"
1/16"
1/16"

1/8"
Tryon High Chest, Inside
9/16" Bonnet, Step 1.
R1/2"

Tryon High Chest, Inside

Bonnet, Step 2.

Tryon High Chest, Inside Bonnet.

 188 MOULDINGS IN PRACTICE

Tryon High Chest, Waist, Perspective.

3/16"

R3/8" 13/16"
R5/8"

3/16"

13/16"

Tryon High Chest, Waist.

13/16"
7/16"

3/8"
9/16"

Tryon High Chest, Tryon High Chest,

Waist, Step 1. Waist, Step 2.
 Mouldings from 8 pieces 189

Tryon High Chest, Crown.

Tryon High Chest, Waist.

190 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 191

Rhode Island Maple Chest.

A Chippendale maple tall chest featuring a shell-carved drawer

with three-part façade and tall bracket feet. Rhode Island, 1760-1785.
Maple with chestnut secondary wood. Grain paint decoration added
1825-1845. Replaced brass hardware.
Dimensions: height: 563/4 ", width of case: 36", depth of case: 18",
width of cornice: 393/8 ", depth of cornice: 197/8 ".

This impressive Chippendale maple tall chest features a strong

design with a complex cornice over six graduated drawers and tall,
straight bracket feet. The heavy nature of the cornice moulding was
favored by the earlier William & Mary and Queen Anne periods and
suggests a mid-18th-century date. The top drawer is carved to simu-
late three small drawers, and a carved shell is added to the center
false drawer. However, the shell is placed too high on the façade and
nearly goes off the top edge while leaving a gap below. This combina-
tion suggests the cabinetmaker was trained in the Queen Anne period
and was trying to adapt to the new Chippendale carving. This is sup-
ported by the use of straight bracket feet, an earlier design than the
ogee bracket feet more common to the Chippendale period. Although
the cabinetmaker might have had a problem with the carved shell, he
executed the chest with skill and confidence. The cornice moulding
projects into space and shows a complexity of line, curve and form
created by a skilled hand. The tall case features drawers with fine
thumb-moulded edges and a well-articulated graduation from narrow
on top to deep on the bottom. The base is also skillfully constructed
and features a simple but effective deep cove. The feet are 9" tall and
have solid glue-block construction behind. The proportions of the base
and dramatic drawer graduation give the chest a vertical thrust that
radiates through the cornice and outward. The simulated three-part
drawer with carved fan design, supported by chestnut secondary wood
construction, confirms an attribution to Rhode Island. Influenced by
the high-quality cabinetmakers of Newport, craftsmen throughout
the state created fine furniture for use in local towns. South County
Rhode Island is known for its well-made maple furniture similar to
this Chippendale tall chest.
192 MOULDINGS IN PRACTICE

Rhode Island Chest, Crown, Perspective.

3/4"

111/16" 21/4"

R9/16"

3/16"

Rhode Island Chest, Crown, Section A.

 Mouldings from 8 pieces 193

5/16"

5/16"

Rhode Island Chest, Crown, Sec. A, Step 1.

Rhode Island Chest, Crown, Sec. A, Step 2.

15/16"

R5/8" R1/2"

11/2"
1/4"
R3/8"

R3/8"

1/32"
1/16"

Rhode Island Chest, Crown, Sec. B .

194 MOULDINGS IN PRACTICE

7/8"

1/2"
3/8"
1/16"

3/8"
9/16"
5/8"
7/8"

Rhode Island Chest, Crown, Sec. B, Step 1.

Rhode Island Chest, Crown, Sec. B, Step 2.

Rhode Island Chest, Crown, Sec. B, Step 3.

 Mouldings from 8 pieces 195

Rhode Island Chest, Crown, Sec. B, Step 4.

Rhode Island Chest, Crown, Sec. B, Step 5.

Rhode Island Chest, Crown, Sec. B, Step 6.

196 MOULDINGS IN PRACTICE

Rhode Island Chest, Base, Perspective.

1/16"

R11/4"

Rhode Island Chest, Base.

 Mouldings from 8 pieces 197

9/16"

9/16"

Rhode Island Chest, Base, Step 1.

Rhode Island Chest, Base, Step 2.

198 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 199

Chippendale Apple Secretary.

A Chippendale apple secretary desk and bookcase featuring triple-

cusp scrolled returns. Colchester School, possibly Hebron or Lebanon,
Conn., 1785-1805.
Dimensions: height: 765/8 ", width of lower case: 421/8 ", depth of
lower case: 193/4 ", width of upper case: 40 ", depth of upper case: 10 ",
width of cornice: 427/8 ", depth of cornice: 111/4 ".

This Chippendale apple secretary desk and bookcase features

subtle decoration executed with fine quality and strong lines. The
tall and stable straight bracket feet are adorned with triple scrolls,
featuring a large lobe, a small pointed return and a second smaller
lobe. The graduated asymmetrical returns are a simple but effective
design showing awareness of more sophisticated New London County
furniture made in the urban centers of Norwich and New London.
However, this secretary was made in the Colchester area, likely in the
successful farming community of either Hebron or Lebanon. Instead
of complex serpentine forms or carved decoration, the cabinetmaker
relied on the inherent beauty of native apple. He relied on his skill
at creating quality lines and form to exploit the interesting patterns
within the material. The irregular nature of the grain in apple makes
it a challenge to use in furniture. The reward is the beautiful figuring
and warm reddish-yellow tone. The large flat panels used in the book-
case display apple at its finest. Two bookmatched sections of apple are
used for the two door panels, each with the pattern of striped figuring
is set at complementary angles. To accentuate the natural beauty of
the panels, the cabinetmaker has created a bold projecting cornice
moulding. The layering of narrow and wide sections meets in the
front corners with flaring lines pointing back toward the panels. The
original owner of this secretary may have lived in a rural farming
community, but he was successful enough to own books. Displayed in
an 18th-century home, the secretary was a statement that the owner
could read and write. This was an important status symbol at the
time and was a sign of education, knowledge and success.
200 MOULDINGS IN PRACTICE

Chippendale Secretary, Crown, Perspective.

R 5/16"

1/16"

R 1/4"
R3/8"
1/8"
1/8" 17/16"

1/16"
5/16"
R 1/4"
R 5/8"

23/8"

Chippendale Secretary, Crown.

 Mouldings from 8 pieces 201

27/16"
21/8"
2"
113/16" 3/16"
15/8" 5/16" 7
/16"1
17/16" /2"
11/16"
15/16"
7/8" 13/16"
15/16"
3/4"
11/16"
1/4" 13/16"
17/16"

Chippendale Secretary, Crown, Step 1.

Chippendale Secretary, Crown, Step 2.

Chippendale Secretary, Crown, Step 3.

202 MOULDINGS IN PRACTICE

Chippendale Secretary, Crown, Step 4.

Chippendale Secretary, Crown, Step 5.

 Mouldings from 8 pieces 203

Chippendale Secretary, Waist, Perspective.

3/16"

R3/8"

1/16" 11/16"

R3/8"
3/16"

1"

Chippendale Secretary, Waist.

1"
11/16"
1/2"
1/16"

3/16"
1/4"
1/2"

11/16"

Chippendale Secretary, Waist, Step 1.

204 MOULDINGS IN PRACTICE

Chippendale Secretary, Chippendale Secretary,

Waist, Step 2. Waist, Step 3.

Chippendale Secretary, Base, Perspective.

1/16"

R3/8"
R5/8"
15/16"
1/8"

R1/2"
1/8"

11/4"

Chippendale Secretary, Base.

 Mouldings from 8 pieces 205

11/4"
15/16"
11/16"

1/2"

1/8"

7/16"
9/16"
13/16"
15/16"

Chippendale Secretary, Base, Step 1.

Chippendale Secretary, Chippendale Secretary,

Base, Step 2. Base, Step 3.
206 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 207

Cherry Chippendale Tall Chest.

A Chippendale cherry tall chest featuring a bold cornice, twist-

carved quarter columns, a gadrooned base and ogee bracket feet.
Upper Connecticut River Valley, Deerfield, Mass., north to Vermont,
1790-1815.
Dimensions: height: 575/8 ", width of case: 41", depth of case: 181/4 ",
width of cornice: 441/2 ", depth of cornice: 181/4 ".

This large-scale Chippendale cherry tall chest features the most

accomplished design elements of an Upper Connecticut River Valley
cabinetmaker. The large case is tall and packed with drawers, and
the carved elements surround the drawers. The central box drawer in
the case is flanked by four smaller drawers inspired by the mid 18th-
century Queen Anne high chests made in the Wethersfield area of the
Central Connecticut River Valley. Interestingly, the bold twist-carved
quarter columns and the gadrooned base show the influence of New
London County furniture. With a large population of Connecticut set-
tlers flowing north after the Revolutionary War, the area was filled
with traveling cabinetmakers sharing ideas. This miniature melting
pot resulted in fine furniture made to each craftsman’s individual
taste. Although working in a remote location, this cabinetmaker
exhibits excellent construction techniques throughout the case, draw-
ers and applied elements. The unusual large thumb moulding of the
drawers shows an exacting attention to detail. To enhance the tra-
ditional Queen Anne-inspired Chippendale design of the case, the
cabinetmaker has added inlaid patera to the drawer fronts. Each tri-
angular piece of the patera is handmade and sand-burnt for a gradu-
ated shading. The wide cornice moulding shows a simple profile, but
the scale and design balances the strong frame elements of the carved
columns and base. The whole piece is balanced on four bold ogee
bracket feet with pointed scrolled returns found on large numbers of
examples of Massachusetts furniture. No doubt made to impress, this
Chippendale tall chest survives in excellent condition, a testament to
the many generations who cherished it.
208 MOULDINGS IN PRACTICE

Cherry Chippendale Chest, Crown, Perspective.

13/4"

R1/4"

1/2"
3/8"

23/8"
R5/8"

R5/16"

1/8"

1/4"

3/16"

Cherry Chippendale Chest, Crown.

 Mouldings from 8 pieces 209

115/16"

113/16"

15/16"

11/16"

7/16"

1/4"

1/8"
1/4"

5/8"

19/16" 11/4"
17/16"

Cherry Chippendale Chest, Crown, Step 1.

Cherry Chippendale Chest, Crown, Step 2.

210 MOULDINGS IN PRACTICE

Cherry Chippendale Chest, Crown, Step 3.

Cherry Chippendale Chest, Bracket, Perspective.

 Mouldings from 8 pieces 211

1/8"
R5/16"

R5/16"

1/16"
9/16"

R 23/4"

61/16"

R 11/2"

3/8"

7/8"

Cherry Chippendale Chest, Bracket.

 212 MOULDINGS IN PRACTICE

49/16"

27/16"

11/16"
1/2"

1/4"
3/8"
3/16"

7/16" 3/8" 9/16"

9
11/16" /16"

Cherry Chippendale Chest, Bracket, Step 1.

Cherry Chippendale Chest, Bracket, Step 2.

Cherry Chippendale Chest, Bracket, Step 3.

Cherry Chippendale Chest, Bracket, Step 4.

 Mouldings from 8 pieces 213

Cherry Chippendale Chest, Crown.

Cherry Chippendale Chest, Bracket.

214 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 215

Federal Tall Case Clock.

A Federal mahogany tall case clock featuring an eight-day brass

movement by William Cummens (1788-1834) of Roxbury, Mass.,
1790-1815.
Dimensions: height to top of finial: 94 ", width of cornice: 203/8 ",
depth of cornice: 10 ", width of waist section: 133/8 ", depth of waist sec-
tion: 63/4 ".

Created with figured mahogany, classical proportions and refined

details, this clock features a sense of the latest fashions mixing in
Boston at the end of the 18th century. The luxurious mahogany veneer
case, topped by the most delicate scrolled fretwork, was made to
house the equally valuable eight-day brass movement. The movement
was made by William Cummens (1788-1834) of Roxbury, an appren-
tice of the noted clockmaker Simon Willard (1753-1848). Willard was
one of America’s most successful clockmakers and inventors, as well
as the founder of a clock-making dynasty. During his long appren-
ticeship, Cummens learned his lessons well. He created high-qual-
ity timepieces during a successful career that lasted more than 30
years. Unfortunately, the equally skilled cabinetmaker who made the
clock’s case remains unknown. As is the situation with the majority
of American tall clocks, the dial is marked by the clockmaker, while
the case is unsigned and difficult to attribute. But whoever the case
maker was, his ability shines through the careful choice of woods, the
durable construction and the finesse of the details. The waist section
door is framed with applied moulding and inlaid stringing to further
accentuate the figured mahogany door panel that features oppos-
ing knot circles of light and dark grain. The well-proportioned base
features tall French feet and inlaid stringing surrounding a single
piece of crotch-grain mahogany adding to the visual lift. Cast brass
elements are applied to the columns on the waist door and the pil-
lars on the hood. All this is surmounted by a deeply shaped cove cor-
nice moulding, cast brass finials and the delicately carved fretwork.
The curvaceous and graceful lines of the fretwork display the highly
trained and sure hand of a gifted cabinetmaker.
216 MOULDINGS IN PRACTICE

Federal Tall Clock, Crown, Perspective.

115/16"

5/8"

R3/16"

27/8"

R3/16"

1/16"

Federal Tall Clock, Crown. R1/4"

 Mouldings from 8 pieces 217

5/8"

1/2"
5/16"
1/4" 15/32"

Federal Tall Clock, Crown, Step 1.

9/16"

Federal Tall Clock, Crown, Step 2.

218 MOULDINGS IN PRACTICE

Federal Tall Clock, Crown, Step 3.

Federal Tall Clock, Crown, Step 4.

 Mouldings from 8 pieces 219

Federal Tall Clock, Crown, Step 5.

220 MOULDINGS IN PRACTICE

Federal Tall Clock, Door Lip, Perspective.

1/2"

5/16"

1/16"
1/32"
R5/16"
1/8"
1/32" 1/4"
3/8" 5/16"
R1/8"

R1/16"
1/16" 11/16"

Federal Tall Clock, Federal Tall Clock,

Door Lip. Door Lip, Step 1.

3/16"

Federal Tall Clock, Federal Tall Clock,

Door Lip, Step 2. Door Lip, Step 3.
 Mouldings from 8 pieces 221

Federal Tall Clock, Waist, Perspective.

1/8"

R1/4"

1/8"

R1/8"

R11/2"
27/8"

Federal Tall Clock, Waist.

3/16"
R11/16"

21/8"
222 MOULDINGS IN PRACTICE

11/16"

3/8"
1/4" 3/16" 1/8"

Federal Tall Clock, Waist, Step 1.

9/16"

Federal Tall Clock, Waist, Step 2.

 Mouldings from 8 pieces 223

Federal Tall Clock, Waist, Step 3.

Federal Tall Clock, Waist, Step 4.

224 MOULDINGS IN PRACTICE

Federal Tall Clock, Base, Perspective.

7/16"
R1/2"

1/4"

Federal Tall Clock, Base.

Federal Tall Clock, Federal Tall Clock,

Base, Step 1. Base, Step 2.
 Mouldings from 8 pieces 225

Federal Tall Clock, Hood Crown, Perspective.

11/8"

1/8"

R3/16" R3/16"

1/16"
13/4"
R7/8"

1/32" R1/8"

R1/8" 1/16"

Federal Tall Clock, Hood Crown.

226 MOULDINGS IN PRACTICE

1/2"
1/4"

1/4"

1/4" 3/16" 1
/8"
1/8"

Federal Tall Clock, Hood Crown, Step 1.

5/16"

Federal Tall Clock, Hood Crown, Step 2.

 Mouldings from 8 pieces 227

Federal Tall Clock, Hood Crown, Step 3.

Federal Tall Clock, Hood Crown, Step 4.

228 MOULDINGS IN PRACTICE

Federal Tall Clock, Hood Base, Perspective.

3/4"

3/16"

R1/2" 11/8"
R3/8"

3/16"

1/8"

Federal Tall Clock, Hood Base.

13/16"

9/16"

3/16"

3/16"
5/16"

5/8"

Federal Tall Clock, Hood Base, Step 1.

 Mouldings from 8 pieces 229

Federal Tall Clock, Hood Federal Tall Clock, Hood

Base, Step 2. Base, Step 3.

Federal Tall Clock, Waist.

230 MOULDINGS IN PRACTICE
 Mouldings from 8 pieces 231

Queen Anne Chest on Frame.

Queen Anne maple chest on frame with scrolled apron and carved
pendant drop. Southeastern Massachusetts, Duxbury area, 1765-1790.
Maple with Eastern white pine secondary wood.
Dimensions: height: 621/4 ", width of case: 341/4 ", depth of case:
177/8 ", width of cornice: 361/4 ", depth of cornice: 19 ".

This Queen Anne maple chest on frame is a testament to the beauty

of elegant simplicity. Lacking carved shells or applied decoration, the
design is a symphony of soft sweeping curves that lead the eye from
one element to the next. Achieving the full ideal of Queen Anne fur-
niture design, the form is created with a series of “C”-scrolls working
in combination. The result is a soft and supple form full of grace and
visual interest. The wide and deep cove moulding of the cornice is
well balanced by the strong cove used for the waist moulding. And
both of these deep concave elements are echoed in the vigorous curves
of the scrolled apron and the compact shape of the cabriole legs. The
curve of the leg is also emphasized by the sharp knee ridge that helps
define the serpentine shape and leads the eye into the scrolled apron.
The sharp knee ridge is a design commonly found on furniture from
the North Shore of Massachusetts. However, the origin of this chest
on frame is in southeastern Massachusetts, probably the Duxbury
area, and this is revealed by the Rhode Island influence of the deeply
scrolled apron with central drop pendant. These details suggest the
chest on frame was created by a cabinetmaker working outside the
two style centers of North Shore Massachusetts and Newport, R.I.
The success of the form also clearly indicates the cabinetmaker had
a fine awareness of a variety of regional designs and the skill to com-
bine them into a unique and beautiful piece of Queen Anne furniture.
232 MOULDINGS IN PRACTICE

Queen Anne Chest on Frame, Crown, Perspective.

1"
7/8"

3/16"

7/16"
R1/4"

3/16"

2 3/4"

R13/16"

1/8"

5/16"
R3/16"

1/8"

R1/4"
1/16"
Queen Anne Chest on Frame, Crown.
 Mouldings from 8 pieces 233

21/8"

15/8"

3/8" 3/16"

1/8" 1/8"

9/16"
11/16"

Queen Anne Chest on Frame, Crown, Step 1.

11/16" 1/4"
1/8" 1/4"

1/8"

Queen Anne Chest on Frame, Crown, Step 2.

Queen Anne Chest on Frame, Crown, Step 3.

234 MOULDINGS IN PRACTICE

Queen Anne Chest on Frame, Crown, Step 4.

Queen Anne Chest on Frame, Crown, Step 5.

Queen Anne Chest on Frame, Crown, Step 6.

 Mouldings from 8 pieces 235

Queen Anne Chest on Frame, Base, Perspective.

R3/16"

R3/4"
115/16"

3/16"

3/8"
R1/4"

1"

Queen Anne Chest on Frame, Base.

236 MOULDINGS IN PRACTICE

19/16"
13/16"
15/16"

1/2" 1/
8"
3/4"

Queen Anne Chest on Frame, Base, Step 1.

Queen Anne Chest on Frame, Base, Step 2.

Queen Anne Chest on Frame, Base, Step 3.

 Mouldings from 8 pieces 237

Queen Anne Chest on Frame, Base, Step 4.

Queen Anne Chest on Frame, Base.

 Appendix 5.
Frequently asked questions.

At woodworking shows I am often asked the following questions

about my tools and techniques. Here are the answers.
“What steel do you use?” O1. I have never had any issue with the
steel. It’s easy to sharpen, maintain and heat-treat. I am fortunate
that my supplier for iron blanks, Lie-Nielsen Toolworks, offers them
in this single option. (Of course, they do so for a reason... .)
“What kind of sharpening stones do you use?” Oilstones, spe-
cifically India and hard Arkansas, as well as a DMT diamond plate
for flattening. I purchased my stones years ago. I’ve never had any
desire to search out another option. I have been using these stones
for approximately six hours every week for two years. I have probably
flattened them 10 times per sharpening day during that period, and I
am nowhere near needing new ones.
I used a waterstone for the first time about six months ago when I
inadvertently left my oilstones at home. The waterstone cut fast and
was a completely viable sharpening medium. Yet, I still find water-
stones inappropriate for moulding planes. Every now and then, usu-
ally with a carving gouge and always on the India stone, I will lift the
tool too high for a single pass. The tool’s edge will catch and I will
gouge the stone. This is not a big problem with oilstones, but might
well be catastrophic with waterstones.
“Do you start at the end of the board and work backward, taking
progressively longer passes?” Many people have become aware of the
technique of starting near the end of a board, taking a pass of a few
inches, then backing up with each subsequent pass to take a longer
stroke. When I started speaking with customers I briefly taught this.
I always felt that I was the odd man out for not using this method. The
truth is that I do it for some applications, but not for most.
Pretty much any time I am using a No. 2 round I use this method
because, as I described earlier, I start on a chamfer instead of a rab-
bet. Cutting a rabbet less than 1/16" is time-consuming. I use this
method here because it is not. It is also easy to keep the small plane
centered on the small chamfer.
 Frequently asked questions 239

I also use this method when using complex planes. The reason is
because a dedicated complex moulding plane, once the curves of the
iron are accounted for, often cuts a significant width. By working
in this manner I have found that it is easier to maintain the proper
spring angle (the angle at which the plane body is oriented) through-
out the cut because the plane is always nestled into a previous path
and the first pass was only a few inches.
I do not use this method for the profiles described previously with
hollows and rounds. Making accurate rabbets is easy because you will
be working to a gauge line. Remaining consistent with the hollows
and rounds is also simple because you work to rabbets, which are
accurate. You will be able to see the high spots from a few feet away
because the rabbets will still be visible.
“Where did you learn the techniques you teach?” I do not know,
specifically. The first magazine article I was exposed to was in Fine
Woodworking’s archives: “Hollows and Rounds: Making the most of
a common pair of planes” by Graham Blackburn. I do not now work
the way he does, though many woodworkers do. I had also watched
Don McConnell’s DVD “Traditional Molding Techniques: The Basics”
(Lie-Nielsen Toolworks).
Somewhere in there I started using the rabbets as depth gauges
and deliberately setting up the two points upon which the hollow and
round sit at the angle the profile is oriented. I have no reason to think
that this is historically accurate. It is, however, accurate. The more
you use these planes the less deliberate you will be.
I learned the technique I teach by failing at my bench. A luxury
of these planes is that you will always know where you went wrong.
Mistakes are usually quickly apparent.
“What other information is out there?” The previously mentioned
DVD by Don McConnell is a gold mine for anybody looking to take
this process and skill one step further. Mouldings evolved throughout
the centuries. Their evolution was an art; the shapes of mouldings are
now carved in carbide instead. Don’s DVD addresses the layout in a
way that I cannot. He is an encyclopedia of knowledge in this regard.
 Afterword: on failure.

A willingness to execute only that in which you know you will suc-
ceed seems anticlimactic and will result in stagnation and eventual
decline. Make each project that you choose more difficult than the
previous. Do not search for failure, but be willing to lose. At first,
nail two boards together to see if you are interested in working wood.
Then do something with a lap joint, a mortise and tenon and, ulti-
mately (?), dovetails.
Physically failing is the proper method of learning how to work
wood. If you only study this work and always follow a prescribed set of
actions you will have to read or remember the “how to” of each task
each time you perform it. Blowing out grain teaches you that grain
blows out. Rebuilding reminds. However, reading about blowing out
grain on a tenon shoulder will teach you only that “Step 4” comes
before “Step 5,” and if you think you may have forgotten, check the
bookmarks on your browser.
It’s OK if the wood tells you that you are carving in the wrong
direction when you’re making your first volute. There is nothing
wrong with unknowingly blowing out the grain on the back of a
through-mortise your first time. This is OK. In fact, incorrectly judg-
ing grain or completely disregarding it on occasion will teach you
why you should work a panel across the grain before working with it.
Performing a task at your bench a few times, without having exhaus-
tively studied it before, will teach you that many results happen in
all cases. Planing the shoulder of a tenon will teach you the order in
which you should mould the four edges of a tabletop. Simply reading
about these things will not.
Put something in the burn pile once a year. Push yourself. Be will-
ing to fail. I have always been willing to fail at my bench. Tie yourself
to an action by doing it. Let the results speak for themselves and be
willing to listen. The tool will tell you if it is sharp after that first time
you sharpen it without a honing jig – a sharp tool is nearly effortless to
use and is always easier to push than you expect. You will know when
your dovetails are tight enough based on your previous mortises and
tenons, which you knew were tight enough based on your box joints.
You will see if your curves are fair, your proportions are pleasing and
 AFTERWORD241

your finish is inspiring so long as you have previously defined some

other curve, proportion or finish as being good.
You will not learn to carve a ball-and-claw foot or design your own
chair by chance. You do not need to be walked through what is accept-
able and what is not. Be willing to say something is good and to do
something poor in an effort to produce “good.” Compare your work
to others’ that is better. Be willing to redefine “better.” You will then
know more regarding how to get things right.
To make something good you must start with more than the basic
knowledge of knowing how to produce something repeatably. You
must be able to physically do it. Try the various profiles in the previ-
ous pages. Start with the simple, single, slight curves and progress to
the crowns. Test yourself and measure your results against another
woodworker. Place your curves against a product that was created
and sold at the height of excess and elaboration. Do this at your bench.
Be willing to succeed by being willing to fail. Tie yourself to your
actions. Stop reading. Err!
 Acknowledgements.

A host of people have contributed to the existence of this book, this

business and my passion for the craft.
I met Don Boulé while visiting my in-laws in Haddam Neck, Conn.
I was a woodworker within 10 minutes. My goal of making an armed
Chippendale chair was set. Don afforded me the opportunity to work
in his shop during my vacation weeks. I now live in Haddam Neck and
we meet one night a week, along with his son, Chris, to work on our
own projects. Don sets my standard.
I consider Thomas Lie-Nielsen of Lie-Nielsen Toolworks to have
one of the most important jobs in the country. He makes us all want
to go to work and earn money so we can go home and work more.
Thomas has produced many of my favorite tools to use along with
several upon which I gladly rely. I would not survive as a business
without the atmosphere afforded to me at Lie-Nielsen’s Hand Tool
Events. Plus, I love attending them.
Charles Bender of The Acanthus Workshop approached me at a
woodworkers’ guild meeting in Philadelphia. He happened to attend
the meeting when I brought my newly completed set of hollows and
rounds to demonstrate. Chuck asked if I would be willing to make
him a set or sell mine. I turned him down, stating that I had no inten-
tion of making any more. Two years later I crossed paths with Chuck
again and he asked a second time. I don’t consider myself vain, but I
wanted my name in his shop 18 times.
I often get asked about the era of plane I reproduce. My response
is always that I make faithful reproductions of faithful reproductions.
Larry Williams and Don McConnell of Old Street Tool produce 18th-
century British planes. The tools that they make are the planes that I
wanted and set the standard and goal of my daily work. Without their
involvement in the craft through woodworking forums online or vid-
eos produced by Lie-Nielsen, my product would not exist and I would
be left with my antique planes…working to some degree.
Chris Schwarz was once just the editor of a magazine I read,
Popular Woodworking, with a blog I enjoyed. Without his encourage-
ment, passion and help this book would be a 10-page pamphlet that
 243

I handed out at shows to people who asked if I had any literature

regarding the previous 30 minutes of discussion. Chris told me to
rewrite many of the first chapters and I knew that we were thinking
along the same lines. He, and the team he assembled, has shaped this
book far beyond my expectations.
Which brings me Konrad Sauer of Sauer & Steiner and the men of
Benchcrafted, Jameel Abraham and Father John, who would never
consider handing out a photocopied pamphlet from their booth. While
many people have shaped my product and this book, I am still strug-
gling to copy the quality of business of these three.
Raney Nelson began Daed Toolworks around the same time that I
began my business. He’s a good friend, a great copy editor and makes
the only tool I own that I wipe my fingerprints off, steel and infill
alike.
John Bickford, my father, took the many pictures in my shop that
are included in the text. After 34 years he is still just as patient as
when he fixed my Lone Ranger doll.
Arthur Liverant opened his antique house, Nathan Liverant and
Son Antiques, to me in a fashion that is hard to repay. When I pro-
posed the idea I had slight hope he would agree. He smiled and said
“absolutely.” He allowed me full access to look, measure, draw and
publish. I am grateful.
Kevin Tulimieri, also of Nathan Liverant and Son, contributed
much more than the descriptions of the pieces in appendix 4. His
shared passion was welcomed; his guidance and knowledge were
needed.
Finally, to the many woodworkers who have come to my bench and
classes with a genuine interest and willingness to participate, thank
you for helping me shape the discussion about moulding planes.
 Index.

A.
arrises
Rule No. 2 (arrises and convex portions), 98 fig 10-2, 101
see also under rabbets
astragal
side-bead plane and, 91 fig 9-10
snipes-bill plane and, 84

B.
Bender, Charles, 153
Blackburn, Graham, 239
blending (profile elements)
adjusting the iron for, 18
ovular shapes and, 110 fig 11-11, 111, 112 fig 11-19, 113
quirk and, 79
side-round plane and, 94 fig 9-16
smaller profiles and, 113
Boulé, Don, 146
boxing
rabbet plane and, 48
snipes-bill plane and, 78-79
bullnose (or torus), 30

C.
chamfers
define the moulding shape, 39
depth gauge for hollows, 63, 65-69
guide for hollows, 38, 39, 54-55, 56, 57, 58, 116
hollows and rounds and, 25, 38
ideal size and angle of, 72-74
the sweet spot, 75 fig 7-5
large planes and, 71
layout examples with, 58, 60-62, 72-75
moulding profiles and chamfers
arcs over 60°, 68-70, 74
linenfold, 117
ogee, 60, 61, 73
 245

ovolo, 29-30, 58, 66, 102, 103

ovular ovolo, 110-112
reverse ogee, 32
smaller profiles, 113
torus, 30
Venetian, 36
planes and chamfers
round plane, 52-53, 118, 119, 238
side-round plane, 93
snipes-bill plane, 83-84
Rule No. 1 (chamfer for convex parts), 98 fig 10-1, 101, 102, 103
shavings and, 47, 55-56, 63, 65, 66
chutes. See rabbets
Clark & Williams, 149
clogging. See under plane body maintenance
color key for illustrations, 7
cornice. See under moulding profiles
cove (or cavetto), 28-29.
see also cavetto under moulding profiles
cyma recta (or ogee), 31
see also ogee under moulding profiles
cyma reversa (or reverse ogee), 32-33
see also reverse ogee under moulding profiles

D.
depth gauge, 12
chamfers and rabbets as, 29, 63, 65, 67-69, 72
shavings and predetermined depth, 65
depth stop
dedicated (complex) profile planes, 10, 11, 12
moving fillister plane, 38 fig 4-1
plow plane, 39 fig 4-2
rabbet plane, 39, 41, 46
single profile planes, 12-13, 38, 114
dubbing. See stropping under sharpening

F.
facets. See chamfers or quirks or rabbets
246 MOULDINGS IN PRACTICE

fence
chamfers or rabbets in place of, 55, 62
dedicated profile planes, 10, 11, 12
fingers as fences, 42, 45, 46, 86, 90
moving fillister planes, 38, fig 4-1, 40
plow planes, 39 fig 4-2, 40
rabbet planes, 39, 40-41
single profile planes, 13, 38
fillet
dedicated (complex) profile planes, 8
layout and the simplest forms, 100-103
moulding profiles with, 25-26, 106
cove, 59 fig 5-22
ogee, 60 fig 5-24
ovolo, 29-30
ovular shapes, 106
rabbets, 58, 65
reverse ogee, 62 fig 5-28
moulding templates and, 154-156
planes and fillets
rabbet plane, 45
side-round plane, 90, 91
snipes-bill plane, 80, 85, 86
Rule No. 3 (rabbet for each fillet), 98 fig 10-3, 101
Rule No. 4 (profile changes directions), 99 fig 10-4, 101
finger fences. See hand positioning

G.
green honing compound. See stropping under sharpening

H.
half set, 24-25
see also hollows and rounds
hand positioning
iron placement and, 18 fig 2-15
rabbet plane and, 41, 42-45, 46
round upon a chamfer, 53 fig 5-8
side-escapement plane and, 21 fig 2-18
side-round plane and, 90 fig 9-7, 9-8
 index247

snipes-bill plane and, 86 fig 8-21 to 8-24

Hollows and Rounds: Making the most of a common pair of planes
(Blackburn), Fine Woodworking, 239
hollows and rounds. See under planes
hyperbolic shapes, 35, 108, 111

I.
irons
adjustment for different woods, 16
be proud, 89
dedicated (complex) planes, 10 fig 2-5, 11
moving fillister, 38
parts of, 16 fig 2-12
plow plane, 39 fig 4-2
rabbet plane, 41, 45 fig 4-8
resetting for accuracy, 18
set-up, 16-19
side-escapement plane, 18, fig 2-15, 20
side-round plane, 87, 89, 94-95
snipes-bill plane, 80
table: plane numbering, radius and blade width, 14
wedge and, 16, 17 fig 2-13, 19

L.
layout
layout Rules No. 1-8, 98-100
layout to simplest forms, 82, 92, 96, 101, 104, 111
Lie-Nielsen Toolworks, 149, 151, 238
linenfold, 117
see also under moulding profiles

M.
Making Traditional Side Escapement Planes DVD (Williams),
Lie-Nielsen Toolworks, 149
McConnell, Don (of Old Street Tool), 85, 105, 148, 239
Meadows, Ron (of Meadows Marketing), 162
mistakes
avoiding
attention to facets, 143
248 MOULDINGS IN PRACTICE

steering, 142-143, 144

undersizing arcs, 143-145
correcting
plane tracks, 138, 140
reestablish rabbets and chamfers, 141-142
shaped scraper, 50, 139-140
mouldings broken down to simplest forms, 82, 92, 96, 100-105, 111
mouldings from 8 historical pieces, 160-237
Brewster Dayton High Chest, 163-173
Cherry Chippendale Tall Chest, 206-213
Chippendale Apple Secretary, 198-205
Federal Tall Case Clock, 214-229
Isaac Tryon High Chest, 182-189
Queen Anne Chest on Frame, 230-237
Rhode Island Maple Chest, 190-197
Wilcox Group Flat-Top High Chest, 174-181
moulding profiles
base, on an 18th c. secretary, 102-103
cavetto
layout examples, 28-29, 59, 73-74, 101, 107, 109
large angle, 29, 68
rabbet as depth gauge for, 28, 63-65
side-round plane and, 92, 93, 96
cornice, on an 18th c. secretary, 104-105
Traditional Molding Techniques: Cornice Moldings DVD
(McConnell), Lie-Nielsen Toolworks, 105
linenfold
layout example, 117 fig 12-11, 12-12
plow plane and, 100 fig 10-7, 116
ogee (cyma recta)
hollows and rounds and, 13, 27
layout examples, 31, 60-61, 73
ovular shapes and, 106, 107
quirked with snipes bill, 81 fig 8-11
ovolo
as part of a complex moulding, 100, 101, 106-107
chamfers and, 29, 66, 73, 102 fig 10-13, 103
dedicated (complex) profile plane, 8 fig 2-1
hollows and rounds and, 27
 index249

layout examples, 29-30, 58, 66, 73

ovular ovolo, 110-113
rabbets and, 51
ovular shapes, 107-113
layout with two circles, 108, 111
reeds, 34
snipes-bill plane and, 80-81
reverse ogee (cyma reversa)
layout examples, 32-33, 62, 101
snipes-bill plane and, 76, 83
scotia
layout, 35
side bead
layout, 33
snipes-bill plane and, 80
three-quarters bead
layout, 34
thumbnail, 113 fig 11-21
layout, 37
torus (or bullnose)
layout, 30
Venetian
layout, 36
waist, on an 18th c. secretary, 100-102
moulding templates. See templates
moving fillister. See under planes

N.
Nathan Liverant and Son Antiques, 161-162
numbering system for hollows and rounds, 14 table

O.
ogee. See under moulding profiles
ovolo. See under moulding profiles
ovular shapes. See under moulding profiles
Old Street Tool, 85, 148, 151
250 MOULDINGS IN PRACTICE
P.
planes
antique, 47, 137, 149
ten points to consider, 150-153
dedicated (complex) profiles, 5
examples, 8-9
limitations, 10-12
precision, 9
spring angle, 8 fig 2-2, 239
working backwards with, 238-239
hollows and rounds
geometry of the sole, 13-14
half set, 24-25
ideal radius, 13
iron set-up, 16-19
moulding profile sampler, 28-37, 101-105, 160-237
numbering system with radius and blade width, 14 table
plane pair selection, 24-25, 27, 106-107
Rule No. 8 (match sole radius to profile), 100 fig 10-8
steering hollows and rounds
on a single point, 50, 51-54, 118-119
on arcs over 60°, 68-70, 74
on ovular or elliptical shapes, 109-113
on small profiles, 113, 120-121
on two points, 54, 56-57
proper angle for chamfers, 47 fig 4-10, 55 fig 5-15, 56
proper angle for rabbets, 54 fig 5-12, 55 fig 5-13, 5-14, 57
rabbets to steer by, 105 fig 10-22
round on a chamfer, 52-53, 118, 119, 238
see also chamfers or rabbets
see also steering under mistakes
versatility, 5, 12, 13, 25-27, 106-108
moving fillister, 38 fig 4-1, 40
plow plane, 39 fig 4-2, 40, 114-117
center grooves and, 40, 115
iron, 39 fig 4-2
Rule No. 7 (flat surfaces), 100 fig 10-7
linenfold moulding and, 100, 117
stock removal and, 40, 115, 116
versus other planes, 115, 117 fig 12-13
rabbet, fixed fence and depth stop, 40
 index251
rabbet, simple unfenced
advantages of, 40-41, 46
basic steps for use, 42-47
boxed corner, 48
chamfers and, 46-47, 116
features, 15 fig 2-11, 40-41
hand positioning, 41
iron set-up, 41
side escapement, 20-23
clogging, 20-22
ideal grain and, 22-23
Making Traditional Side Escapement Planes DVD (Williams),
Lie-Nielsen Toolworks, 149
side round
contrasted with rounds, 88, 92, 94 fig 9-16, 97 fig 9-22
features, 15 fig 2-10, 87-88
hand position with, 90
iron set-up, 89
iron corner and transition points, 94
iron shifted in the mortise, 95
layout examples, 35, 92-94, 96-97
Rule No. 6 (sharp transitions), 99 fig 10-6
plane selection, 89, 91
use 90-92
snipes bill
boxing and the leading edge, 78-79
contrasted with hollows, 78, 82, 84
features, 15 fig 2-10, 76-77, 79
guides for a rabbet plane on an angled face, 85-86
iron, 80
layout examples, 33, 34, 37, 80, 81, 82-84
plane selection, 77, 80
quirk, 78 fig 8-5, 79, 80
Rule No. 5 (quirks and profile interrupted), 99 fig 10-5
use, 80-82
plane body maintenance, 134-137
clogging, 20-22, 41, 80, 123, 137
reasons why a plane clogs, 152
plane tracks. See under mistakes
252 MOULDINGS IN PRACTICE

Q.
quirk
as guide for a rabbet plane on an angled face, 85-86
hollow plane limits and, 78 fig 8-5, 8-6
snipes-bill plane and, 78, fig 8-5, 79, 80

R.
rabbets
arrises
aid to steering, 54, 56, 57
and moulding profile angle, 59, 65 fig 6-4, 108-109
arcs over 60° and, 68-70, 74
define the moulding shape, 39
depth gauge for rounds, 63-71
extra rabbets and large arcs, 71, 105
guide for rounds, 54-57, 105
hollows and rounds and, 25, 38
knock off the corners, 57
larger planes and, 71
layout examples with, 58-62, 72-75, 83, 101-105
moulding profiles and rabbets
cavetto, 28-29, 59
elliptical cove, 109
ogee, 31, 60, 61
on an angled surface, 85-86
ovolo, 29, 30
ovular ovolo, 108-110
reverse ogee, 32-33, 62
torus, 30
Venetian, 36
planes and rabbets
dedicated (complex) profile planes, 11
metal shoulder plane, 46
moving fillister, 38 fig 4-1
plow plane, 39 fig 4-2 40, 115
rabbet plane, 42-46
side-round plane, 93, 96
power tools and, 48-49
Rule No. 2 (arrises and convex portions), 98 fig 10-2, 101
Rule No. 3 (rabbets and each fillet), 98 fig 10-3, 101
 index253

Rule No. 4 (vertex of rabbet and profile change), 99 fig 10-4, 101
shavings and, 44, 45, 54-55, 63, 65, 66, 109, 110
stock removal and, 11 fig 2-6, 38, 71, 123-124
vertex, 65 fig 6-4
rabbet plane. See under planes
reeds, 34
see also under moulding profiles
resources
Hollows and Rounds: Making the most of a common pair of
planes (Blackburn), Fine Woodworking, 239
Making Traditional Side Escapement Planes DVD (Williams),
Lie-Nielsen Toolworks, 149
Sharpening Profiled Hand Tools DVD (Williams),
Lie-Nielsen Toolworks, 151
Traditional Molding Techniques: The Basics DVD (McConnell),
Lie-Nielsen Toolworks, 239
Traditional Molding Techniques: Cornice Moldings DVD,
(McConnell), Lie-Nielsen Toolworks, 105
reverse ogee. See under moulding profiles
router, 2, 3-4, 7, 49
rule of thumb (for arcs greater than 60°), 68-69, 74
Rules for layout No. 1-8, 98-100

S.
scotia, 35
scraper, 50, 139-140
sharpening, 11, 18, 41, 122-134
grinding wheel, 133-134
stropping, 126-128
Sharpening Profiled Hand Tools DVD (Williams),
Lie-Nielsen Toolworks, 151
sharpening stones, 124-126, 128-133, 238
shavings. See under chamfer, depth gauge, or rabbets
side bead, 33
see also under moulding profiles
side-escapement plane. See under planes
side-round plane. See under planes
snipes-bill plane. See under planes
spring angle, 8 fig 2-2, 239
steering a plane. See hollows and rounds under planes
254 MOULDINGS IN PRACTICE

sticking board, 157-159

stropping. See under sharpening

T.
templates for moulding profiles
drawn from an existing piece, 154-156
paper or scraper, 50
thumbnail, 37
see also under moulding profiles
three-quarters bead, 34
torus (or bullnose), 30
Traditional Molding Techniques: The Basics DVD (McConnell),
Lie-Nielsen Toolworks, 239
Traditional Molding Techniques: Cornice Moldings DVD
(McConnell), Lie-Nielsen Toolworks, 105
truing the sole. See plane body maintenance
Tulimieri, Kevin J, (of Nathan Liverant and Son Antiques), 162

V.
Venetian, 36

W.
Williams, Larry (of Old Street Tool), 85, 148, 149, 151
working backward, 52, 238