Tips on Using a Spokeshave

Peter Galbert demonstrates a number of techniques that work for both wooden- and metal-bodied spokeshaves.

By Peter Galbert Jan 25, 2021

**First address the perimeter.** To shave a complex collection of curves like this chair seat, Galbert bandsaws close to the line, fairs those cuts with the shave, then creates a thin flat around the perimeter.

Different shaves, similar strategies

Despite the differences between metal and wooden spokeshaves, many strategies, from skewing to complex shaping, work for both.

switch the skew for the spokeshave — **Alternate the leading hand for smoother surfaces.** This crosshatching approach gives you a better feel for the surface you’re shaving. Also, when you switch skewing directions, the spokeshave hits the high spots left by the previous pass, creating a more even surface.

As with all hand tools, cutting gets more difficult as the shaving gets wider. Whenever possible, I keep the cut narrow—and easy. If the shape is meant to be flat in the end, just take wide shavings as a last step after creating several narrow facets that build up to a flat.

Also, like just about any edge tool, skewing the shave for a slicing cut will yield superior results and reduce the force required. There are many reasons for this. Skewing the blade also directs the cut partially cross grain, which requires less force.

smoothly slice sintead of cut for nice transitions — **Start off the surface for sharp transitions.** When two distinct shapes meet at a sharp edge, angle the shave so that only a small portion of the sole is firmly bedded at the start. This lets you smoothly slice into the cut instead of abruptly contacting the blade, which can cause chatter and an uneven cut.

One circumstance where skewing leads to a smoother surface is when two distinct profiles meet at a sharp edge. Here, enter the cut with the tool angled so that only a short length of its sole is firmly bedded at the start. This lets you slice into the cut instead of chatter into it when you suddenly contact the full width of the blade.

Alternating the direction of the skew can also help produce smooth surfaces. By alternating which handle leads, you’ll get a more complete feel for the surface you’re shaving, letting you better adjust the spokeshave. It also lengthens the relatively short sole, enabling it to bridge high spots and take them down rather than ride up and down between them.

skew towards the longer fibers — **Skew toward the longer fibers.** This keeps the fibers supported throughout the cut, limiting tearout. On a simple bevel, cutting toward the long point of the bevel is best (left). You should skew the tool so it slices up and away from the fibers (right). Otherwise, you can significantly tear out the wood.

When fine-tuning complex shapes for fair, clean lines at the edges, I have a simple, three-step technique. I’ll use a chair seat as an example, which has three curves—its top, bottom, and the plan view—that meet around its perimeter. First, after roughing the shapes, I refine the plan view, ending with a small flat along the profile. To help with the next two steps, rub graphite on this flat. Next, shape the top of the seat. There should be some graphite left. Finally, shave the bottom surface until there’s just a fine line of graphite left. Don’t overshoot the line here, or the profile will be ruined and you’ll be back to step one.

pencil the flat before spokeshave — **Rub lead onto the flat.** After penciling in the flat, Galbert will shave the curves on the top and bottom of the chair seat. The penciled flat will allow him to monitor his work on the two opposing planes.

bring top and bottom curves together, spokeshave the top first — **Bring the top and then bottom curves together at the perimeter pencil line.** The top of the seat, the more noticeable surface, gets shaved first. From there, shape the bottom until there’s an evenly thin line of pencil left—evidence of a perfectly crisp, multifaceted shape.

Peter Galbert makes Windsor chairs in Boston and teaches around the country. He is author of The Chairmaker’s Notebook (Lost Art Press, 2015).

This is an excerpt from Peter’s article, Spokeshave fundamentals in FWW #285.

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