Making a new 'tote' for a #4

A bit over a year ago (already) I tidied up an old type 11 #4.

It had its original rosewood woodwork, which I would have kept, but a bad break across the lower grip of the tote (the most common site of breakage I have seen) made a seamless repair nigh-on impossible & as I wanted this to become my new “user” #4, I decided to just re-wood it. I chose some Solomon Island ‘ebony’ (Xanthostemon melanoxylon), which comes up vaguely similar to rosewood (well, it might fool an old bloke without his glasses on if he looks quickly), but it polishes nicely & is the equal of rosewood for tactile qualities.

Fast forward to this week & the old plane has firmly established itself as my go-to #4 – it’s no better performer than the well-fettled post-WW2 English #4 that I’ve been using for the last 25 years or so, but I just like its rugged looks & it neatly matches my type 11 #5 ½. However, there was one aspect I wasn’t entirely happy with. In the post linked to, I showed how the tote sits closer to the thumbwheel in this early model – there’s barely enough room for my fingers to not rub against it. The problem is exacerbated by my using a thicker (Veritas) blade, and the cam of the adjuster barely reaches through enough to engage the edge of its slot in the chip-breaker. This created 3 turns of backlash, which means the thumbwheel is much further back as normal setting than it needs to be. You can see the more cramped space compared to my former #4 lined up behind it: Attachment 513859


Having a day this week when I had nothing better to do, I thought I would see if I could improve matters. The most obvious fix would be to build up the cam on the adjuster yoke, but I don’t have a torch suitable for fine brazing, so I put that off for another day. The tote I made last year has developed a lot of fine cracks (a flaw of SIE, it seems to be a difficult wood to dry without internal checking), so I thought the easy way to get a relatively quick fix was to re-make the tote and bring the stud hole as far forward as I safely could, gaining maybe 2 or 3mm more finger room.

I’ve made many totes over the years and have it down to a pretty simple task except for one thing – getting that darned stud-hole at the exact angle & in the exact right place. It’s a relatively simple task if you are re-wooding a late model, where the tote sits on a raised, flat platform Attachment 513858

But up ‘til at least the mid fifties, the stud goes into a raised boss. This complicates setting out a new tote in two ways: a) the stud is frequently quite a loose fit in the sole, & b) the castings must have been set up for drilling by eye, no two seem to be in exactly the same position relative to the centre-line of the boss (which being a casting varies a bit as well). So the best I can do to get some sort of fix on things is use a small bevel gauge and set it to the centre of the up & down ‘slop’ in the stud, then eyeball where the line is relative to the side profile of the boss. Attachment 513857

The safe way to proceed is to make a mock-up from a piece of scrap to make sure you’ve read it all correctly. Attachment 513856

I didn’t, quite, and it needed a bit of adjustment of the boss-hole for the tote to sit down
[ hint: get the stud/boss fitting first, then when it looks like it is sitting down nicely, a gentle tap or two over that little dimple under the toe will accurately mark its position – I’ve tried setting it out by measuring it innumerable times but it almost always ends up a fraction out, requiring the hole to be enlarged or extended, which is somewhat defeating its purpose as it does its best job of preventing twisting of the tote if it’s a neat fit ]

Once you have the mock-up sitting nicely in place, the ‘real thing’ usually goes smoothly, as long as you take consummate care in setting up the blank & drilling. I always drill from both ends – start with a 6mm bit for the stud hole, then drill the 7/16” counter-bore for the nut & the 15-16mm recess for the boss. Drilling the boss hole involves turning the base of the tote to horizontal & carefully aligning it to the centre-line you set out for it (the crucial bit of which has been removed by the 6mm bit). My first attempt went awry because I probably forced the drill & didn’t withdraw often enough to clean the lands & the stud-hole was off, preventing the tote from sitting flat on the sole. Forcing a twist bit is a sure recipe for wander in woods like She-oak with those hard rays to throw the bit off. But try # 2 was very close to perfect (which was just as well, it was the very last piece of suitable she-oak I had left!).Attachment 513855

That’s the tricky part done, the rest of the job is pretty straightforward. This is my choice of weaponry for tote-making; my 10" turning saw, a couple of ‘modellers’ rasps’ a #49 rasp, cloth-backed paper & some 0000 steel wool. And an invaluable little tool – a tapered scraper made from a scrap of .032mm saw-plate: Attachment 513854

I first smooth & square the saw cuts, then ‘finger-gauge’ pencil lines around the centre, & at the same ‘setting’ on the faces. I then draw lines at half the distance between centre & edge & again on the faces. Attachment 513852Attachment 513853

I begin shaping by rounding the toe & tip of the horn Attachment 513851

Then rasp to the first set of lines all round Attachment 513850

(continued)

From there, it’s all ‘eyeball’-guided work. I like to copy the shape of the old pre-1930 totes, which involves a fair bit of wood removal. The old totes have a very gradual transition giving an oval cross-section rather than the ‘roundover bit’ shape of the later, post WW2 totes. The cross-section varies, the ‘hump’ at the back, which fits into the ball of your hand where most force is applied is more rounded from the base to the top of the hump, then the back edges are fined down to a thinner, more acute shape under the horn where it fits into the web of your hand between thumb & index finger. By careful shaping of the horn, you can make it look more delicate, but keep the centre at the thickness you cut out so it isn’t too fragile: Attachment 513866

Once satisfied with the basic shape, switch to the cloth-backed paper to remove the rasp marks. With woods like She-oak or desert woods that scrape nicely, the little scraper can speed things up by an order of magnitude. The whole process from raw cut-out to ready to finish took about an hour and a half (but I think the first tote I ever made took me an entire day & looked rather amateurish because I was far too tentative with the shaping). Attachment 513865

My favourite finish for woods like this is Shellawax. I rub in a coat very firmly until the wood stops absorbing any polish (avoiding any visible “build), then buff it off with a cloth wheel. I spin the wheel at a good speed that will produce enough warmth to ‘set’ the Shellawax. Then I repeat the same procedure, and the result is usually very satisfying – a lovely tactile finish that doesn’t obliterate the feel of nice wood & is very durable. From here on it’ll get an annual waxing (at least once every 5 years! :U ) Attachment 513864

So that is that & would have been the end of the story, but when tightening the tote in place, I felt something ‘give’ a bit. I immediately suspected that very loose stud, & sure enough, the first thread of the stud was shiny-bright and showing evidence of stripping. That presented no great problem, thanks to the fact that Aldav had provided me with a 12-20 tap & die set last year, I made a new stud. If the old stud had been a bit longer, I would have tried what I’ve successfully done before I had a mini-lathe & die, which is to carefully cut or file off that bit of stripped thread. A 5.5mm nail makes a perfect stud (7/32” – 5.556mm), so it took all of 10 minutes to make a new stud which was a much firmer fit than the original & tolerated being cinched up tight with multi-grips: Attachment 513863
Of course I needed a matching knob, which took me another 20 minutes or so (again, I’ve got the job down pat after making dozens of the things for myself & others). Attachment 513862

It’s the old 'hot-air-balloon'-shaped “low” knob, which I favour. Stanley switched to the “high” knob with the type 12 (1920-), a shape I find quite uncomfortable on a #4, but many prefer the high knob – each to his/her own. Anyway, the new wood feels good & my ultra-careful setting-out gained about 2mm more clearance. Someday I’ll doctor that cam, but in the meantime, my knuckles are a wee bit safer: Attachment 513861

This means I have a spare knob and tote in SIE – the tote would be fine on a later model where there is a slightly longer gap between frog & the tote, and the cracks are quite fine & are unlikely to be anything other than a very minor cosmetic blemish: Attachment 513860

I’ll keep the original wood for now; I doubt I’ll ever want to put them back on the plane, but who knows? Or maybe someone who really, really wants ‘original’ wood on an old plane they are refurbishing might make me an offer I can’t refuse (like a cup of coffee or a beer…..)
:U
Cheers,

There's that beautiful sheoak again. Lovely work :2tsup:

What a timely post, Ian. As you know, I'm just about to embark on the restoration and customisation of a few transitional planes and one of the tasks is to make new totes and front knobs. Thanks for outlining your methods.



Cheers,
Mike

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Originally Posted by IanW

My favourite finish for woods like this is Shellawax. I rub in a coat very firmly until the wood stops absorbing any polish (avoiding any visible “build), then buff it off with a cloth wheel. I spin the wheel at a good speed that will produce enough warmth to ‘set’ the Shellawax. Then I repeat the same procedure, and the result is usually very satisfying – a lovely tactile finish that doesn’t obliterate the feel of nice wood & is very durable.

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That's interesting Ian. On my favourite plane when re-finishing the tote a couple of years ago, I removed all the varnish and used a 1:1 BLO/Terps mix. It feels lovely; so much nicer than the varnish I have on my other planes. I really should re-finish them too, but there are other priorities. I realise it's not as durable, and only last week when putting the finish on a saw handle, gave the plane a top-up. I'd not considered Shellawax, partly because I don't have a buffing wheel to generate the required friction. I have used it extensively on the lathe however, and find that from a tactile perspective, it offers more of a sealed finish than an oil feel. Perhaps I use too much?

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Originally Posted by IanW

From here on it’ll get an annual waxing (at least once every 5 years! :U )

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Indeed.

That timber is spectacular. I have admired it on a lot of the tools you've posted over the years. I have just had a look and it appears as though it's all over Tasmania, so shall make an effort to find some and bring it home and use it on my tools too.

Lovely work Ian. Pretty much exactly how I would have done it.... Hey, what's that burning smell? Woops, my pants are on fire!

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Originally Posted by KahoyKutter

What a timely post, Ian. As you know, I'm just about to embark on the restoration and customisation of a few transitional planes and one of the tasks is to make new totes and front knobs....

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Mike, I was going to ut it in your '29' thread to complement your tote repair, but decided it would be better as a standalone thread - easier to look up in the future. You should have little trouble with the transitional totes, no silly bosses to fit over & the hole angle shouldn't be as critical..
Cheers,
Ian

Thanks Ian. And you continue to encourage my desire to get some bull/hairy oak. Have you ever tried banksia timber? I picked up some from a client for firewood and it has the most amazing pink heartwood and yellow sapwood with a she oakish fleck throughout. Looks like a bit of a splitty timber though.

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Originally Posted by LanceC

...That timber is spectacular. I have admired it on a lot of the tools you've posted over the years. I have just had a look and it appears as though it's all over Tasmania, so shall make an effort to find some and bring it home and use it on my tools too.

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Lance, there are so many species of Casuarinas all over the country & Tasmania has its share. The majority of species are small trees or even shrubs, but I'm pretty sure you have a couple of reasonable-sized small trees on the island. The wood I've just posted is Allocasuarina torulosa, or forest she-oak, which has a very warm reddish-brown colour when freshly finished, but darkens with light exposure. All but two of the species I've worked with are hard, some very hard, but most finish beautifully & make excellent handle woods. The biggest problem you have with all of them is that they will disintegrate into match sticks if not dried carefully. But once dry, they are stable and durable.

I wrote an article for Aust. Wood Review a couple of years ago, with pictures of all of the Casuarinas I've worked with (there are plenty I've yet to play with!) and descriptions of their properties. And a big caveat that I have only obtained a few samples of some, so my assessments may not be super-reliable...

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Originally Posted by LanceC

.... On my favourite plane when re-finishing the tote a couple of years ago, I removed all the varnish and used a 1:1 BLO/Terps mix. It feels lovely; so much nicer than the varnish I have on my other planes. I really should re-finish them too, but there are other priorities. I realise it's not as durable, and only last week when putting the finish on a saw handle, gave the plane a top-up. I'd not considered Shellawax, partly because I don't have a buffing wheel to generate the required friction. I have used it extensively on the lathe however, and find that from a tactile perspective, it offers more of a sealed finish than an oil feel. Perhaps I use too much?.....

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What we like for a finish on tool handles is an individual thing. I used to like an oil & wax finish, but oil won't leave as smooth a surface as a friction polish like shellawax, & as you say, it needs topping up every now & then. What probably put me off linseed oil most though is that it goes really dark & dull on many woods after a few years. Just wax alone can work on some woods, particularly naturally oily ones, & between the wax & constant use, take on a beautiful sheen.

I use the Shellawax finish selectively, for woods that work well with a friction polish. If you apply lots of shellawax & don't buff it back sufficiently it will build and feel different - I hate the thick shellac or varnish that was typically applied to tool handles years ago (usually by dipping the wood in a vat of the finish - yuk!). After a while the finish would crack & flake & feel horrible (you've probably seen old plane totes or chisel handles with this form of "tool leprosy"). For me, there's a sweet point where there's enough finish to seal the wood against atmospheric moisture & give it a pleasant sheen, but not enough to make it feel like something other than wood... :U
Cheers,
Ian

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Originally Posted by Mountain Ash

.... Have you ever tried banksia timber? I picked up some from a client for firewood and it has the most amazing pink heartwood and yellow sapwood with a she oakish fleck throughout. Looks like a bit of a splitty timber though.

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Just one small piece of Banksia, M.A. There are quite a few species & they vary a lot in density, colour & workability. As far as I know, they all have that ray-fleck grain typical of te proteacea (the various silky-oaks, macadamia, etc etc., some are, as you say, notoriously splitty, but if you slice them into pieces and dry carefully (i.e. slowly), you have your best chance of recovering useable wood...

There is plenty of bull-oak not far from you - the first time I encountered it was when I lived in Benalla, a mate in the local wood club dropped a few pieces in my front yard. I thought it was for firewood! I have to admit, I didn't think much of it when I put a hand plane over it for the first time. But I've learnt a bit better how to handle it & come to love it over time.

You'll have to travel a fair bit further north to find Hairy oak, it doesn't get much further south than northern NSW.

With luck, we'll start to se a few wood shows again in the coming year & there are usually a few vendors of specialty woods at those. Don't try to work out the cubic M cost, just tell yourself how much more it would cost to drive up there yourself... :U

Cheers,
Ian

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Originally Posted by IanW

I hate the thick shellac or varnish that was typically applied to tool handles years ago (usually by dipping the wood in a vat of the finish - yuk!)

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I'm guilty of that too. When I bought my first hand plane, after cleaning it up I did exactly that, dipped the handles in a tin of varnish and hung to dry, thinking that that was how it was supposed to be done. Live and learn.

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Originally Posted by LanceC

....dipped the handles in a tin of varnish and hung to dry, thinking that that was how it was supposed to be done....

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You were quite right Lance, it was the way it was done. You simply discovered there are a few better ways. :U

I sure wish I could have a $ for each dumb thing I've done in my life, but I think I learnt something from some of them, so I take comfort from that.....
:shrug:
Ian

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Originally Posted by IanW

You were quite right Lance, it was the way it was done. You simply discovered there are a few better ways. :U

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Considering it from the manufacturers' perspective, there's a vast difference between making something destined for the great unwashed, than for yourself knowing it will be well treated. From that perspective, it probably makes sense to put on a thick and durable coating. Hence the finish I'd put on a table top for someone else is probably different to one I would use for one destined for my house (out of reach to visitors, who increasingly struggle to grasp the concept of coasters).

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Originally Posted by LanceC

..... Hence the finish I'd put on a table top for someone else is probably different to one I would use for one destined for my house (out of reach to visitors, who increasingly struggle to grasp the concept of coasters).

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Hmm, there's an interesting set of decisions to be made when deciding on what to put on a table top, methinks. One of the reasons I switched to the "pseudo oil-finish" technique is because I got tired of water marks on "occasional tables". Over the years I've made (literally) dozens of these little tripod tables in various period styles. I used to belong to a wood club & we'd do demos at woodshows, & these things were perfect for demonstrating various techniques like shaping legs & sliding dovetails. They are mostly based on "tea-tables", shrunk to a convenient size for use beside an easy-chair, etc., but not strict 'reproductions'. For a long time I favoured either an oil finish: Attachment 513913

or if the period/wood/recipient request warranted, french-polish: Attachment 513911

But neither finish likes wet glassware & I'm guilty myself of forgetting to use a coaster occasionally. It is always with a cold glass on a warm humid day! :C

This is a scented rosewood version I kept for myself: Attachment 513912

It started out with an oil finish (S-R is one of those woods that takes oil superbly), but a couple of years & several water-marks on the top convinced me to try another tack. So the top got cleaned up & a turps/poly finish applied. I strove for a finish that would be as close to the oil as I could get. Only the top was finished with poly, the stem & legs were lightly re-oiled & left as they were. No-one has ever noticed that there is a slight difference between the two finishes & I no longer need to worry about water marks (or even as it happened recently, a red wine spill!), just wipe off & proceed as if nothing has happened.

I will never not use oil at all. Finishing has never been my long suit; when I get to that stage, the fun's over for me & I just want to get on with the next exciting project (or unexciting, as some inevitably are :; ). If the wood & future use warrant it, an oil finish is is just too simple & easy......
:U
Ian

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Originally Posted by IanW

Hmm, there's an interesting set of decisions to be made when deciding on what to put on a table top, methinks. One of the reasons I switched to the "pseudo oil-finish" technique is because I got tired of water marks on "occasional tables".

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Indeed, and one reason I'm fairly excited with that finish now too.

Lovely tables by the way.