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'M ROY UNDERHILL.

SO GLAD YOU CAN BE WITH ME AGAIN TODAY, BECAUSE I'M DOING ONE OF MY FAVORITE THINGS TO SHARE WITH YOU, BECAUSE MY LIFE IS CHAOS, AND THE ONLY ISLAND I HAVE OF ORDER AND DISCIPLINE AND SYSTEMATIZED BEHAVIOR IS HERE MAKING WONDERFUL WINDOW SASH.

I AM MAKING A SET OF DOUBLE CASEMENTS HERE.

THEY'RE ALL IN CYPRESS.

THEY'RE FOR A TURN-OF-THE-CENTURY 1900-VINTAGE OLD MILL HOUSE, AND I LOVE DOING IT.

IT'S GREAT, BECAUSE YOU JUST HAVE TO-- YOU CAN'T MAKE THESE THINGS AND NOT BE ORGANIZED AND NOT BE IN ORDER.

AND YOU ALSO GET TO USE SOME WONDERFUL TOOLS.

LET ME SHOW YOU THE JOINT, THOUGH, RIGHT HERE.

THIS LOOKS SO GREAT WITH THE WINDOW SASH.

I DON'T WANT IT TO FALL OVER.

THEY'RE NOT HINGED YET.

LOOK HERE AT THE FACE.

YOU CAN SEE THE OVOLO MOLDING RIGHT THERE.

SEE HOW THIS OVOLO, THAT KIND OF REDUCES THE VISUAL WEIGHT OF THE WINDOW.

THE GLASS GOES ON THE OTHER SIDE.

SO, YOU HAVE THAT CURVED MOLDING, AND IT'S CONNECTED, OF COURSE, WITH A TENON THROUGH THERE.

YOU CAN SEE THE END GRAIN OF THAT TENON.

BUT IF WE LOOK AROUND THIS WAY, YOU'LL SEE THE SCRIBED SHOULDER OF THE TENON.

LOOK AT THAT.

AND THAT BEAUTIFUL TIGHT GRAINED CYPRESS THERE, THE WAY THAT GOES AROUND.

THIS IS ALL DONE WITH HAND PLANES, AND WE'RE GONNA SEE HOW TO DO IT.

SO, I'M GONNA SET THIS DOWN BECAUSE I'M GONNA OCK IT OVER.

LET ME SHOW YOU THE HAND PLANE.

AND HERE IS A MUTTON RIGHT HERE, AND THAT IS CUT OUT WITH THIS-- THIS IS AN AMERICAN STYLE.

BRITISH TRADITION USES MORE VERSATILE AND MORE PLANES.

THIS ONE YOU CAN SEE, THIS PLANE CUTS THIS MOLDING HERE, THIS MUTTON.

YOU CAN SEE HOW THAT GOES IN THERE.

IT HAS--THERE'S THE SIDE IN THE ROOM.

THERE'S THE SIDE WHERE THE GLASS GOES.

THIS PLANES THIS RIGHT ALONG AND DOES THAT SHAPE.

NOW, THERE'S ALSO ANOTHER SHAPE HERE.

YOU MAY NOT NOTICE-- THIS IS THAT RIGHT THERE, THAT SCRIBED HOLLOWING.

DO YOU SEE HOW THAT IS?

THAT IS MADE TO FIT OVER THE MORTISE'S SHOULDER THERE, AND I HAVE ANOTHER PLANE THAT DOES THAT.

THIS IS THE SCRIBING PLANE THAT CUTS THAT HOLLOW RIGHT THERE TO FIT OVER THAT PIECE.

SO, WE'RE GONNA SEE HOW TO USE BOTH OF THESE PLANES.

NOW, FIRST THING YOU HAVE TO DO, THOUGH, YOU KNOW, IS GET THESE PLANES, BECAUSE THEY FIGURE IN TO THE WHOLE CALCULATION THAT YOU PUT ON YOUR STICK.

YOU MUST HAVE A STICK IF YOU'RE GONNA MAKE WINDOWS.

THIS GUIDE STICK FITS FROM TOP TO BOTTOM AND HAS THE LOCATIONS FOR THE MORTISES AND TENONS-- I'LL SHOW YOU HOW THAT WORKS IN A SECOND--ON IT.

IT ALSO HAS CODED ONTO IT THE HORIZONTAL PIECES OR, IN THIS CASE, THE RAILS HERE THAT YOU SEE ON THIS ONE.

IT'S CODED ONTO THIS STICK.

LET ME TAKE THIS DOWN HERE SO I DON'T KNOCK IT ALL OVER.

CYPRESS IS VERY DECAY-RESISTANT BUT EVEN IN HEART CYPRESS, IT'S VERY--VERY SOFT.

SO, YOU DON'T WANT TO BASH IT UP TOO MUCH.

BUT THE DECAY RESISTANCE IS SOMETHING I NEED, BECAUSE IT'S GOING IN A VERY HUMID LOCATION.

UH, LET ME SHOW YOU HERE ON ONE OF THE WINDOWS HOW THE STICK SITS, AND I CAN SHOW YOU-- I HAVE THE STICKS UNDERNEATH HERE THAT THIS GOES TO.

THIS SIDE OF THE STICK IS COATED WITH THE MORTISE--OH, I'VE GOT IT UPSIDE DOWN.

LIKE THIS.

THE BOTTOM RAIL IS A LITTLE BIT BIGGER.

BUT YOU CAN SEE HOW THERE'S DOUBLE LINES ON HERE TO SHOW THE LOCATIONS OF THE MORTISE.

SO, ON THE STICK TWO LINES, AND THERE'S THE MORTISE.

HERE'S TWO MORE LINES TO SHOW THIS MORTISE RIGHT HERE.

AND SO FORTH.

SO, YOU CODE ALL THE VERTICAL INFORMATION ON HERE.

ALSO, YOU CODE ON HERE THE HORIZONTAL, THE RAIL INFORMATION.

THAT IS RIGHT HERE.

AND YOU CAN SEE I HAVE THE SHOULDERS DELINEATED AGAIN WITH PENCIL MARKS.

BUT NOTE THAT THE SHOULDERS THAT I'M POINTING TO-- OH, LET'S SEE.

I'M GONNA GET A PENCIL HERE.

THE SHOULDER THAT I'M POINTING TO IS THE SHOULDER OF THE TOP END THAT CUPS OVER RIGHT THERE.

DO YOU SEE HOW THAT CUPS OVER?

NOT DOWN HERE.

THAT'S NOT WHAT-- NOT THE ACTUAL INTERIOR SPACE OF THE WINDOW, BUT THAT RIGHT HERE.

THAT'S WHAT WE HAVE TO GO FOR.

ALL RIGHT.

SO, WE'RE GONNA CODE THESE ON ALL THE PIECES.

I'VE GOT THEM LAID OUT.

I'VE ALREADY DONE THE VERTICALS, THE STILES HERE.

RUN MY CODE LINES ACROSS ON THIS--ON THE STICK.

SO, HERE'S MY TWO VERTICAL PIECES.

AND I'VE CODED THEM ALSO FOR THE GRAIN.

I'M GONNA SHOW YOU ON THIS ONE.

I'M GONNA DO THE BACK SIDE HERE.

THIS IS ONE HERE.

YOU SEE, THIS WOOD, THIS CYPRESS HAS LITTLE ARROWS WRITTEN ON IT, BECAUSE I WANT THE GRAIN TO RISE UP AND OFF FOR ME.

SO, I'VE GOT THESE MARKED WITH ARROWS THAT WILL HELP ME WHEN IT COMES TO PLANING.

SO, THAT'S THE FIRST THING YOU DO.

BEFORE YOU LAY IT OUT, GOT TO GET THE GRAIN ORIENTATION SO THAT WHEN YOU PLANE, IT COMES OUT NICE AND SMOOTH.

SO, SEE IF I CAN GET THESE ORGANIZED HERE.

ALL RIGHT.

AND PUT THEM IN THE VISE.

AND SO, CLAMPED TOGETHER, YOU CAN STAND THEM UP ON THE WORK BENCH OR CLAMP THEM TOGETHER A LITTLE BIT BETTER THAN I'M DOING RIGHT HERE.

ALL RIGHT.

AND THEN WITH YOUR TRY SQUARE AND YOUR PENCIL AND YOUR GUIDE STICK-- ALL RIGHT, NOW I'M ORGANIZED-- FIND THE END GRAIN.

NOW, THIS STICKS OUT JUST A LITTLE BIT.

I HAVE A LITTLE BIT OF EXTRA AND A LOT EXTRA ON THE OTHER PIECE, SO, I'LL MARK THERE AND THERE FOR THE SHOULDERS OF THE TENONS.

RUN THAT LINE ACROSS ALL OF THE PIECES HERE.

SO, THESE ARE WHAT WE WOULD CALL THE SHOULDERS OF THE TENONS THAT ARE GOING ON HERE.

ALL RIGHT.

SO, I'M DONE WITH THAT ONE NOW-- WITH THOSE PIECES WITH THE STICK.

I'M GONNA NOW RUN ACROSS THE FACE SIDE HERE, AND AGAIN, I'VE GOTTA KEEP CHECKING.

YOU MAKE A--A GRAIN ERROR OR A FACE SIDE ERROR AND IT'S--IT'S START OVER AGAIN.

SO, HERE AGAIN, I'VE GOT MY ORIGINAL LINE.

RUN THAT ACROSS THE FACE.

AND I KEEP ALL THE LINES ON THE FACE SIDE, AND THAT TELLS ME THAT I AM-- GOOD.

OK. THAT I'M ON THE FACE SIDE.

IT'S A FURTHER INDICATOR.

IF THERE'S A PENCIL MARK ON IT, I KNOW IT'S THE FACE.

THE INSIDE OF THE ROOM.

AND PUT ALL THE ERROR, THE WASTE OUT HERE.

THERE'S MORE ROOM ON THE OUTSIDE OF THE HOUSE FOR IT.

THAT'S WHERE IT GOES.

SO, THE GAUGE, WHEN I USE THE GAUGE, I THINK I HAVE-- YEAH, RIGHT HERE.

I'M GONNA LAY OUT THE MORTISE AND TENONS, AND THE MORTISE AND TENONS CORRESPOND TO THAT FILLET IN THE MIDDLE HERE.

YOU SEE THIS HALF-INCH AREA HERE?

THERE'S A VERY BIG WINDOW FOR A CASEMENT.

YOU SEE THOSE TWO LITTLE TEETH RIGHT THERE.

THEY ARE SET UP JUST TO MARK THAT SAME FILLET, AND I'M GONNA MARK THAT ON HERE TO LAY OUT THE TENON.

AND AGAIN, CHECKING MY FACE SIDE, RUN IT AROUND, RUN IT AROUND.

I GOTTA MAKE SURE ON THE END GRAIN, I'VE GOT GOOD MARKS, BECAUSE HERE, THESE ARE GONNA GUIDE MY SAW.

AND DOWN HERE, AND HERE, AND I JUST REALIZED I DON'T HAVE A-- MY HABITUAL--OH, SEE, I'M TRACKING IN THE GRAIN A LITTLE BIT RIGHT THERE.

ALL RIGHT.

LET ME GET THAT.

I DID NOT RUN THESE-- I'M GONNA RUN THESE LINES RIGHT HERE.

AH, THE ORIENTATION OF THESE HAS GOTTEN ME THROWN A LITTLE BIT.

I NEEDED A LE RIGHT HERE.

ALL RIGHT.

GOOD.

SO, THAT'S READY TO GO FOR SAWING THE TENONS.

I'VE DONE THE SAME THING ON THIS PIECE HERE.

UH, RUN THE LINES.

AGAIN, CHECKED MY FACE SIDE, RUN THAT ON BOTH SIDES, AND DELINEATE WHERE THE MORTISES ARE GONNA GO.

SO, YOU SEE, YOU USE, OF COURSE, THE SAME TOOL WITH THE SAME SETTING ON IT TO MARK THE SOCKETS THAT GO IN AND THE TENONS THAT FIT INTO THERE.

I'M GONNA CUT THESE MORTISES NOW USING... A MODERN MACHINE FROM THE 1880S.

I'M GONNA USE A FOOT CHISEL.

AND HERE YOU CAN SEE, I'VE ALREADY LAID OUT THE MORTISES.

WE ACTUALLY DO THE MORTISES BEFORE.

I'VE GOT THAT ONE.

I'VE GOT ANOTHER ONE HERE.

THIS IS THE LONG ONE FOR DOWN AT THE BOTTOM.

BUT I'M GONNA DO THE ONE UP HERE AT THE TOP OF THE WINDOW AND START BY BORING A LITTLE EXTRA HOLE FOR WASTE TO COME THROUGH.

SO, YOU START WITH AN AUGER.

THIS IS ODD, BECAUSE IF YOU DO THIS WITH A CHISEL AND A MALLET, YOU DON'T NEED THIS AUGER HOLE, BUT I USE THIS MACHINE, I DO, AND IT'S-- BUT YOU'LL SEE HOW IT PAYS OFF IN THE END.

SO, I'M JUST BORING HALFWAY THROUGH FROM ONE SIDE RIGHT WHERE THAT MORTISE IS GONNA GO.

AND BORE HALFWAY FROM THE OTHER SIDE AND HAVE THE TWO MEET.

AND THIS MACHINE THAT I'M ABOUT TO USE, IT'S SO SIMPLE.

SO QUIET AND SO WONDERFUL [LAUGHS] BUT IT WOULD, OF COURSE, BE QUITE AN INVESTMENT FOR SOMEBODY.

UH, YOU KNOW, A HOMEOWNER WOULDN'T HAVE THAT.

SAY, "WELL, I THINK I'LL MAKE WINDOWS."

NO.

YOU SET UP TO MAKE WINDOWS, INVESTING IN THESE MACHINES IN THE 19TH CENTURY.

UH, AGAIN, I'M GONNA FIT THIS UP TO THE FACE HERE.

THIS IS A BARNES FOOT MORTISER.

FOOT CHISEL.

IT'S A BEAUTIFUL, BEAUTIFUL THING.

BEAUTIFUL ORIGINAL PINSTRIPING ON IT.

YOU GOT THE SPRING RETURN RIGHT THERE AND THE LEVER, AND YOU CAN SEE IT'S GOT HOLD-DOWNS THAT HOLD DOWN THE WOOD UP HERE, AND THE CHISEL ACTUALLY FLIPS AROUND.

I LIFT THIS LEVER RIGHT HERE, TURN THAT AROUND AND THAT CHANGES THE CHISEL DIRECTION IN AND OUT ON THE FACE, SO, JUST, JUST A WONDERFUL MACHINE.

WE NEED THAT RELIEF HOLE, THOUGH, BECAUSE THIS DOES IT ALL AT ONCE.

SO, I'M LINED UP WITH MY MORTISES THERE.

I'VE SET THIS MACHINE.

NOW I'M GONNA TURN IT AROUND AND DO THE OTHER WAY.

AND JUST WALK BACK, TAKING ABOUT 1/16 EACH TIME.

YOU CAN HEAR HOW CLEANLY THIS REALLY NICE CYPRESS CUTS.

AND WHEN I TURN IT, I'VE GOTTA SWING IT LIKE THIS SO THAT THE SAME FACE IS AGAINST THE FENCE AT ALL TIMES.

THERE WE GO.

DOWN--OH, OH, I LOST MY HOLD-DOWN.

THERE WE GO.

NOW TURN AROUND.

AND THERE WE GO.

AND DON'T STICK YOUR THUMB UNDER THERE.

IT'LL--[LAUGHS] IT WILL CUT YOU.

AH, THERE WE GO.

AND SO, NOW WE HAVE DONE THIS REALLY CRISP, CLEAN MORTISE THERE.

I'VE GOTTA TAKE THE WASTE OUT.

BUT BY BORING THAT HOLE THROUGH, WE'VE GOT A PLACE FOR THAT WASTE TO GO, AND IT MAKES THAT CHISEL WORK REAL WELL.

SO, THIS IS GOOD EXCEPT FOR THE MOLDING ON THIS PIECE HERE.

I'LL JUST GET THIS WASTE OUT OF HERE A LITTLE BIT, AND YOU'LL SEE WHAT KIND OF MORTISE THAT MACHINE MADE.

AGAIN, ABOUT 1880, A LOT OF PEOPLE MADE THESE.

THAT WAS JUST A BARNES MACHINE.

UH, THEY MADE ALL KIND OF FOOT-POWERED MACHINERY.

OH, LOOKS LIKE I HAVE A LITTLE MORE TO DO.

WELL, I'M NOT GONNA DO IT NOW.

UH, THERE IT IS.

THAT LITTLE BIT IS HELD RIGHT THERE.

ALL RIGHT.

YEAH, I DIDN'T.

I DIDN'T QUITE GET ALL THE WAY DOWN IN THERE, BUT THAT'S A CLEAN MORTISE NEVERTHELESS, SO, I'LL FINISH THAT UP WITH ANOTHER CUT IN A MINUTE.

ALL RIGHT, SO, THAT'S READY TO BE MOLDED.

I'M GONNA PUT THAT ASIDE AND MOVE ON TO THE TENON.

NOW, THE TENON IS GONNA FIT IN THAT SOCKET.

AH, THIS IS IT.

I AM GOING TO SAW NOW JUST THE SHOULDERS ON THIS PIECE.

I'M GONNA USE ANOTHER IRON MACHINE.

THIS IS A MORE FAMILIAR ONE, PERHAPS.

A CAST IRON MITER BOX.

THAT WONDERFUL MITER BOX THAT'S GOT INFORMATION PROGRAMMED INTO IT, JUST LIKE--ON THAT FOOT MORTISER, I HAD A...A HALF-INCH CHISEL...

IN THERE, SO, IT MADE A HALF-INCH-WIDE MORTISE.

AND IT HAD A--SETTINGS THERE TO POSITION IT A HALF-INCH INTO THIS INCH-AND-A-HALF WOOD.

HERE, I'VE GOT THE MITER BOX SET UP SO THAT IT WILL STOP WHEN IT GETS TO A HALF-INCH DOWN.

I'LL SHOW YOU.

THERE'S A LITTLE PROGRAMMABLE, AS--AS THEY WOULD NOT SAY, BUT ADJUSTABLE SETTINGS THAT YOU CAN PUT INTO THIS VERY VERSATILE MACHINE.

WHEN IT HITS THAT LITTLE SHOULDER RIGHT THERE, THE SAW WILL STOP CUTTING DOWNWARDS.

THERE WE GO.

SO, GET A HALF-INCH OUT OF EACH SIDE.

AND I'VE GOT THOSE GAUGE LINES ON THERE TO HELP ME A LITTLE BIT AS WELL.

ALL RIGHT, SO, THERE'S ALL THE SHOULDERS NOW.

UH, IN MOST WINDOW WORK, WE WOULD DO-- IF WE'RE DOING 18TH CENTURY, THAT WOULD BE IT.

WE'D DO THE SHOULDERS AND THEN DO THE PLANING.

UH, IN THIS CASE, THOUGH, WE'RE GONNA USE A SCRIBING PLANE, AND I'M GOING TO SAW THE CHEEK OFF OF THE FRONT.

SO, I HAVE MY SAW, MY TENON SAW.

I'M GONNA ENDARKEN THESE LI--UH.

SEE IF I CAN DO IT RIGHT.

ENDARKEN THESE LINES A LITTLE BIT.

[INDISTINCT] SEE IT THERE.

OK. AND THAT WILL HELP US TO STAY ON IT.

ALL RIGHT.

I SAW THIS CHEEK OFF, THE FRONT CHEEK, AND I REALLY SHOULD DO-- I'LL DO BOTH ENDS HERE.

SEE, THERE'S A WHOLE THING ABOUT LEAVING ON.

NOW THE GRAIN IS PULLING ME.

HELP.

COME BACK.

I'M GONNA HAVE TO GO LOW HERE AND SAW A LITTLE MORE ACCURATELY.

SO, I'VE GOT MY GRAIN RUNNING VERY STRONGLY OFF TO ONE SIDE.

YOU CAN SEE IT'S QUITE DIAGONAL THROUGH THERE.

ON THIS FACE HERE, IT'S ALL RIGHT, I'M GONNA PUSH DOWN A LITTLE BIT FARTHER NOW AND GO DOWN ABOUT 1/4-INCH BELOW THE LINE THERE.

ACTUALLY SAW DOWN INTO THE WOOD, BECAUSE I'M GONNA SCRIBE THIS AWAY.

I'VE GOTTA DO THE OTHER END AS WELL HERE, AND A LINE RIGHT THERE.

LINE RIGHT THERE, AND I CAN SEE--OK. LET'S DO THIS.

AGAIN, A NICE RIP SAW.

SO, WE'VE GOT TO DO BOTH ENDS ON--IN THIS CASE.

THE REASON WE MIGHT WANT TO LEAVE THIS WOOD ON HERE IN OTHER CIRCUMSTANCES IS BECAUSE WE'VE NOW LOST PART OF WHAT WILL GUIDE THE PLANE AS WE DO OUR NEXT STEP.

BUT I THINK WE'RE GOOD TO GO.

ALL RIGHT.

LET'S DO THIS ONE RIGHT HERE.

I'M GOING TO NOW HOLLOW THIS OUT USING THAT SCRIBING PLANE, BUT I'VE GOTTA HAVE A BACKUP PLAN.

I GOTTA HAVE A BACKUP BLOCK.

I'M GONNA PUT THIS RIGHT HERE, I'LL SAY NOT AS A SACRIFICIAL PIECE.

THAT'S TOO RUDE.

I'LL CALL IT A BACKUP PIECE.

AND OPEN UP THE CLAMP AND CHECK THAT I'M ON THE FACE.

I'M LOOKING AT EVERYTHING TO SEE IF I'VE GOT IT RIGHT.

NOW, I'M DOING THIS JUST ONE PIECE HERE AT A TIME.

NORMALLY, THIS I WOULD HAVE ALL OF THE PIECES LAID OUT FOR THE WINDOW AND I'D BE DOING THEM ALL AT ONCE, SOMETIMES AT THE END OF THE BENCH RATHER THAN UPRIGHT IN THE VISE, BUT THIS MAKES IT EASIER FOR YOU TO SEE.

UH, DOING THIS BY HAND, WE WOULD USUALLY USE A GOUGE LIKE THIS AND JUST PUSH THAT GOUGE THROUGH.

I'M INSTEAD GONNA USE THE SCRIBING PLANES, AND I THINK I HAVE ONE OF THE SMALLER ONES HERE.

WHERE DID I PUT THAT?

ALL RIGHT, WELL, THIS IS THE-- THIS IS THE SMALLER ONE.

HERE'S THE BIGGER ONE.

OK. YOU NOT ONLY HAVE TO HAVE THE PLANES, YOU HAVE TO BE ABLE TO FIND THEM.

I'VE GOT TWO DIFFERENT SIZES HERE.

I'M ACTUALLY GONNA START WITH THE SMALLER ONE.

IT'S A LITTLE EASIER TO WORK.

AND RUN IT DOWN THIS END GRAIN.

YOU CAN HEAR HOW ROUGH THAT IS, AND YOU CAN SEE WHY WE HAVE THE SACRIFICIAL PIECE.

VERY ROUGH AND HARD TO CUT THROUGH THAT END GRAIN.

I OFTEN JOKE ABOUT THIS BEING ALCOHOL-POWERED WOODWORKING, BUT HERE IN THIS CASE, I'VE GOT SOME ALCOHOL AND I'M POURING IT ON THERE, SOAKING IT DOWN, AND JUST LIKE CELLULOSE SPONGE, WHICH THIS IS, THIS IS JUST CELLULOSE, UH, THAT SOFTENS THE WOOD SO THAT WE CAN CUT MORE EASILY.

YOU SEE HOW THE SACRIFICE HAS TAKEN ALL THE SPLIT OFF DOWN THERE AT THE END.

I'M GONNA GIVE A LITTLE MORE ALCOHOL, THEN I'LL GO TO THE BIGGER OF THE TWO PLANES.

IT FITS A LITTLE BIT.

SO, ANYTIME YOU'RE HAVING TO WORK INTO END GRAIN, THIS HELPS A WHOLE LOT.

NOW, YOU CAN SEE THE STOP RIGHT THERE.

THIS IS GONNA CUT DOWN.

DON'T HAVE TO WORRY SO MUCH ABOUT WHEN TO STOP, BECAUSE IT WILL STOP ITSELF.

ALL RIGHT, NOW, I JUST GOT THIS PLANE.

I THINK IT'S A LITTLE BIT BIGGER THAN WHAT I WANT.

BUT THERE IT GOES.

IT'S BOTTOMED OUT AND THE DIE IS CAST.

[BLOWS] LET'S LOOK AT THAT AND YOU CAN SEE WHAT THAT LOOKS LIKE.

AH, THAT SCRIBING PLANE, AND WHAT A NEAT JOB IT DOES.

DO YOU SEE HOW THAT'S UNDERCUT THAT AND MADE THAT READY TO CUP OVER THE MOLDING ON THE ADJOINING PIECE.

ALL RIGHT.

SO, GONNA PREPARE THIS, UH, READY-- WELL, HECK, WE'LL JUST GO AHEAD AND DO IT RIGHT NOW.

I THINK IT'S STILL A LITTLE FLAT AND I NEED A LITTLE SHAVING.

I'VE GOT TO LOOK AND SEE NOW.

ALL RIGHT, THERE'S MY GRAIN.

I WANT MY GRAIN RISING LIKE THAT.

I'M GONNA GO AHEAD AND DO THE MOLDING ON THIS THING WITH OUR STICK AND RABBET PLANE.

AND IT'S CALLED A STICK AND RABBET IN THAT IT DOES THE RABBET FOR THE GLASS-- YOU SEE THAT FIRST SHAVING COME OFF-- AND IT DOES THE STUCK MOLDING, AS IT'S CALLED.

A MOLDING THAT'S CUT DIRECTLY INTO THE WOOD.

SO, BOTH OF THESE HAVE TO WORK EQUALLY.

I NEED BOTH LITTLE STEPS EQUALLY CUT.

SO, I'VE GOTTA WATCH... AND SEE THAT EQUAL SHAVINGS ARE COMING OUT BOTH SIDES.

YOU CAN SEE THE ENDS OF THE RISING GRAIN RIGHT THERE.

ALL RIGHT.

I THINK WE'RE DOWN.

YOU CAN HEAR--IT DOESN'T WANT TO CUT ANYMORE, AND WHEN IT DOESN'T WANT TO CUT ANYMORE, THE DEAL IS DONE.

YOU SEE WHAT A NICE MOLDING THAT HAS MADE ON THERE?

AND THERE'S WHERE THE GLASS GOES DOWN THERE AND HERE'S WHAT YOU SEE ON THE INSIDE OF THE HOUSE.

ALL RIGHT, I'M GONNA TAKE OFF THIS LAST-- THE BACK PART RIGHT HERE... AND THAT WILL HELP-- THAT WILL ENABLE IT TO FIT INTO THE OTHER PIECE.

SO, WE GOT ONE MORE BIT OF MOLDING TO DO.

YOU KNOW, SOME REALLY GOOD PRACTICE.

WE WANT TO TRY AND JUST CUT THESE EXACTLY RIGHT AND NOT SAY, "OH, I'LL COME BACK LATER AND FIT THAT UP."

SO, NOW WE'RE GONNA MOLD OUR JOINING PIECE.

HERE IT IS.

ALL RIGHT.

SO, NOW WE'RE GONNA USE THE SAME PLANE AGAIN TO DO THE LONG ONE.

HERE THE MORTISES ARE CUT.

ORGANIZE IT, ORGANIZE IT.

HAVE I GOT MY DIRECTION OF THE MOLDING READY TO GO?

UH, LET'S SEE, THAT'S THE EDGE.

ALL RIGHT.

THIS ONE'S GONNA HAVE SOME CHALLENGING GRAIN, SO YOU MAY GET TO SEE HOW-- WHAT DIFFICULT GRAIN IS.

YOU GET A LONG PIECE OF CYPRESS LIKE THIS.

YOU DON'T--YOU KNOW, YOU MAY HAVE PART OF IT WITH THE GRAIN GOING WITH YOU AND PART OF IT NOT.

ALL RIGHT.

LOOK AT THAT.

SO YOU JUST HAVE TO-- MAKE ALMOST A MACHINE OUT OF YOURSELF.

IT'S VERY ROMANTIC DOING THIS STUFF WITH THE HAND TOOLS, BUT THE MUCKRAKERS IN THE 19TH CENTURY, UH, SOCIAL SCIENTISTS, I SHOULD SAY, WROTE ABOUT THE SWEATSHOPS IN ENGLAND WHERE MEN WERE MAKING SASH IN VERY EXPLOITIVE ENVIRONMENT.

ALL RIGHT, THERE WE GO.

AND YOU SEE HOW THAT'S TAKEN ALL THE WAY DOWN WITH THE MORTISES RIGHT IN THE MIDDLE.

I'M GONNA NOW TAKE THE SIZE OF THIS MORTISE OFF OF HERE AND SEE IF WE CAN FIND MY PENCIL.

SEE, HERE'S THE TENON.

MORTISE GOES RIGHT THERE.

ALL RIGHT.

NOW WE'RE GONNA SAW THAT DOWN AND CLEAR THAT SHOULDER.

I'M GONNA JUST EYEBALL IT WITH THE TRY SQUARE ON THERE.

AND WE'LL SAW DOWN TO MAKE THAT FIT IN THE EXISTING MORTISE, SO, HERE WE GO.

ALL RIGHT, AND NOW CUT THIS WAY.

ALL RIGHT.

THAT LEAVES-- THERE'S A BIG BUMP RIGHT IN THERE NOW THAT'S GOTTA COME OUT.

I'LL SHOW YOU HOW.

WE'VE GOTTA CHISEL THAT BACK RIGHT HERE WITH THE HALF-INCH CHISEL... [HAMMERING] ALL THE WAY DOWN AND BACK.

SO, I'M JUST GONNA GET THIS SHOULDER STARTED HERE AND THEN SEE IF I CAN MEASURE IT USING THIS LITTLE CUT-OFF PIECE RIGHT HERE.

HAVE I GOT JUST ENOUGH.

ALL RIGHT--OH, GOSH, I'M ALMOST THERE.

I ALMOST OVERCUT IT.

[HAMMERING] I THINK MY CHISEL--MY SCRIBING IS A LITTLE BIT EX--IN EXCESS.

SO, YOU'LL SEE THIS GO TOGETHER, BUT--[LAUGHS] IT'S GONNA STILL NEED SOME TUNING.

SO, LET'S TAKE A LOOK AT THAT JOINT RIGHT THERE.

AND DO I HAVE--NO, I DON'T.

I SAID I'D CLEAN IT OUT LATER.

NOW IS LATER.

ALL RIGHT.

THERE WE GO.

THIS GOES IN RIGHT HERE LIKE THAT.

YOU CAN SEE HOW THE GLAZING RABBETS MATCH UP.

ALL RIGHT.

AND YOU SHOULD SEE THIS DRIVE DOWN AND CUP OVER LIKE THAT.

A LITTLE BIT OF TUNING.

LET'S GET THAT DOWN THE REST OF THE WAY.

[HAMMERING] AND THERE YOU SEE THE MOLDING ON THE INSIDE AND HOW THAT IS GROUNDED VERY NICE.

A LITTLE BIT OF TUNE-UP AND WE'LL BE ABLE TO PUT THAT JOINT TOGETHER--UHH-- TO MAKE OUR CASEMENT WINDOWS.

VERY SIMPLE.

BUT INDEED, FOR THE JOINERS OF THE 19TH CENTURY, THIS IS SOMETHING THEY ASPIRED TO DO.

WELL, ANYWAY, THANKS FOR JOINING ME.

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

MAY THE GRAIN BE WITH YOU ALWAYS.

SO LONG.

ANNOUNCER: LEARN MORE ABOUT TRADITIONAL WOODWORKING ON OUR WEB SITE.

YOU CAN FIND US AT PBS.ORG/WOODWRIGHTSSHOP.

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."

DIFFERENT ANNOUNCER: BE MORE.

PBS.

DIFFERENT ANNOUNCER: ROY UNDERHILL IS THE AUTHOR OF "THE WOODWRIGHT'S GUIDE: WORKING WOOD WITH WEDGE AND EDGE" AS WELL AS OTHER BOOKS ON TRADITIONAL WOODWORKING, ALL PUBLISHED BY THE UNIVERSITY OF NORTH CAROLINA PRESS AND AVAILABLE IN BOOKSTORES AND LIBRARIES.