Synopsis: This stunning, slow-growing, extremely dense hardwood is so valuable it’s sometimes sold by the pound. Though there are more than 450 species of ebony, all of them are endangered, so it makes sense to learn how to use this wood judiciously, find legally harvested sources, and “fake it” if necessary. Garrett Hack uses ebony in his furniture for contrasting details such as pulls, beading, and inlay, and he shares his expertise on how to work this challenging but very rewarding tropical wood.

When I saw my first ebony tree in Java more than 30 years ago, I was stunned by its small stature. In a climate where trees grow year-round, this 90-year-old was about 11 in. in diameter. Such stunningly slow growth helps explain ebony’s extreme density, why typical boards are so small, and why the wood is so valuable that it’s sometimes sold by the pound.

There are more than 450 species of ebony, mostly found in the tropics. All species are endangered, and you should be mindful that what you purchase is certified to have been harvested legally, to ensure its sustainability. A certified board will have a detailed chain of ownership, from its source all the way through the milling process to the sale.

In my woodworking I’ve used three types of ebony: Gabon (Diospyros crassiflora), Macassar (Diospyros celebica), and Mun (Diospyros mun). Unfortunately, Mun is no longer being exported, at least legally. Each is stunning, very expensive (expect to pay $35 to $85 a board foot), and hard to find. Veneer is a more economical option, but you should still expect to pay about $9 to $24 per square foot, depending on the width and thickness of the sheets.

Go lightly on the machines

To avoid wasting any of the ebony, I tend to use the bandsaw, handsaws, and handplanes to cut pieces to size, rather than the tablesaw or jointer. I’ve never sent ebony through a planer for fear of it blowing up, quickly dulling my blades, or both. I will occasionally use the jointer to straighten an irregular edge. I’ve also turned ebony, with beautiful results, as the material is able to take the finest detail.

Hand-shaping the wood requires sharp tools and some finesse. When planing the long grain, fine tearout is common because of ebony’s hardness and interlocking grain. I’ve had success with both standard and high bevel angles. Just start with a super-sharp blade and expect to resharpen frequently. For best results, set the plane for a fine cut, with a tight throat. I clean up any fine tearout with a scraper.

When working end grain in these brittle woods, chipout is common, so I prefer to use a low-angle plane, taking a light cut with a tight throat and skewing the plane acutely.

From Fine Woodworking #228

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