ANNOUNCER: MAJOR FUNDING FOR "THE WOODWRIGHT'S SHOP" IS PROVIDED BY... [WIND BLOWING] [BIRD SQUAWKS] [THUNDER] [CAR ALARM BLARING] DIFFERENT ANNOUNCER: WHEN THE UNEXPECTED HAPPENS, STATE FARM HAS THE TOOLS TO GET YOU TO A BETTER STATE, PROUD SPONSOR OF "THE WOODWRIGHT'S SHOP."

[CAR HORNS HONKING] [OLD-TIME MUSIC PLAYING] HEY, WELCOME BACK TO "THE WOODWRIGHT'S SHOP."

I AM ROY UNDERHILL.

SO GLAD YOU CAN BE WITH ME AGAIN TODAY, AND I'M GONNA SAY TWO WORDS THAT ARE GONNA MAKE YOU VERY HAPPY, I DO BELIEVE, AND THOSE TWO WORDS ARE CHRISTOPHER MARTIN SCHWARZ, BUT THAT'S 3 WORDS.

HEY, CHRISTOPHER.

HEY, ROY.

GOOD TO SEE YOU.

NOW, YOU HAVE SOMETHING SHOCKING.

AMONG FURNITURE TYPES, YOU SAY...

THERE ARE ONLY TWO KINDS.

ONLY TWO KINDS, BUT YOU HELD UP 4 FINGERS.

I KNOW.

I KNOW.

UH!

IT'S ALWAYS SOMETHING THERE, BUT, NO... TWO KINDS.

TWO KINDS OF-- OF FURNITURE.

YEAH--SHAKER AND ARTS AND CRAFTS.

NO.

BROWN AND GREEN.

OH, WELL, UM, ROMAN AND GREEK.

HA HA!

WELL, THEN-- NO, NO, NO.

NO.

NONE OF THESE ARE RIGHT.

YOU SAID THERE ARE ACTUALLY TWO STRUCTURAL KINDS.

TWO STRUCTURAL KINDS.

THERE ARE THE BOX, ALL RIGHT.

SO WE KNOW THE BOX, YES?

MM-HMM.

WE HAVE THE BOX.

THINGS--THINGS GO INSIDE THE BOX.

I MAKE BOXES, YEAH, DOVETAIL, NICE BOXES.

YEAH.

NAIL THEM, WHATEVER, SO THAT MAKES OUR BOX, WHICH HOLDS THINGS.

ISN'T EVERYTHING A BOX?

EVERYTHING'S NOT A BOX.

THAT'S THE ONLY THING.

WE FORGET ABOUT THE OTHER KIND OF FURNITURE.

EVERY OTHER KIND OF PIECE OF FURNITURE-- AH... AND THIS IS ACCORDING TO JOHN GLOAG, FURNITURE HISTORIAN, AND I TOTALLY AGREE WITH HIM-- AH... EVERY OTHER KIND IS NOT A CHAIR.

IT'S A PLATFORM.

A PLATFORM.

YEAH.

YOUR BUTT GOES HERE.

YOUR BOTTOM GOES THERE.

THAT'S THE PLATFORM... ALL RIGHT.

AND--AND EVERYTHING ELSE IS A PLATFORM.

THINK ABOUT IT, YOU KNOW?

YOU HAVE YOUR OTTOMAN.

RIGHT.

YOU HAVE YOUR CHAIR.

YOU HAVE YOUR DESK.

YOU HAVE YOUR, UH, DINING TABLE.

YOU HAVE STOOLS, BENCHES.

OH, EVERYTHING ELSE IS THIS SUPPORT STRUCTURE.

I SEE.

IT REALLY DOES DIVIDE UP THAT WAY.

THAT MAKES SENSE-- ALL RIGHT-- AND I--I BUILT THIS CHAIR, SO I'VE-- I'VE DONE IT, AND I DIDN'T EVEN KNOW IT, THAT I WAS DELVING... YEAH.

WELL, YOU WERE MAKING HALF OF THE FURNITURE STYLES...

INTO THAT OTHER WORLD...

IN THE WORLD.

BUT I WASN'T THINKING, UH, ABOUT IT.

YOU'VE GOT, UH, THIS, AGAIN, BOILED DOWN TO SIMPLE THINGS THAT WE NEED TO DO THAT IF WE UNDERSTAND, IT REALLY UNLOCKS A WHOLE WORLD OF THIS KIND OF FURNITURE.

ABSOLUTELY, SO YOU CAN BUILD A WHOLE HOUSEFUL OF FURNITURE WITH JUST THIS VERY SIMPLE KIND OF IDEA WHICH IS WHERE WE'RE GOING TO FIRST LEARN ABOUT A TYPE OF JOINT, VERY SIMPLE TO MAKE.

TYPE OF JOINT.

A TYPE OF JOINT.

THAT'S VERY, VERY, VERY EASY TO MAKE THAT CAN MAKE ALMOST ANY KINDS OF THESE PIECES OF FURNITURE AND A WAY TO TAKE OUT ALL THE MATH-- ALL THE GEOMETRY, NONE OF THE TRIG., AND ALL OF THE FURNITURE.

OH, LIKE, YOU--NO.

YOU HAD ME AT "NONE OF THE MATH."

UH, I'M GOOD TO G-- I'M GOOD TO GO.

YEAH.

ME, TOO.

WHAT--WHAT--WHAT ARE--WHAT ARE THESE TWO THINGS, THEN?

WELL, LET'S TALK ABOUT THE JOINT FIRST, SO WE'LL GO OVER HERE, AND--AND THIS JOINT IS THE SECRET TO WHAT I CALL STAKED FURNITURE.

THIS IS ONE IN PROGRESS NOW.

YEAH.

HERE'S WHAT WE'RE WORKING ON TODAY, SO WE'VE GOT A MORTISE, RIGHT... YEAH.

RIGHT.

AND THE MORTISE, IT'S NOT CYLINDRICAL... OH, OK.

SO INSTEAD OF JUST BEING MADE WITH JUST A DRILL BIT...

RIGHT, JUST AN AUGER.

IS THAT WE ALSO TAPER IT OUT.

SO IT'S--YOU CAN SEE ON THIS END, IT'S MUCH, UH, SMALLER THAN IT IS ON THIS SIDE, SO IT'S CONICAL, AND THIS IS HOW YOU DO IT.

YOU USE A REAMER ON IT.

MM-HMM, SO WE DRILL A HOLE, AND THEN WE REAM IT OUT, AND SO THAT MAKES THIS CONICAL MORTISE WHICH IS ONE HALF OF THE JOINT, VERY SIMPLE TO DO WITH JUST A--A BRACE, A BIT, AND AN INEXPENSIVE REAMER.

REAMERS HAVE BEEN AROUND FOR CENTURIES.

ALL RIGHT.

THEN YOU'VE GOT TO HAVE SOMETHING TO MATCH, AND HERE-- SO THIS'D BE THE TENON.

THAT IS THE TENON, AND THIS TENON CAN BE SHAVED DOWN WITH A KNIFE OR A DRAWKNIFE OR A SPOKESHAVE, OR WE CAN USE A SPECIAL TOOL WHICH IS VERY MUCH LIKE A PENCIL SHARPENER.

AH, LET'S JUST SHOW--SHOW THAT.

THIS IS A NEW ONE, NOW, THOUGH.

THIS IS A NEW VERSION, BUT THEY'VE BEEN AROUND A LONG TIME, SO YOU JUST PUT YOUR PARTIALLY FORMED TENON IN THERE, AND YOU TURN IT LIKE YOU'RE SHARPENING YOUR PENCILS BACK AT SCHOOL... OH, THIS IS GREAT.

I LIKE SHAR--YEAH.

AND YOU TAKE IT OUT.

AND THAT FITS--AND THESE ARE MADE TO MATCH.

LET'S SEE.

WHERE-- YES.

WHERE'S THE--HERE IT IS.

HERE'S THE REAMER.

I GET THAT, AND SO THAT'S MADE TO MATCH THAT, SO WE'VE SHAVED THAT JUST THAT WAY, AND THAT GOES IN.

IT GOES IN AND BANG, BANG, BANG.

YOU DRIVE IT ON DOWN.

YOU DRIVE IT ON IN.

GLUE IT.

WEDGE IT IF YOU MUST... HA HA HA!

BUT YOU TURN IT OVER, AND THAT'S WHERE WE CAN SEE THE REAL MAGIC HERE, SO THIS ONE STILL NEEDS TO BE, UH, TAPERED A LITTLE BIT MORE SO IT COMES OUT, BUT WHAT'S MAGICAL ABOUT THIS JOINT IS, THE MORE YOU SIT ON IT, UH-HUH.

THE MORE YOU HIT IT, THE MORE YOU PRESS ON IT IS THE TIGHTER THE JOINT GETS.

YOU DRIVE THAT CONE UP INSIDE THERE.

LET ME GET ONE OF THESE OTHER-- OTHER LEGS HERE SO YOU CAN SEE THAT, SO THAT, UH, CONICAL SHAPE IS JUST DRIVEN TIGHTER UP IN THE HOLE.

TIGHTER AND TIGHTER AND TIGHTER.

IT'S A SELF-TIGHTENING JOINT.

IT IS, AH, HA HA!

SO EVEN IF YOUR JOINT'S LOOSE AT THE BEGINNING, YOU CAN JUST TELL ALL YOUR FRIENDS, "OH, THAT'LL TIGHTEN UP."

YEAH.

"JUST SIT ON IT."

YEAH.

"JUST SIT ON IT, WILL YOU?"

THAT'S WHAT I TELL THEM ALL THE TIME.

"IT'LL-- IT'LL BE FINE."

ALL RIGHT, SO EXCELLENT NOW, AND YOU'VE GOT THESE, UH-- I HAVE USED OLD ONES, AND I'M SO GLAD TO SEE THAT FOLKS ARE-- SO FOR THIS ONE, THIS, UH, PENCIL SHARPENER, UH, DEVICE, THAT'S A NEW ONE.

HERE'S AN OLD ONE, UH, IN WOOD.

MM-HMM.

IT'S CALLED A ROUNDER.

UH-HUH.

THAT'S WHAT I'VE ALWAYS CALLED IT.

NOW, THIS IS A-- THIS IS ONE MADE BY ELIA.

I WAS TRYING TO THINK, UH, WHO HAD MADE THIS ONE.

UH, ELIA BIZZARRI MADE THIS, UH, REAMER, AND IT'S A SCRAPER THERE CENTERED IN THERE, AND YOU CAN SEE HOW THIS WOULD FIT EXACTLY IN THERE.

I'M NOT GONNA LET THE TWO METAL, UH, ENDS TOUCH, BUT SO HERE'S, UH, SIMPLE, WOODEN VERSIONS AND THEN, UH, THE MODERN, METAL ONE, SO YOU CAN--OOP.

SORRY.

SHARP E-- THEY NEED TO BE SHARP, SO DON'T BANG THEM AROUND, SO EXCELLENT, VERY GOOD.

AND THERE ARE OTHER WAYS TO MAKE THIS, UH, MORTISE, TOO.

THEY SOMETIMES WOULD TAKE A PIECE OF SHAPED SOAPSTONE AND BURN IT THROUGH, SO IT DOESN'T HAVE-- YOU DON'T EVEN HAVE TO HAVE THAT IF YOU CAN-- THAT'S WAY OLD-SCHOOL.

THAT'S WAY OLD-SCHOOL, YEAH, TOO OLD-SCHOOL FOR US, FOR THIS SCHOOL.

IF YOU HAVE A SOAPSTONE, I'D LIKE TO TALK TO-- SO--LET'S SEE--I'M GONNA LEAVE THESE HERE, RIGHT, BECAUSE I WANT TO SEE HOW TO DO THAT JOINT IN A MINUTE, BUT YOU SAID THERE'S SOMETHING ELSE WE HAD TO FOOL WITH NOW.

THE ANGLES.

LET'S GET RID OF THE--THE MATH, AND SO TO GET RID OF THE MATH, WE FIRST HAVE TO UNDERSTAND THE MATH THAT WE'RE GETTING RID OF, SO JUST HERE'S THE BASIC EXPLANATION.

THERE'S A CATCH.

OK. NO.

IT'S NOT A CATCH, I PROMISE, SO HERE'S THIS LOVELY CHAIR YOU BUILT-- I LOVE THIS CHAIR-- AND WHEN YOU LOOK AT THE FRONT OF A PIECE OF FURNITURE...

RIGHT.

LOOK AT THE WAY THAT ITS LEGS ARE STICKING OUT FROM THE FRONT.

RIGHT.

THAT'S WHAT WE CALL IN CHAIR MAKING THE SPLAY.

SO THAT'S OUT TO THE SIDES AS LONG AS YOU SEE IT FROM THE FRONT...

THE LEGS SPLAY OUT FROM THE FRONT.

SO ON DISPLAY... ON DISPLAY FROM THE FRONT.

YOU HAVE SPLAY.

OK. OK. ALL RIGHT, AND WHERE'S, UH, THE OTHER ONE?

WE TURN IT RIGHT, SO WE'RE GONNA LOOK AT IT IN PROFILE... ALL RIGHT, SO LOOK AT IT THIS WAY.

AND WHEN YOU LOOK AT THE ANGLES FORMED BY THE LEGS IN PROFILE-- WE'RE ACTUALLY IN PROFILE-- WE CALL THAT THE RAKE.

RAKISH.

IT IS.

IT'S A--IT'S A RAKISH CHAIR.

IN PROFILE, I'M RAKISH.

MM.

YES.

OK, AND FOR DISPLAY, I'M ON SPLAY-- ALL RIGHT-- SOMETHING LIKE THAT, SO WE GOT TWO ANGLES, SO WE GOT TO GET TWO BEVELS IN TO-- THAT'S WHAT MOST PEOPLE THINK, "SO, OK, I NEED A BEVEL FOR THE RAKE.

I NEED A BEVEL FOR THE SPLAY."

YEAH.

WANT ONE GOING OUT AND ONE GOING BACK.

"HOW DO I--" YEAH.

"HOW DO I BORE MY HOLE WHEN I'M LOOKING "AT TWO SQUARES AT THE SAME TIME WITHOUT HAVING FLOUNDER EYES OR SOMETHING?"

SO-- HA HA HA!

YEAH.

WHAT DO YOU DO?

YOU--IT'S-- IT'S VERY COOL, SO WE'RE GONNA PUT THIS CHAIR AWAY.

WE'RE GONNA SIMPLIFY THINGS... GOOD-BYE, CHAIR.

OH... WITH THIS SIMPLE PROJECT, WHICH IS A SAW BENCH.

AH, THAT'S--THIS IS THE ELEMENTAL URH BENCH HERE.

YEAH.

THIS IS AS BASIC AS IT GETS WITH STAKED FURNITURE, YEAH.

AND SO WE'VE GOT THESE 4 LEGS...

VERY STURDY.

YEAH.

THAT ARE STICKING OUT, AND THE LEGS STICKING OUT ARE WHAT--WHAT KEEP IT REALLY STABLE, SO THEY'RE KIND OF SPLAYED OUT IN ALL DIRECTIONS.

I WANTED TO SHOW YOU SOMETHING ABOUT STABILITY, YEAH, BECAUSE CENTER OF GRAVITY AND STUFF AND WHY SPLAY WORKS BECAUSE WE ALWAYS SAY IT, BUT WE NEVER SAY WHY IT WORKS.

I--I REALLY DON'T KNOW.

I JUST THINK IT'S-- I JUST-- OH, EVERYTHING I KNOW I LEARNED FROM WATCHING "MR. WIZARD," YEAH?

AND HE SAID, YOU KNOW-- HERE IT IS-- IF WE FIND THE CENTER OF GRAVITY, IF WE IMAGINE THIS WITH THE LEGS AND THE TOP, THE CENTER OF GRAVITY IS RIGHT THERE AT THAT POINT.

OK. WOULD THAT BE CALLED THE CENTROID?

I DON'T KNOW.

I KNOW THERE'S SOMETHING CALLED A CENTROID, REALLY?

BUT I CAN'T FIGURE-- YEAH.

MINE IS SWOLLEN.

YEAH?

WELL, WE'LL GET THIS GOING HERE.

I'M GONNA PULL THIS OUT THIS WAY NOW, SO WHAT DO YOU THINK THE TIPPING POINT WOULD BE?

THE TIPPING POINT IS WHEN A PLUMB BOB FROM THE--A PLUMB BOB FROM THE CENTER POINT THERE, WHEN THAT CROSSES THE LINE OF SUPPORT, THEN YOU HAVE THE TIPPING POINT, AND IT GOES ON OVER.

SO WHEN IT CROSSES, LIKE, THE--THE-- THE FOOT OF THE LEG?

MM-HMM, SO IF I DO THIS ONE, I'M GONNA AGAIN TRY AND HOLD THIS AT WHAT I'M ESTIMATING AS THE, UH, UH, CENTER OF GRAVITY NOW AND TILT IT THIS WAY SO IT'S STILL GONNA RETURN, BUT ONCE THAT PLUMB BOB CROSSES THE LINE, IT'S READY TO GO OVER, SO SPREADING THE BASE OUT, UH, FIGHTS THAT, WOW.

LOWERS THE CENTER OF GRAVITY, WE SAY.

WELL, I DIDN'T KNOW THAT BECAUSE I DON'T HAVE A PLUMB BOB, SO-- WHY WOULD YOU?

YEAH.

SO THERE YOU GO.

ALL RIGHT, SO THAT'S THAT TRICK I WANTED TO SHOW YOU.

I'M GONNA SHOW YOU MY TRICK... NOW, OK, I WANT TO SEE ABOUT THIS.

SO HERE'S MY TRICK, SO YOU HAVE TO CROUCH DOWN.

OK. ALL RIGHT.

YEP.

CLOSE YOUR EYES.

ALL RIGHT.

THINK OF... ALL RIGHT.

THE CHAIR.

NO.

NO.

NO.

WHAT WE'RE GONNA DO IS, WE'RE GONNA ROTATE THIS UNTIL YOUR EYE PERCEIVES THIS LEG OR THIS LEG OR ONE OF THE LEGS AS 90 DEGREES, REALLY?

HUH.

SO THEY LOOK LIKE THEY'RE ANGLED FROM ALMOST EVERYWHERE IN THE ROOM, BUT THERE IS ONE SPECIAL SPOT-- A VERY SPECIAL SPOT, ROY-- THAT I WANT TO SHOW YOU.

OK, SO THAT'S AN ANG-- THAT'S ANGLED, BUT YOU SAY ROTATE.

ROTATE.

YEAH.

ROTATE UNTIL, TO YOUR EYE, IT LOOKS LIKE THE LEG... OH.

ALL RIGHT.

RIGHT THERE.

APPEARS TO BE 90, OK?

YEAH.

IF I LOOK AT THAT RIGHT--RIGHT THERE, UH, IT LOOKS LIKE IT'S PARALLEL TO THE SQUARE, SO IT'S 90 DEGREES, BUT I KNOW IT'S LEANING, BUT IT DOES LOOK LIKE IT'S STRAIGHT UP AND DOWN.

AND THAT IS A SPECIAL SPOT.

IF WE COULD SHOOT A LASER FROM YOUR EYE THROUGH HERE, YEAH.

UH-HUH.

THEN WE WOULD CREATE A VERY SPECIAL LINE CALLED A SIGHT LINE THAT WOULD-- WOULD FIX ALL OUR PROBLEMS WITH GEOMETRY, AND SO I WANT TO SHOW YOU HOW WE DO THIS ALL RIGHT.

ON A NEW SAW BENCH.

I MEAN, YOU CAN DO THIS.

YOU CAN FIND THAT SIGHT LINE ON AN EXISTING CHAIR, BUT WHAT IF WE WANT TO MAKE A NEW PIECE OF FURNITURE?

WELL, I--HOW-- HOW WOULD WE?

BECAUSE, UH, I MEAN, YOU CAN JUST SLAPDASH ONE OF THESE TOGETHER, BUT TO GET IT EVEN, THAT'S THE ART OF IT, TO REALLY MAKE A NICE PIECE.

YEAH.

YOU DON'T WANT TO LOOK LIKE ONE OF ITS LEGS IS BROKEN, SO-- SO WHAT I LIKE TO DO IF I'M MAKING A NEW CHAIR-- WHAT A NICE TABLE.

YEAH, RIGHT.

I LIKE THIS.

UM, YEAH.

HA HA HA!

IT'S, UH-- FOR 3 EASY PAYMENTS OF $9.99-- IT'S A TIPPY, LITTLE THING THERE.

YES.

IT'S THE JELL-O TABLE.

OH, MY GOSH, ALL RIGHT, SO THIS WOULD NOT WORK.

SUBOPTIMAL.

IT'S--IT'S READY TO GO RIGHT OVER.

OK.

EXACTLY, AND SO WHAT WE WANT TO DO TO CREATE THIS IS, WE WANT TO BEND THESE LEGS SO THAT THEY DON'T TIP.

ALL RIGHT, SO ADD IN SPLAY AND RAKE.

RAKE AND SPLAY, SO HERE, WE'RE GOING TO JUST ADD IT IN, AND WHAT'S--WHAT I'M GOING TO DO IS, I'M GOING TO BEND THESE LEGS SO THAT THEY BEND BUT THEY STILL STAY INSIDE OF THE SHADOW OF THE TOP.

I GOT IT, SO THAT TIP SHOULD BE RIGHT UP TO THAT LINE.

YEAH.

WE WANT TO KEEP THEM IN THERE, AND-- AND THAT IS SO THAT IT DOESN'T-- WE DON'T HAVE A TRIPPING HAZARD.

YOU DON'T WANT TO CATCH YOUR FOOT, OR YOU DON'T WANT YOUR SAW TO TAG THE LEG WHEN YOU'RE SAWING ON THESE SAW BENCHES, SO THAT'S WHY WE KEEP THAT IN THERE, SO NOW I'VE--I'M GOING TO DO THE SAME THING LOOKING FROM THE OTHER SIDE, FROM THE ENDS OF THIS SAW BENCH.

AND YOU'RE JUST TESTING WHAT--BUT TRYING TO GET THEM ALL EVEN BUT MAKING A TEST PIECE.

YEAH, YEAH.

YOU MAKE-- I MEAN, THIS IS EASY TO MAKE WITH, YOU KNOW, SOME WIRE HANGERS AND-- AND A PIECE OF SCRAP, BUT, YOU KNOW, WHEN I DESIGN A CHAIR, A NEW CHAIR, THIS IS HOW I START.

REALLY?

WITH A WIRE MODEL?

JUST A WIRE MODEL, AND THEN WE TURN IT OVER, AND I LOOK AT IT, AND I'M LIKE, "DOES THIS LOOK RIGHT?"

WHAT A DIFFERENCE.

AND--AND I CAN--YOU CAN WALK AROUND IT, YEAH.

AND YOU CAN SAY, "OK. THAT LOOKS PLEASING."

I'M GOOD TO GO ON THAT.

I CAN SIT ON THAT JUST-- BUT SER--IT'S MUCH, MUCH MORE STABLE IT IS... WITH JUST A LITTLE BIT OF WORK LIKE THAT.

HUH.

BUT NOW WE CAN SAY, OK, NOW WE'VE GOT A MODEL THAT LOOKS GOOD, REAL QUICK AND DIRTY MODEL.

HOW DO WE GET THIS-- OH, OK.

THESE ANGLES, THESE COMPOUND ANGLES BORED INTO THE WOOD?

AND THAT'S--THAT'S WHAT WE'RE GOING TO-- SO WE'RE GONNA DO THE SAME THING.

WE DO THE SAME THING WITH OUR WIRE MODEL, SO YOU GOT YOUR SQUARE.

AH, YOU'RE GETTING GOOD AT THIS.

ALL RIGHT.

WELL-- SEE?

IT'S BECAUSE IT'S-- IT'S FOR SIMPLETONS.

HA HA HA!

NO MATH.

I'M ALL RIGHT.

NO MATH.

ALL RIGHT, SO I'M GONNA AGAIN SWING THIS AROUND, SO I WANT THIS LEG HERE, SWING THAT AROUND UNTIL IT'S 90, UH, RIGHT THERE.

OK.

RIGHT THERE.

OK. ALL RIGHT.

NOW HERE'S COMES THE MAGIC.

READY FOR THE MAGIC, SO WE'RE GONNA TAKE A SLIDING BEVEL, OK. AND I'M GONNA MOVE THIS UP AGAINST THE LEG, AND YOU ARE GONNA PUSH THIS BLADE UNTIL THE LEG... OH, OK. AND THE BLADE OF THE SQUARE ALL MATCH UP... LIKE A STRAIGHT LINE.

OK.

UH... AND YOU TELL ME BECAUSE YOU'RE THE-- YOU'RE IN-- YOU'RE DRIVING THIS TRAIN.

YEAH.

ALL RIGHT.

I GET IT.

OH, OK.

BOY, IT DOES TAKE A LITTLE BIT OF, UH, CHECKING.

I HAVE TO LOOK AT THE VERTICAL AGAIN YEP.

AND DOWN HERE, BUT I THINK THAT'S-- THAT'S GOOD.

OK, LET'S GO WITH THAT.

SO WE'RE GONNA LOCK THAT... OK, SO YOU LOCK YOUR BEVEL NOW.

AND SO WE'VE GOT THAT LOCKED, AND NOW I WANT TO DRAW A MAGIC LINE.

WE'RE GONNA TAKE THIS.

YOU GOT TO HOLD IT TIGHT AGAINST THE MODEL, AND WE DRAW THAT, AND THAT IS OUR SIGHT LINE.

THE LINE FROM HERE, OK, TO WHERE IT APPEARS VERTICAL TO MY EYE.

EXACTLY, SO THAT IS WHERE THE LEG APPEARS VERTICAL, SO NOW WHAT WE'RE GONNA DO IS, WE'RE GONNA SAY, OK, WELL, IF WE DREW THAT SIGHT LINE ON OUR MAGIC-- ON OUR PIECE THAT WE'RE GONNA BUILD, THEN I CAN TAKE ANOTHER SLIDING BEVEL, PUT IT ON THE SIGHT LINE SO IT'S, YOU KNOW-- IT'S DIRECTLY FOLLOWING THAT SIGHT LINE, AND THE BEVEL... OH, LOOK.

THIS IS GREAT.

YEAH, SO YOU'RE JUST RECORDING THAT ONE ANGLE INSTEAD OF HAVING TWO BEVELS COMING-- INSTEAD OF TWO RAKE AND SPLAYS AND TRYING TO PA-- YOU KNOW, LOOK YOUR HEAD LEFT, LOOK YOUR HEAD RIGHT, UP, DOWN, WE'RE JUST GONNA HAVE ONE SIGHT LINE, ONE BEVEL, AND BOOM.

AND I LIKE THIS.

THIS BEVEL HAS A VERY BROAD BASE ON IT RELATIVE TO ITS SIZE, SO IT'S GOT TO SIT SO IT-- IN OTHER WORDS, IF IT'S TIPPING LIKE THAT OR LIKE THAT, IT'S NOT GONNA DO YOU MUCH GOOD, SO YOU REALLY DO NEED A GOOD BEVEL.

YEAH, A DECENT BEVEL THAT'S FLAT.

METAL--METAL-- ALL RIGHT.

GOOD.

OR--YEAH.

ALL RIGHT.

JUST TO MAKE SURE YOU HAVE A-- IT'S NOT LEANING LIKE THAT OR LIKE THAT, YOU'LL BE ALL RIGHT.

YEAH.

OK, SO THAT'LL WORK.

EXCELLENT, SO YOU'VE GOT THAT.

YOU'VE GOT TWO BEVELS NOW SET.

IS THAT RIGHT?

RIGHT, AND THIS CAN-- IS GONNA LAY OUT ALL THE LINES FOR-- AND--AND GIVE OUR BORING ANGLE FOR THE WHOLE SAW BENCH.

IF IT D--THE ANGLE DOESN'T CHANGE, NO MATTER WHAT THE SCALE IS.

DOESN'T CHANGE.

NO.

UH-UH.

ANGLES DON'T CHANGE, AND THAT'S WHAT'S REALLY NICE ABOUT THIS TECHNIQUE...

I DID NOT KNOW THAT.

SO LET'S GET RID OF THIS GUY.

ALL RIGHT, UH, AND YOU WANT TO DO IT ON THIS PIECE HERE?

IT LOOKS LIKE IT HAS ONE MORE LEG TO GO.

RIGHT, SO WHAT WE'RE GONNA DO IS, WE'RE GOING TO TAKE-- I'M GONNA GET A CLAMP HERE IF YOU'RE GONNA PUT THAT ON THERE.

YEAH.

LET'S CLAMP THAT... ALL RIGHT.

SO WHAT I'M GONNA DO IS, I'M GONNA TAKE MY SIGHT-LINE BEVEL, AND I'M GONNA JUST LINE IT UP WITH, UH, WHERE I WANT MY MORTISE TO GO, AND THESE ARE SOMEWHAT ARBITRARY.

I MEAN, IT'S LIKE 2 1/2 INCHES IN, AN INCH AND A HALF IN FROM THE SIDE-- YOU KNOW, WHATEVER LOOKS RIGHT-- BUT MAKE THEM ALL THE SAME, SO WITH THIS BEVEL, MM-HMM.

I DREW MY SIGHT LINE... MM-HMM.

AND NOW WE CAN CLAMP THIS DOWN, AND WE'LL CLAMP THIS NOT ON THIS... NO.

I WILL.

I'LL CLAMP IT REALLY WELL.

BECAUSE YOU REALLY DON'T WANT THIS ROTATING AROUND ON YOU BECAUSE THIS IS THE--THE ABSOLUTELY CRITICAL PART OF OUR OPERATION.

THAT'S PRETTY WELL CLAMPED.

ALL RIGHT.

GOOD, OLD HAND SCREWS.

ALL RIGHT, SO LOOK AT THAT.

YEAH.

THE FIRST THING WE'RE GONNA DO IS, WE'RE GONNA TAKE THIS AUGER BIT, AND WE'RE GOING TO DRILL A 5/8-INCH HOLE THROUGH THE, UH-- THROUGH THE-- THROUGH THE BLANK, THROUGH THE SEAT, AND IT'S GONNA BE AT--AT THAT SPECIAL RESULTING ANGLE.

BUT NOW, YOU SAY YOU'RE GONNA BORE A HOLE, BUT YOU'RE GONNA BORE A HOLE WITH SOMETHING VERY UNUSUAL TO ME.

THIS IS A 3-LIPPED AUGER BIT.

THERE'S 3 LIPS.

MOST OF THESE HAVE TWO ON IT, SO THIS IS, UH, AN OLD IDEA, BUT, I THINK, A NEW AUGER.

YEAH.

IT'S A--IT'S A MODERN AUGER, BUT THEY DID USE, UH, AN OLD IDEA TO USE 3 CUTTING LIPS.

HUH, SO IT GOES FASTER?

IT DOES.

IT'S 50% FASTER.

50%.

HA!

THAT'S GREAT, SO THERE YOU GO.

INTERESTING.

BIT'S IN-- IN A HAND BRACE NOW.

SO YOU ARE GONNA BE MY-- YOU'RE GONNA BE MY PIECE OF TAPE... OH, OK.

SO WHAT I USUALLY DO... UH-HUH.

LET ME GET THAT RIGHT THERE.

IS TAPE THIS IF I'M BY MYSELF.

ALL RIGHT.

I'M GONNA HOLD IT HERE.

RIGHT ON THE SIGHT LINE, OK. AND YOU'RE GONNA PUT IT UP AGAINST THE BIT.

WELL, THIS IS THE KIND OF THING WHERE YOU HAVE TO HAVE SOMEONE HELPING YOU, TOO, TO LOOK AT IT, DON'T YOU?

AT FIRST, IT'S NICE TO HAVE A SPOTTER... OH, RIGHT, BUT YOU CAN JUST LEAN OVER.

BUT I CAN LEAN--I CAN LEAN MY HEAD STILL.

I'M NOT THAT OLD, OK. AH.

AND SO--UH, SO I'M LINING UP WITH MY SIGHT LINE, ALL RIGHT.

SO I'M LEANING UP, AND NOW YOU ARE WATCHING THE RESULTAGE.

RIGHT.

YOU LOOK GOOD.

I LOOK GOOD?

YEAH.

THANK YOU VERY MUCH.

I TRY.

IT'S--IT'S PARALLEL.

I FIGURE.

IT'S PARALLEL, UH, SO I JUST KEEP YOU, UH, GUID-- ALL RIGHT.

IT'S A LITTLE-- LITTLE TO--LITTLE TO YOU.

YEAH.

THERE YOU GO.

NO, JUST SLIGHTLY, UH, HERE.

YEAH.

IT'S FUNNY BECAUSE IT--IT WOBBLES A LITTLE BIT AND I HAVE TO DO THE AVERAGE.

LITTLE TO YOU, LITTLE TO YOU, LITTLE TO YOU, LITTLE TO YOU.

THERE YOU GO.

OK. NOW, I IMAGINE YOU GET DOWN A CERTAIN POINT... YEAH.

YOU CAN TAKE THE BEVEL AWAY.

OH, REALLY?

RIGHT NOW?

WELL, I'M--I'M SORT OF COMMITTED, I THINK.

HA HA!

THE DIE IS CAST.

ALL RIGHT, UH, SO THERE YOU GO.

SO IF YOU COULD REACH YOUR HAND DOWN THERE AND FEEL FOR MY LEAD SCREW-- I'LL KEEP MY HAND MOVING SO YOU DON'T ACTUALLY BORE-- OH, YOU'RE THERE.

OK.

UH, ACTUALLY BORE THROUGH IT, SO WE'RE GONNA START THE HOLE AGAIN FROM THE OTHER SIDE.

CORRECTAMUNDO, SO WE DON'T GET SPELCHING ON OUR TOP SIDE.

I HATE THAT.

NO.

THAT'S NOT-- YEAH.

I DON'T WANT THAT.

NO.

YOU DON'T WANT SPELCHING.

NO.

HERE WE GO.

SO HERE'S OUR LEAD SCREW... ALL RIGHT.

NOW I'LL CLAMP THIS AGAIN.

AND YOU COULD LAY OUT ALL YOUR, UH, SIGHT LINES AND USE THE BEVEL TO DETERMINE YOUR RESULTING, OR YOU CAN JUST SAY, "YEAH.

THIS IS ABOUT WHERE IT IS."

HA HA!

BUT IT'S THE OPPOSITE OF THE ANGLE...

IT IS THE OPPOSITE.

YEAH.

OR, YEAH, THE RECIPROCAL, LET US SAY.

OOH, LET'S SAY THAT.

WELL, I LIKE THAT... THAT'S A NICE WORD.

SO THERE WE GO, SO WE'RE ALL THE WAY THR-- AH!

AH, AH!

ALL THE WAY THROUGH.

NOW LET'S TURN IT BACK OVER.

LITTLE FINGER TORTURE THING.

YEAH.

HA!

YOU DON'T WANT TO BEVEL-- I'VE ACTUALLY SEEN FOLKS MAKE CH-- "OH, NO.

I REAMED FROM THE WRONG FACE."

YEAH, YEAH, BUT THEN YOU MAKE A PAPER TOWEL HOLDER WITH 4--4, UH--4 LEGS, SO WE'RE GONNA USE THE SAME SETUP, BUT WE'RE GONNA-- INSTEAD OF THE AUGER BIT... UH-HUH.

WE'RE GONNA REPLACE IT WITH OUR REAMER... OH, THE REAMER.

AND IT FITS NICELY IN A BRACE... WOW.

ALL RIGHT.

AND THIS IS THE TRICKY PART, SO WE GOT TO REALLY PAY ATTENTION, AND INSTEAD OF SIGHTING THE BLADE AGAINST THE REAMER, WHICH WOULDN'T HELP US BECAUSE IT'S TAPERED, WHAT YOU'RE GONNA DO IS, I'M GONNA SIGHT ON THE SIGHT LINE, AND YOU ARE GOING TO TRY TO GET THIS, UH, BLADE PARALLEL TO THE SHELL.

AH, OK, SO IT HELPS TO HAVE A PARALLEL SH-- BECAUSE THEY'RE NOT ALL LIKE THIS.

THEY'RE NOT ALL LIKE THAT, AND SO I LIKE TO HAVE A PARALLEL SHELL.

I SEE WHY YOU HAVE THIS ONE.

ALL RIGHT.

YEAH, AND SO IF YOU CAN GET US A LITTLE CLOSER-- YOU LOOK GOOD, A LITTLE HIGH-- UH, A LITTLE HIGHER, LITTLE HIGHER THERE.

YEAH?

YEAH.

UH, I THINK WE'RE GOOD.

OK.

SO DO THIS REAM CAREFULLY.

DON'T REAM-- REALLY?

YEAH, YEAH, SO YOU JUST TAKE YOU'RE TIME.

ALL RIGHT.

DON'T DRINK AND REAM.

DON'T--DON'T BAKE AND REAM.

DON'T DO ANYTHING AND REAM.

JUST REAM.

BUT DON'T FEAR THE REAMER.

YEAH.

THAT WAS--OH, MAN, YOU STOLE THAT.

OH, I KNOW.

I KNOW.

OK. OK. OH, YOU STOPPED.

I'M NOT DONE.

ALL RIGHT.

I'M NOT DONE, BUT WHAT I WANT TO DO IS, I WANT TO LOOK FOR MY--A TEST LEG.

HERE WE GO, ALL RIGHT.

SO I HAVE JUST A DOWEL THAT, UH, HAS, UH, THE TAPERED TENON ON IT.

OOH, I'D SAY COME UP A LITTLE BIT.

YOU SEE THAT?

THERE A LITTLE BIT MORE GAP AT THE TOP.

IS THERE?

YEAH, A LITTLE BIT MORE GAP RIGHT HERE AT THE TOP THAN THERE IS AT THE BOTTOM.

OK, SO I NEED TO REAM ON THIS SIDE.

YEAH.

I WANT IT TO-- I WANT TO BRING MY LEG UP LIKE THIS.

TIGHTEN IT UP.

RIGHT.

YEAH.

I WANT TO TIGHTEN UP AT THE TOP, SO WHAT I'M GONNA DO IS, I'M GONNA TAKE THE CUTTING LIP UH-HUH.

OF THE REAMER, AND I'M GONNA START IT HERE ON THIS LINE, AND I'M JUST GOING TO SWEEP ALL THE WAY AROUND THE TOP OF THIS HOLE FOR ONE--ONE OR TWO STROKES-- YOU KNOW, I'M NOT OUT VERY MUCH, SO PROBABLY JUST ONE STROKE-- AND THEN CONTINUE TO REAM, SO BY-- BY JUST GIVING US A LITTLE ENGLISH RIGHT THERE AT THE TOP... YEAH.

ALL RIGHT.

I CAN MOVE--I CAN MOVE THE NEEDLE.

YOU REALLY STEER THING THING, YOU CAN.

AS--AS YOU SAY.

OK.

I'M GONNA GET BACK IN.

THERE YOU GO.

YOU'RE GOOD.

YEAH?

YEAH.

YOU'RE GOOD, AND YOU'RE CLEAR.

YOU'RE NOT CUTTING ON THE OUTSIDE, SO I KNOW IT'S HA-- ALL RIGHT.

NOW GO.

NOW EVEN UP.

NOW EVEN UP.

OK. YEAH.

I THINK YOU'RE GOOD SO FAR, SO YOU KEEP TESTING, THOUGH, WITH YOUR TEST DOWEL BECAUSE THAT, UH, GIVES YOU A LITTLE MORE, UH, UH, TEST SURFACE.

YEAH, AND YOU KEEP GOING UNTIL-- LET'S CHECK IT OUT HERE.

OH, OH, OH, OH, LOOK AT THAT.

SO NOW I NEED TO COME BACK...

I THINK IT NEEDS TO COME OUT JUST A LITTLE BIT.

AND SO WE REVERSE THE OPERATION, AND SO WE TAKE-- MAKE THE CUTTING LIP... JUST LEAN--LEAN OUT A LITTLE BIT.

LEAN OUT THAT WAY, AND SO YOU GO BACK AND FORTH, BUT YOU JUST TAKE LITTLE BITES.

AND YOU'RE ALSO CHECKING YOUR LEFT-RIGHT LATERAL AS WELL AS THIS ONE YES.

BECAUSE OF THE SQUARE, SO, REALLY, THE BOTTOM OF THE--THE, UH-- THAT YOU'RE WORKING ON-- SAY, IT'S A CHAIR BOTTOM-- IT'S GOT TO BE PRETTY WELL FLAT IN ORDER FOR THIS TO WORK BECAUSE YOU'RE-- YEAH.

YOU'RE MEASURING OFF OF THIS.

YOU NEED TO COME UP, NEED TO COME UP, ACTUALLY.

YEAH.

THIS IS THE-- I WAS TALKING AND DIDN'T GUIDE YOU THERE.

THIS IS THE, UM-- THE REFERENCE SURFACE.

TIGHTEN UP, TIGHTEN UP.

TIGHTEN UP?

I DON'T CARE-- THERE WE GO.

OK. LET ME SEE HOW YOU'RE DOING DOWN HERE.

OH, YEAH.

YOU'RE COMING THROUGH WELL.

ALL RIGHT.

RRGH!

ALL RIGHT.

WHOA.

OOH!

YEAH.

ALL RIGHT.

SO WE PUT THAT GUY IN.

I'M GOOD HERE.

HOW AM I THERE?

NOT BAD!

OH, NOT BAD.

LOOK AT THAT.

NOT BAD AT ALL, THAT'S RIGHT UP TO IT.

SO PHEW, GOOD JOB.

SO ONCE I DO HERE, AND I CAN KIND OF FEEL THE--THE TEST LEG COME THROUGH, UH-HUH.

THEN ALL RIGHT.

I CAN GRAB ONE OF THESE TEST LEGS, LIKE THIS GUY.

THEN HERE I AM.

OH, LOOK AT THAT.

YOU CAN BAT IT IN THERE.

LET'S SEE.

HERE'S A MALLET, SO THIS, UH, AGAIN, IT'S GONNA GET TIGHTER AS WE-- OOP, SORRY-- AS WE DRIVE IT IN.

THERE WE GO.

I JUST WANTED TO SEE HOW THAT COMES OUT LIKE THAT, SO, OF COURSE, WE CUT THE, UH, WEDGE ACROSS, UH, THE GRAIN RIGHT THERE AND PUT THAT WEDGE IN SO THAT IT LOCKS.

NOW, YOU'VE GOT--WHEN WOULD YOU DO THE TURNING?

IF YOU WANTED TO DO TURNING OR--OR SHAPING, I GUESS YOU'D--I GUESS YOU COULD SHAVE IT WHILE IT'S-- AFTER IT'S IN HERE.

YOU COULD SHAVE IT IN THERE.

I--I LIKE TO SHAPE IT BEFOREHAND, UM, SO-- ALL RIGHT.

KNOCK IT BACK OUT.

YOU GOT TO KNOCK THAT OUT.

YEAH.

ALL RIGHT.

ALL RIGHT, SO IF WE WANTED TO DO SOME SHAPING TO THIS, IS THAT-- THAT'S WHAT YOU HAVE BECAUSE I SEE YOU HAVE A PLANE DOWN HERE ON THE END OF THE BENCH.

YOU HAVE YOUR JACK PLANE READY.

YEAH, UM, SO, YOU KNOW, IN--IN THE ONE WE MADE BACK THERE BEFORE, IT HAD OCTAGONAL LEGS, UH-HUH.

SO, UH, USUALLY, 4 SIDED OR 8-SIDED LEGS ARE PRETTY TYPICAL, OR YOU JUST--OR YOU JUST SHAVE THEM, SO, UM, LET'S GET-- LET'S GET A REAL-- THAT LEG IS KIND OF RECTANGULAR, SO-- I'M GONNA GET O-- SHOW WHAT YOU GOT HERE.

HE'S GOT HIS VERY NICE CRADLE HERE, UH, THAT YOU MADE AND JUST OPEN-ENDED, UH, TWO BLOCKS TO--TO RUN DOWN AND, UH, HOLD THE SQUARE LEGS AS YOU DO THIS STEP ON THEM, SO PUT THESE AGAIN BETWEEN THE DOGS ON YOUR-- YOUR WONDERFUL, HOLY ROMAN BENCH HERE.

MM, ENTIRELY ROMAN, YEAH.

AND SO WHAT I DO IS, I JUST-- I JUST PUT THEM IN HERE UP AGAINST THE STOP, AND I JUST--YOU KNOW, I TAKE MY JACK, AND I JUST TAKE IT DOWN UNTIL IT LOOKS OCTAGONAL, SO THAT'S ACTUALLY GOING AGAINST THE GRAIN, SO I'LL--GONNA DO THIS AND KEEP WORKING AROUND MM-HMM.

UNTIL IT LOOKS LIKE A LEG, ALL RIGHT.

BUT YOU WERE TELLING ME ABOUT SOMETHING ELSE, ABOUT A LITTLE GIZMO.

NOW, THIS IS THE WAY I USUALLY WORK.

IN FACT, I'M MUCH, MUCH FUNKIER, BUT I FOUND THIS IN A TOOL CHEST.

UH, SERIOUSLY, YOU KNOW, MY STYLE IS JUST A-- A LOT ROUGHER.

I FOUND THIS IN, UH, MR. SIMS' TOOL CHEST.

IT IS AN OCTAGONIZER.

IT HAS TWO SCRATCHING POINTS THERE AND TWO, UH, RUBBING FENCES THERE, AND BUT IT WILL FIND-- LAY OUT AN OCTAGON ON ANY WIDTH OF PIECE IF HELD, UH, WITH THE OUTSIDES TIGHT, SO I'M DOING THIS TO YOURS NOW, RUNNING THAT LINE LIKE THAT.

AND SO EVEN ON THE TAPER?

EVEN ON THE TAPER, SO IT'S VERY COOL.

IT WILL DO, UH, THE TAPER JUST RIGHT BECAUSE IT IS JUST THAT RATIO THAT IS THE FACETS OF AN OCTAGON, SO IF I TAKE THE PENCIL AND RUN THAT IN THERE, YOU CAN SEE THESE LINES MM-HMM.

ARE ALWAYS THE SAME PERCENTAGE, UH, OR PROPORTION IN FROM THE OUTSIDE, SO IF YOU JUST PLANE OFF DOWN TO THOSE LINES, UH, BETWEEN THOSE LINES, TAKE ALL THAT OFF BETWEEN THOSE-- THAT CORNER THERE, YOU WILL HAVE A PERFECT OCTAGON... AN EQUILATERAL OCTAGON.

SO JUST--YEAH, SO JUST ALL THE WAY DOWN, SO IF YOU WANT TO MAKE A--HERE.

GIVE THAT--GIVE THAT A GO AND SEE-- AND SEE HOW THAT WORKS, SO, AGAIN, BACK IN THE CRADLE, AND YOU JUST KEEP, UH, UH, TURNING IT IN THE CRADLE.

WELL, I THINK YOU HAVE ONE HERE THAT'S CUT.

WE STILL HAVE THAT ONE.

HERE IT IS.

OK. COULD WE GO AHEAD AND TRY WEDGING THIS IN PLACE, AND WE'VE GOT JUST ENOUGH TIME TO GIVE IT A GO.

WE'LL SEE HOW YOU FINISH UP, UH, THESE THINGS.

UH, MOVE THAT ONE OVER THE HOLE.

YEAH, OVER THE DOG HOLE, AND WHAT WE WANT IS, WE WANT THE CURVE TO BE ACROSS THE GRAIN... OF--OF THE PLANK.

OF THE PLANK.

OK.

RIGHT, SO ONCE WE'RE IN THERE, BOOM, AND THEN HIT IT HARD AND HIT IT UNTIL ONE WHACK BEFORE IT SPLITS.

ALL RIGHT.

GOOD.

THAT'S A GOOD THING, AND THERE AGAIN YOU CAN SEE THE, UH, UM, UH, SAW CURVE THAT YOU'VE SAWN IN THERE, AND NOW YOUR WEDGE GOES IN, AND YOU'D DO THIS WITH GLUE NORMALLY.

YEAH.

HIDE GLUE IS THE WAY TO DO IT, SO WE WOULD, UH, WEDGE IT IN AND KEEP KNOCKING IT UNTIL THE WEDGE STOPS MOVING.

WHEN THE WEDGE STOPS MOVING, YOU STOP HITTING IT.

ALL RIGHT.

NOW, THAT ONE WE CAN TAKE OUT, BUT ONCE YOU DO IT WITH GLUE, YOU CAN'T.

LET'S SEE THE, UH-- THE FINISHED ITEM HERE, WHICH IS REALLY THE PROTOTYPE FOR ALL THESE THINGS.

YOU WANT TO MAKE A WORK BENCH, YOU WANT TO MAKE A CHAIR, THIS IS HOW YOU DO IT, HOW YOU MAKE STAKED FURNITURE.

THANK YOU, CHRISTOPHER SCHWARTZ, FOR JOINING ME.

THANKS, ROY.

THANK YOU, AND THANK YOU.

THIS IS ROY UNDERHILL HERE IN THE WOODWRIGHT'S SHOP.

MAY THE GRAIN BE WITH YOU ALWAYS.

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