Our new Planing Stop is the jointer planes helper, engineered to be a complete planing stop, meant to be easy to set up and use. When you wanna plane, you wanna plane! When you are done planing, simply lower the screws and it’s flush to the bench top. Always ready.

Why would we want to use a planing stop?

The main reason to use a stop when planing is that it offers no cramp to the board. By cramp, I mean clamping the uncorrected board so that some of the wind and twist may become compressed. When you clamp a board that isn’t flat before you attempt to true it, you can flex the wood fibers against a natural wind and actually plane more problems into it than out.

This means that clamping boards between the end vise and bench dogs can make it harder to flatten a board if we wrench things into more wind than is already there, and that is all too easy to do. What works best is a stop to plane against and a few wedges under the board to keep it from rocking. This way the board is flattened while all it’s fibers are at rest.

Flatten the top, flip and thickness the other side flat to match. Once faces are flat, chuck in the vise and chase the edges. Then saw the ends to length and shoot. No need to worry about marks in the end grain from the stop because you’ll shoot the ends after. Of course if you are too late, this stop will work with a board between the stop and the work just as well.

The cool thing is that this design looks tough on the bench, and is tough on the bench because it eliminates the short grain breakage issues that are common with the sliding stops most commonly used.

Kari Hultman, from the Village Carpenter Blog outlines some of the limitations of traditional planing stop variations, Here. Our hope was to see if we could overcome them, and we think we have. The screws have excellent holding power, better than planing into a vice or a bench dog, and this offers variable width and height versatility.

What it is.

It’s a fixture that usually mounts on the left end of the bench nearest the edge the face vise is on. Of course if you’re using a left hand bench this would be opposite. It is always 12″ long 1-3/4 thick. Depth or width, depending on how you look at it is optional in three sizes. Small: 1-3/4, Medium: 2-3/4, or Large: 3-3/4 inches.

It mounts firmly with two or three 3 x 5/16th lag bolts, which are recessed flush into counterbores, and has a series of six 1/4-20 flat head cap screws spread over a 10 inch range in 2-1/2 inch intervals that have 82 degree countersink tops which can be quickly and easily raised and lowered to stop any board you would like to plane. Just mount the top of the stop on plane with the bench top or alternatively slightly below the bench top surface.

The tops and sides have a small chamfer on them, so there are no sharp edges where people will usually contact it. The bottom edge has a decorative cove cut into it to help dress up the stop and it’s appearance on the bench. We finish it with Teak Oil. Teak Oil is an amber finish that pops grain and it wears like iron.

We make these planing stops available in three different sizes and four different woods; Ash, (shown) Cherry, Hard Maple and Walnut.

How is it installed?

This is a pretty straightforward install. There are two to three 5/16 holes in these depending on the model. There are counterbores for the bolt heads so everything is recessed into the stop. Nothing protrudes from the fixture to catch on your clothes.

Layout for mounting is optional. As mentioned, the stop can be mounted on plane with the bench top, or slightly below to compensate for future bench flattenings. It can be positioned right on the corner or inset a bit, as based on personal preference.

Once it is positioned where you like, take one of the supplied lag bolts and use it to punch the center points for the 1/4 inch diameter mounting holes. Then drill the holes squarely to edge of the bench approximately 1-1/2 inches deep. If you need help squaring up this drill hole, our Medium Drill Squaring Guide works great for this.

Your favorite socket and ratchet fit right in the counterbore for a straightforward install. It goes on the left end of the bench and near the edge with the face vise. Simply drill two or three 1/4-inch holes (again, depending on the model) into the end of the bench about 1-1/2 inches deep and bolt it on.

How it works.

Lay your board up on the bench as you usually would, inspecting for twist and wind. Prepare to shim the board so it won’t rock as you flatten it.

You can choose any two or three of the flat head cap screws, which are spaced from 1-10 inches apart. Raise them between 1/8th to 3/16th above the bench top with the hex key that stows in its holder on the end of the stop.

Position the board against the stop and plane away, planing the high spots first and work your way down to flatness. The stop is tough, so push as you would with usual planing force. It can handle the pressures of planing. It is equally adept at working with both thick and thin stock because it doesn’t take much height for the stop to hold the work and the cap screws always remain below the plane iron. No damaged blades here!

Adjustments are quick and easy! Simply grab the hex key out of it’s keeper on the lower right side of the stop and use it to quickly raise a couple of the cap screws that seem appropriate for the width of the board and the stop is ready. We find 2-1/2 to 3 full turns on the screws is all that is needed for stopping any board.

It’s an affordably priced upgrade to any bench, that works great and offers planing versatility that a vice often can’t match when jointing and flattening is the task. Please see the Planing Stop product page in our Store to order.

Happy Woodworking!

Dick wrote that what he had accomplished was good enough for “rural work” but in reality, he was a very talented user of hand operated tooling, and knew what he could accomplish with the woods he had access to and the kind of durability he needed from them. Rural work did not mean he quit refining the quality of his workmanship, it meant he built the way he did so as to provide utility, endure hard use and inclement seasonal conditions.

Colonial Williamsburg Photo

Hand tools are also very highly regarded as the go to tools for fine work. Work on pieces where tolerances are exacting, or the sizes of the pieces are so small or thin where powered tooling would make it difficult to work safely or accurately.

The biggest misgivings that people who don’t use hand tools have when I have spoken with them about them have been based in what they are unsure about. Not knowing what a tool will do, how to maintain sharpness, and how difficult the application of the tool to the task will be. In other words, to some, hand tools are either Greek to them, or they seem too hard. The philosophy of “seem” is different than the philosophy of “is”.

Colonial Williamsburg Photo

Other times it’s a production issue, but unless we have commercial obligations, most woodworkers are not having production issues. Most woodworkers have the shop machines they need to handle all the heavy lifting, and for the most part are usually not in a production environment. Never the less, some hand tools are quite productive, and are in some cases the only way to do certain things. Those who eschew machinery, are not concerned with any production issue. I know a few furniture makers who are asked on occasion to build commissioned pieces with hand tools only.

Colonial Williamsburg Photo

Sometimes we are afraid to try something we are unfamiliar with, or dismiss something because we don’t know much about it. On the other hand, nothing ventured, nothing gained, and it never hurts to try. I am saying, try them, you will be pleasantly surprised what they can do! They are much easier to work with than you might have imagined.

Colonial Williamsburg Photo

Epiphanies often happen for woodworkers who are new to using hand planes when surface qualities that compare to 600-grit sandpaper smoothness happen in one swipe of a plane blade. Better still, the wood is not burnished and will take stains and dyes really well. Other times the ease of using a hand tool shines when a task is accomplished without noise, projectile sawdust, or without complex jigging and fixturing. It is even more impressive when it happens with great ease and in less time than you thought it would. Hand tools offer a lot of premium advantages to woodworkers if they try to learn their ways.

Colonial Williamsburg Photo

Woodworking is an evolved tradecraft that can trace it’s linage to the use of hand tools. While machines have taken the place of hand tools for many mundane and laborious tasks today, there are still many places where hand tools can shine, and even do the best work possible. We are making a bunch of parts and sub assemblies, then putting them together; we can create them any way we like. Layout for what you want to make, and remove all the material that doesn’t belong to what you are making. Depending on the task, often the hand tool makes an outcome as easy as drawing or pointing. When you look deeply into certain tasks, hand tools offer the most direct way.

Colonial Williamsburg Photo

In 1976, The Colonial Williamsburg Foundation produced a documentary about how musical instrument making was done in colonial times. It featured the use of hand tools in a cabinetmaker’s shop of the era. It is about the making of a spinet harpsichord and a violin. There are a large number of hand tools, even some very specialized tools used, different timbers and materials used, and woodworking techniques described in the movie.

This video is just a taste, Video 1 of 6. If you navigate to the following six links, you can watch The Musical Instrument Maker of Williamsburg in it’s entirety on YouTube.

Video 1 of 6

Video 2 of 6

Video 3 of 6

Video 4 of 6

Video 5 of 6

Video 6 of 6

Many woodworkers may not be interested in making musical instruments and that is fine, but the film will show many different techniques which can be employed to do very fine woodwork with hand tools. Nearly any of these techniques are transferrable to any project where hand tools are used to accomplish the work. Are there skills you wish you had? Are there techniques you would like to employ on the work you do? This documentary may offer the right inspiration.

Colonial Williamsburg Photo

Some of the tools and techniques shown and described in the documentary are:

• Wood bending, using both boiling and steaming methods.

• Properties of various wood species and how reading these variable properties for specific purposes is important.

• Many applications for gluing using hot hide glue.

• Special fixtures for work holding during sawing with fret and coping saws.

• Fixturing for chiseling and carving processes.

• Special techniques for clamping odd shaped items with various forms of joinery.

Colonial Williamsburg Photo

• Techniques for clamping curved work.

• Techniques for clamping and molding woods to the contour of shaped forms.

• Techniques for clamping with various shaped cauls.

• Techniques for clamping with go bars. (A wooden bar that fits between the work and the ceiling to provide clamping pressure.)

• Techniques for clamping with string.

• Special fixturing for gluing curved work.

• Layout techniques for various styles of joinery as well as for use with curved work.

Colonial Williamsburg Photo

• Sawing veneers by hand.

• Planing with toothing planes to avoid tear out to the wood fibers.

• Planing with violinmaker’s planes for thicknessing and finishing tight areas and creating special contours and radiuses.

• Paring and carving operations with chisels and gouges utilizing many different approaches and techniques.

• Methods for sawing, filing and gluing with ivory.

• Many different views of various scraping scenarios throughout.

• Curved purfling inlay work with ebony and holly.

Colonial Williamsburg Photo

• Router plane usage for fixed depth work.

• Shaving curved and straight work with drawknives and spokeshaves.

• Sawing and chamfering the finished edges of holes.

• Layout and planing for fitment to contoured surfaces.

• Marquetry, the lay out, sawing of multiple colors at once, scorching for color toning, and fitment as an inlay.

• Finishing with shellacs, varnishes and polishing out with rottenstone.

• Layout for drilling with awls and various styles of bits, the reaming of holes for proper sizing, and finished edges with chamfers.

Some other things that the film exposes us to, are how different materials are chosen for the specific qualities they have. Strength, appearance and sonic resonance are a few qualities that make the wood adequate for use when none of the other qualities are required.

Colonial Williamsburg Photo

Of note in the film were the many ways the craftsmen fixtured the various forms of work, so as to be able to work with tools safely, ergonomically and accurately. The sharpness of their tooling made the work look as though it was effortless. In reality, it is as easy as it looks if tooling is sharp. Sharp tooling does make the work happen with a lot less effort than one might imagine, and achieving high levels of sharpness on hand tooling is not hard to learn to accomplish.

Colonial Williamsburg Photo

Many of us learn by seeing things done, and it helps to have an explanation as we watch. My hopes are that seeing this documentary sparks interest and imagination. Perhaps it will show a path to finer woodworking to those looking for a way. This documentary helps outline many ways we can utilize hand tools, jigs and fixtures to aid in accomplishing fine workmanship that would be otherwise very difficult to do with power tools and shop machines. Have a look at each of the six videos and see if it doesn’t reveal a trick or two of the versatility hand tools can offer!

Happy Woodworking!

But actually, I was going to touch on some thoughts and problem solving on the left side of the blade. Table saw that is. It really is the unaddressed side of the machine.

I am a hand tool user, and advocate. Heck, I even make hand tools, but I am also a blended woodworker. For those unfamiliar with the term, a “Blended Woodworker” is a woodworker who espouses both the finesse of hand tools, and the production of power tools and shop machines.

I make no bones about it, as each of us should follow the woodworking path that makes us feel content. Whether you are a power tool woodworker, a blended, woodworker, a hand tool woodworker, and even perhaps a collector, it’s all woodworking and that is a good thing! Whichever way you are doing it, your doing it right for you. That is all that matters.

Many with table saws are faced with various challenges. Cut quality and safe practices are always ones that weigh heavily on the mind, maybe even the left-brain. Those who have the space and desire, enjoy a large cabinet saw with a 60 inch fence set up, maybe an outfeed table that will accommodate full sheets of plywood. The rest of us may not need a saw that takes that much space, and so we opt for saws with a 30 inch fence system, or maybe even less.

There is nothing inherently wrong, but there are unique challenges here. The left side of the blade is the off cut side, and because of the limited width to the right of the blade, sometime the width of what crosses the table saw must ride on the left, even when it is rather largish.

Rather largish presents an overhang to the saw table. This overhang is a fun little exercise, one that has had me wishing I had a few extra arms at times. You know, there you are, you, and the saw blade.

The Zen moment is where there is nothing but you the saw and the cut in the whole world. The largish overhang is gaining it’s ability to counterbalance itself on the left edge of the saw with each inch you cut, and as friction from the table overcomes the weight of the oafish off cut, the inability to keep the big beasty under control with just one hand, has you wishing one eye could continue to watch the fence as the other eye watches near to the blade so you can direct the left arm to do the right thing in independence.

Good times!

NOT.

I work alone and there is no one to ask for help. Even if I had help, the helper needs to know the drill really well, because the ramifications have a direct line to the saw blade. Unwanted effects can be immediate. Suffice it to say, I think working alone is better for me, so I thought about work-arounds for a long time.

In some cases, depending on the length to width ratios, a circular saw with or without a guide is a good way to break down the lumber to sizes you can better finish on the table saw. In this case I didn’t have this ratio problem where the length P is many times the width, whereas the width would not be enough to properly register to the fence of the table saw and counterbalance the length component of the board.

I also needed more speed, better production, and the table saw has that, so I had to figure the best ways to deal with supporting my overhangs. Roller stands seemed like a viable answer, and turn out to be both in part, a piece of the problem and the solution to that problem, but by themselves, they are not the be all end all at the left side of the saw.

The inherent problem with roller stands at the left, is that depending on the width of the material you are cutting, the overhang will likely have to transit from one roller stand to another as the cut is pushed forwards through the saw, and as this happens, the problem of perfect coplanarity is hard to achieve with multiple roller stands that are set to support in the rolling direction. What you get is slight bumps transmitted back to the blade and too, it is not the best thing for your Zen moment. So stand good, roller bad.

After staring at the table saw for a while with the sheet of plywood up on it, I came upon, wait for it– a temporary-roller stand-modifier-jig. I call it the roller stand ski. Well yeah, and it isn’t originally anyone’s idea I’m sure, and heck it’s 2009, branding everything is in, so I have to name it something.

I use those workforce roller stands from the big box stores. They are priced right, fold, hang out of the way, set up quickly, are bearing rollers, have slight tilt adjustments, and for me, owning four of them has been about right. I have used them at every shop machine. They come in lots of variations, but these seemed just right in the pocket for me, cost/benefit wise.

The ski has to mount above the rollers with the stands turned perpendicular to the direction of the cut. I wanted it to work in such a way that I set the stands about where I want them, and for the ski to simply clamp to the stand. When not needed, It is quickly broken down, and the stands hang back up, the ski leans in the corner…

How I made my ski, was sort of a happenstance that came from salvage. A few years back I had planned to use some birch 1×2 with a 1/4 inch chamfer on one corner and a 1/4 inch rabbet on the other as a molding, but no matter how I approached the milling, it tore out. So I rejected it and used a different wood and these boards leaned against the pile causing me to ponder their future going forward. Can’t throw even the failures away, because they still could redeem themselves, somehow. (Yes I do have a selection of smallish off cuts, and I surprisingly use many, but I toss all my sawdust. Honest! )

So I took a six-foot length of this molding I had made and trimmed the ends to make them smooth. Then I drilled three 1/4 inch holes in each end. The first hole on each end is at seven inches in, because this equals the half width of the roller on the roller stand, and each additional hole moving toward the center of the rail was on six-inch centers. All were drilled 5/8ths on an inch in from the side of the 1×2 that has the rabbet. Then the holes were milled with an 82-degree countersink for use with a 1/4-20 flat head cap screw.

When mounted, the chamfered edge on this rail is at such an angle that just the knife-edge of the chamfer supports the wood and with finish and a wax, it offers very little resistance to what is being slid over it. So in one way, this cast off molding had redeemed itself. But wait, there’s more!

For the bracket, as configured, the Workforce roller stand has a 3/8’s inch difference between the roller and the roller bracket, so I used 1/2 Baltic Birch as a shim. It was close enough width wise, and from the scrap bin. I used the molding for the bracket as well, so since the width of the molding is 1-1/2 inches, and the place on the roller stand where the bracket is clamped is also, this shim is square.

The shim is then glued and doweled to a length of molding cut to 4-5/8ths inches long. This will be the clamp end. On the other end I glued and doweled a 1-1/2 inch square piece of the molding, but I staggered it off center a little so that the chamfer o n the square block meets the end grain of the 4-5/8ths piece, this way the chamfer sits a little proud. The benefit to this is that the inside square formed by the rabbet on the opposite side rests against the roller, and this offers support. Funny how this failed molding worked out this way…

I then drilled the bracket on centerline, and again 5/8ths of an inch up from the rabbet side, with a #7 drill bit and tapped the bracket with 1/4-20 machine threads. So the brackets just bolt on, from the rail through to the wood bracket and I tighten to when it reaches a friction fit that still allows rotation of the brackets without needing tools.

The finish is Watco Teak Oil and Wax. That is a moisture resistant finish, which is common on boats and great for the shop. The rail clamps onto a pair of roller stands with a pair of Irwin quick grip ratchet clamps, but any clamp that can offer better pressure than a spring clamp would do. It is easy to adjust, just as you would the roller stands normally, but now you are adjusting an entire plane with two points.

The roller stand ski sure has added a lot of safety and production to the left side of the blade for me, and I even found use for some scraps that didn’t work out. Best thing is that it stows in almost no space at all. The next best thing is, that since the roller stands adjust, I can always set it higher to compensate for the thickness of my table saw sled when crosscutting long boards. Hopefully something like this can help others with a similar conundrum. It is nice to have this kind of help when you work alone.

Happy Woodworking!

Yes, I am talking about shooting boards.

Shooting boards are one of the gateways to fine woodworking. Sure, there are many gateways, but the shooting board, in its different configurations guide the cleanest edges and end grain cuts to the finest accuracies, the most spectacular fit and finish, and it puts this capability in the hands of any woodworker.

I have always enjoyed woodworking jigs, and have made a number of shooting boards over the years. I have thought about many different designs for a long time. I’d have one that did this, but not that, and wish I had one that did that too, but then, that method can become a stack of shooting boards, and most of us don’t have the space for that. It’s true; there are some very specific types that are meant to cover specific uses. Others are great for general work, but the worry over wood movement and long-term accuracy causes some folks to question how much energy to put into the making of their own.

I decided to try designing a shooting board, using a design that encompasses the many qualities that I felt most woodworkers would most desire and need in a basic shooting board. Reinforcing as many strengths as I could, while diminishing the weaknesses where possible, and offer it for sale to woodworkers who may be interested in a shooting board that can cover a lot of fine woodworking situations, yet may not want to build one of their own. If you are interested in purchasing a shooting board, I’d be happy to build one for you. Please see the details at the end of this article.

My design is a shooting board with pivot fence. Made from Baltic Birch for durability, and stability in most any climate. It’s adjustable and calibratable for square as well as the 15, 22-1/2, 30, 45, and 60-degree radials. The base measures approximately 14-3/4 inches square. The plane chute is 14-3/4 x 2-3/4, and 1/2 inch below the base to assure a firm squaring registration with most any maker’s planes. The fence, 11-1/2 long by 1-1/4 wide, is positioned 3 inches from the back edge for planing stability in the chute, leaving a full 11-1/2 inch surface for the work piece. The base has been sanded to 150 grit overall to improve traction on the bench and work piece. The Chute has been sanded to 400 grit. The Shooting Board has been finished with Watco Teak Oil, a user repairable finish, and the Plane Chute has been waxed to aid smooth shooting operations.

Steel T-Nuts, counter bored, pressed and epoxied into the base provide 5/8 inches of steel threading to assure accuracy and lasting structural integrity through years of adjustable use. The cleat hooks the unit to the bench with four 1/4-20 flat head socket cap screws tapped directly into the base, and countersunk into the cleat for a very sturdy connection.

A dust groove runs along the left side of the chute to help assure that dust and shavings don’t foul the shooting plane’s accuracy during use. The chute is checked to assure it is coplanar with the top of the jig, and corrected before it leaves here.

Steel Button Head Cap Screws with Brass Knurled Knobs assure a long lasting, secure, comfortable way of adjusting and fixturing the fence. Under both knurled knobs, a brass washer protects the fence from wear. The fence has a small-elongated slot machined on the calibration side that matches the pivot radius, so the fence can be calibrated to the drafting squares accuracy in any climate or wood moisture condition.

Fence calibration is easy and inexpensive with $4.00 Drafting Triangles available from nearly any good office supply store in their drafting supplies section. The 8-inch 45-45-90 square and 12-inch 30-60-90 drafting triangles assure the best registration. Other angle finders such as adjustable drafting triangles and various styles of protractors and protractor squares can be employed to find the other angles as well.

Here the fence is being calibrated to shoot in the square position. Simply loosen the fence fixturing knobs. A 45-45-90 Drafting Triangle is positioned between the fence and the sole of the shooting plane. The shooting plane is positioned with the toe end at the fence, and the plane sole is pulled firmly against the left side of the plane chute. The fence is then positioned so that there is a tight fit of the triangle between the sole of the plane and the fence, and the fixturing knobs re-tightened. You can also use machinist squares, combination squares, and vernier protractors with rulers from the edge of the chute. THe accuracy of your set up tooling is transfered to the jig. It just takes a few seconds. This assures total shooting accuracy every time you use the Shooting Board, any season of the year.

Here the fence is being calibrated to shoot in the 30 degree radial position. A 30-60-90 Drafting Triangle is positioned between the fence and the sole of the shooting plane. The same procedures for squaring the fence are repeated.

Here the fence is being calibrated to shoot in the 45 degree radial position. A 45-45-90 Drafting Triangle is positioned between the fence and the sole of the shooting plane. The same procedures for squaring the fence are repeated. This is the woodworking secret to perfect mitered corners, perfectly squared ends, perfected dimensional accuracy in layout.

Here a Lie-Nielsen 62 is engaged in shooting square the end of a board, the angle cut on the fence near the knurled knob is used to shoot at any angle other than square. Simply flip the fence over so this angled portion faces the work piece and recalibrate.

Here is a look at the fence, sole, chute relationship, where the wood if engaged would be being pared square by the shooting plane. A fine adjustment and a sharp blade is desirable.

This is a look at the hand position, fixturing the board to the hook portion of the Shooting Board. A firm grip on the side of the plane body near the blade bed pushes the plane forward while holding the plane against the left edge of the chute.

The Stanley #4 is a viable shooter when sharp. Here is it shooting the end grain of Panamanian Rosewood Veneer. Veneer can be trimmed long grain and on any miter angle using this method. Starburst or mitered veneers anyone?

The Shooting Board can shoot Long Grain to 11-3/4 inches.

As shown, the Plane Chute measures 14-3/4 by 2-3/4, which will accommodate Lie-Nielsen’s #9 Iron Miter Plane and 62 Low Angle Jack, the Veritas Low Angle Jacks, as well as other Infill and wooden miter and non-miter planes. Any of the Stanley Bailey and Bedrock planes are suitable for use, and a even a block plane, particularly a low angle one can also be employed if the wood isn’t too thick.

For the best results when using a plane for shooting, the soles should be square to the sides of the plane body, the iron sharpened to the equivalent of an 8000 grit waterstone and stropped. The side and sole of the plane waxed and the iron set for a thin shaving of .001 or less.

When shooting, a firm right hand grip on the plane on the side of the sole positioned near the plane bed at mid-plane, with the shooting board firmly hooked against the bench or fixtured in the face vise. The left hand fixtures the work piece against the fence.

In order to reduce the possibility of tearout, consider making your first cuts to the work with the index finger only of your left hand between the work piece and the fence near the plane chute, so as to skew the work towards you at a slight angle. Take a few passes with the plane here, so as to relieve a slight amount of material at the back of the area being squared. Then place the work piece full against the fence and shoot the edge, stopping when you have planed to the area you relieved. With experience, you will be able to determine for yourself when this method will be most helpful.

When shooting angles other than square, it may occasionally be helpful to fold an eleven inch strip of 320 grit sandpaper cut 1-1/4 inches wide in half, lengthwise, and place it between the work piece and the fence to help resist slipping. This is particularly helpful when working steep angles.

I am offering this shooting board (the deluxe shooter model is shown) for sale in right or left handed versions at $130.00 plus shipping and handling. There are Shooting Boards available starting at $100.00, please have a look in the Evenfall Studios Online Store. These jigs are craftsman made by me, built for accuracy and longevity. Meant to be a durable, serviceable tool that helps promote the ability for any woodworker to work at the finest levels of woodworking accuracy.

Custom offerings are possibilities! Please feel free to email me and discuss your needs. We also have some accessories available for the boards, such as taller fences, and a bench hook board lift that matches the shooting board height, as an aid for leveling long work is also optional and made only if ordered. Please feel free to inquire about these and other custom options.

To place an order, have a look in the store at the various models we have available, and simply click to order. Your order will be placed via a Paypal Shopping Cart System. We’ll reply with an invoice for shipping soon after. For purchases, we accept PayPal which also handles most major credit cards, and United States Postal Service (USPS) Money Orders. Online ordering is preferred.

To contact us via email, just click this “Contact Me” link, which will take you to the contact page, or use the “Contact” navigation button at the top of this page, to email me and place your order.

I hope you enjoyed a look at the shooting board, and as always, your comments are welcome as well!

Happy Woodworking!