Visit to Inside Passage School of Fine Woodworking

[William Fretwell]

Very recently out in BC visiting my son. I had arranged that I could drop by the school so I headed over on the ferry to the sunshine coast road, arriving on a Saturday morning. This is their no machine room day, just everyone in the hand tool shop. When I arrived a lesson was in progress with everyone around the instructors bench.

Naturally when I realised James Krenov's #1 choice of schools in the world was just a few miles from my itinerary I had to see what they offered.

I came away with an appreciation of their uncluttered, minimalist tool, ultra precise way of working.

The students build 2 or 3 small wood hand planes, the 'jointer' was 9" long. One plane was a coopering plane. All students had a small collection of very fine chisels they had brought with them. No two students had the same chisels. Clearly they had been taught to sharpen tools. The planes all had chip breakers, the plane mouth was so precise, the opening so tight that light and a shaving a few microns wide could pass.

All the workbenches were traditional Scandinavian from the same family, dating back to the 1950's.

382746

Here is the instructors bench:

382747

Here is the instructors tool cabinet:

382748
It won't stand up! Software!

The students tool cabinets were far more Spartan!

382750

A couple of the machine shop:

382751

382752

Post this before my token runs out and add more later..

[William Fretwell]

The tool cabinet should satisfy all the purists out there, that's all you need to build superb furniture! I was shown two of the students pieces under wraps in the office, a cabinet and a display case. Both veneered, inlaid, superb pieces. I did not get to photograph them.

I was told they had 500 hours of recorded James Krenov tuition which was progressively shared with the students as they progress.

[William Fretwell]

My afternoon was spent sitting with the students on a stool watching them work. The Zen state of concentration in the room was only broken by the woman from France doing a dance for joy as her shooting board enabled her to remove the final micron for her writing pad lid to slide perfectly in place.
The students were mostly 25'ish some early 30's. One was in his final term.

They build a small piece, very carefully, as they learn the skills needed. The emphasis on very precise hand tool use is clear.

The oldest work bench from the 1950's had just been re-flattened as it was 7mm high in the middle, it looked like new. None of the benches were chewed up or abused. Clearly precise work adds lots of care.

What did I not see? No metal planes, no mess, no stress. The room full of Scandinavian benches, each claiming a student, arranged in pairs back to back mostly creates a lovely atmosphere.

The standing rack in the tool well with dowels is to hold their components as they make them, it is free standing. The bench trestles had a shelf added for their wood to work on.

[William Fretwell]

I did not get to spend much time with Robert as he was tied up with teaching buy Yvonne kindly showed me around and told me about the school. You can never have too much wood is a philosophy they share with me I was told, as I looked at their latest wood score from someone who actually had too much wood.

382756

[john jesseph]

Thanks for sharing that. Inspirational. I could be happy with one of those benches.

[Mike Baker 2]

Thanks. Very cool!

[Derek Cohen]

Thanks William, both for the material and photos you posted, and for sharing an experience for which I would give my eye teeth!

I have been a fan of Jim Krenov forever, and read and re-read his books. I own one of his smoothers, which is beyond monetary value to me.

Having said this, what you need to comment on is context. For example, you mention that the mouths of the planes made (no doubt still with the Hock blade-chipbreaker created for these planes) is very small. That supports my understanding that these planes - and Krenov - do not use the chipbreaker to control tearout. One cannot set a close chipbreaker on a tiny mouth as it will clog the escapement.

The second factor follows from this, and that is the wood that is used. If figured, how do the students learn to control tearout? I do not recall Jim ever making a plane with a high cutting angle. All were common angle (45 degrees). Do they rely on scrapers? Or do they avoid all but straight grained wood?

Thirdly, the jointer plane is 9". Again this suggests that hand planes were not used to joint wood, but perhaps only used to refine a joint, with the work mainly done by machines. Krenov was big on his use of machinery. This is not a criticism - I am equally a blended woodworker - but the reason for a short "jointer" needs to be clarified. 9" is the length of your average #3. Other than Paul Sellers (who probably also prepares his wood on machines), I do not know anyone recommending jointing with such short hand planes.

Regards from Perth

Derek

[William Fretwell]

Derek as you can see from the photos there are some longer wooden planes on top of the tool cabinets both wider and a bit longer. The student who showed me his planes had a 5" smoother about 1.5" square and two 9" planes, one was convex. The blades were 1" to 1&1/4" wide. The student referred to his 9" as his jointer.
When I examined the jointer I could at first see no light in front of the blade and no gap. I believe the tiny gap was obscured by the chip breaker. Only when moving it around could I get the smallest glimmer of light, the gap remained invisible.
Another student with a similar plane was producing the lightest pile of micron thick shavings. I've produced some thin shavings in the past but nothing like these. I do think the students are given fine wood for their small projects.
The size of the planes for these small training projects seemed appropriate, my planes would be grotesque for such delicate work.

The teachers tool cabinet truly represents where the emphasis of hand tools lies. Lots of spoke shaves and a good range of delicate chisels. I saw no mortise chisels. One student had all Japanese chisels (the woman from France). There are a few in the teachers cabinet. The others had some Lie Nielson and beautiful brands and marks I've never heard of. Every chisel was honed to perfection.

Norton Waterstones were all over on small shelves with spray bottles.

Clearly they can use power tools but the scale of the pieces was very small. When they produce a chair on the program the power tools do most rough work I'm sure.

All components that had been worked on were wrapped in paper and masking tape to protect them, only the areas being worked were exposed. There was no sense of haste, just perfection.

The finished pieces from graduates in the office were magnificent, beautiful, sculpted, faultless joinery & veneers. As I pushed one small drawer in the drawer next to it moved out. In & out over & over like they were attached by pulleys, just from air movement. Those two pieces were humbling, such perfection. I did look at them both very carefully, the more I looked the more impressed I was.

Yes some small wood planes are on my list!

[Andrew Hughes]

It does look like a cool place. Working in room with others trying to walk the same path sounds really powerful.
I work alone in my shop so my work suffers from individualism.
One more thing I picked up I need to get a light for my bench.:)
Thanks for sharing.

[ernest dubois]

Are you going to be signing up yourself William? Still, even just the visit and exposure is a great experience and will be useful in your own work as a sense of inspiration and that they made you welcome reflecting the general attitude, very fine. The few hours I spent on a visit while Krenov was still teaching College of the Redwoods has always stayed with me. And there is no substitute for actually seeing the tools used to make this furniture first hand.




The second factor follows from this, and that is the wood that is used. If figured, how do the students learn to control tearout? I do not recall Jim ever making a plane with a high cutting angle. All were common angle (45 degrees). Do they rely on scrapers? Or do they avoid all but straight grained wood?



I remember reading specifically in that book that Krenov writes he has experimented with different angles - as we could expect - but always returned to more or less the 45 degree. It make sense considering the attitude towards wood, its selection and use that his planes are suited to a certain limited notion the appropriate wood. He doesn't go for the exotic and eye-catching figured woods at the extremes finding this an exploitation of the wood and a way of masking a failure in other aspects like what he defines as good design, attention to detail and like William lays out exceptional skill. You look at his spalted stuff, it's always subdued and the patterns never there for their own sake only but as part of the whole. When he writes of rowed wood, the hand planes are set aside surfaces machined, scraped and sanded.

[ernest dubois]

I do have one criticism of this school and that is I think they take this diminution in scale to excess. The scale of Krenov's and similar work is a true eye opener in dimension but here they seem to try and go him one better. It's just a personal, not even beef but observation based on admittedly, (very), limited exposure. I wonder what you found William, (or anyone else with experience).

[glenn bradley]

Thanks for a glimpse into something I would have missed. Looks like a great visit.

[William Fretwell]

If I could find 10 weeks to spare I would love to sign up. The school has no accommodation so finding an affordable place to stay is one challenge, my lost income would be the greatest challenge.
The school teaches dovetails in the third term which surprised me. Many experienced students come for the first term only then resume their woodwork outside I was told.
Most of the students were working on a small cabinet about 15" high, 5" wide and deep with a convex door and one shelf inside. It did seem too small to be useful.
I asked if there was some course suitable for a non beginner as marquetry and veneer work would be of considerable interest but was only referred to the foundation program.
My 'mentor' would be Tage Frid if I can claim one guiding light many years ago. He taught being productive, fixing your mistakes and producing fine pieces. The time taken for each student to produce this small cabinet is considerable. The emphasis is clearly on slow precision not productivity. The quality of the final pieces has to make up for the time taken and it did seem to.
A different philosophy and food for thought in my own work.

[Norman Pirollo]

Thank you for the insight and photos William. Having attended Rosewood Studio ( a similar CR derivative school) in Ontario for many weeks, my woodworking methods have dramatically changed. I am glad these schools exist to convey the "slow is better" and "focus on quality" message. Also, the emphasis on working with the characteristics of the wood rather than simply using it as a medium.

Norman

[Todd Stock]

Seems to me that smaller scale makes perfect sense for students - same skills as larger pieces, but easier to transport, and the youngsters are not stuck with a moving van worth of furniture when it comes time to surf to the next friend's couch. Much easier to pursue an opportunity when moving involves tossing the house keys back to your buddy and gifting them whatever you built while you were there. Finally, small things seem to me to be more easily cherished...and def easier to gift wrap.

[William Fretwell]

The students seem to come from all over the world, the two pieces in the office were waiting to be professionally photographed before being crated & shipped to Germany & Korea I believe. Clearly the 2nd and third term students quickly move to full size pieces but there are fewer of them.
The four terms would cost about $40,000 so not your average program or student. They don't offer career training but way of life training for the aspiring amateur. Read the program to get a sense of what they offer. I doubt anyone there was sleeping on a couch.

[Christopher Charles]

William,

Many thanks for posting! Time at the school has been on my bucket list and i've been following the school for many years now. Interestingly, they have shifted somewhat from presenting themselves as a trade or craft school to more of an art school or arts center, basically getting away from presenting an expectation of being able to make a living from furniture making as they teach it. Which I think is a good and responsible path that allows them to continue focusing on detailed, small scale work that is inline with the Krenov philosophy. And the costs of attending.

Their web site has or had a student archive of posts that provides some insight into the student experience as well.

http://www.insidepassage.ca/archive

It has been an inspiring school from just web site for me and thanks again for a firsthand account of a visit.

Best,
Chris

[Joe A Faulkner]

William, thanks for sharing the experience. From the sound of it, was very inspiring for you. Its great to see that the school is passing along some of the philosophies and influences of James Krenov, and cool to hear that they extended some hospitality to you and let you have access to the facilities and its students.

[Frederick Skelly]

Thanks William. I called and talked to them a year or so ago. I wanted to attend but just couldn't find a way to make it work.

Did you get any sense of the room and board possibilities there? It seemed like they didn't make any arrangements or provide help finding places for the students to live. And it wasn't clear to me whether there was affordable lodging nearby or if I'd have to drive some distance.

Thank you.
Fred

[William Fretwell]

I believe there are some B&B type places they are in contact with but perhaps until you find other accommodation, certainly not very affordable. It's an expensive part of the world to live, Vancouver is worse. The area is very well developed so there must be rental places but finding somewhere for 10 weeks at a time can not be easy. Lots of marinas around so renting a boat may work out. Taking an RV with you may also work but rates are high in that area. All groceries come over on the ferry so that bumps up all costs, the ferry is about 40 minutes each way at $80 return for a car and two people.

[Dave Beauchesne]

Derek: Here are a couple notes to clarify, if I may:


Thanks William, both for the material and photos you posted, and for sharing an experience for which I would give my eye teeth!

Derek and William: I will comment a little - I live about 15 minutes from IP and am going to spend the last two weeks of April ( 2018 ) finishing up the ' first ' program at the school - I enrolled when they were splitting up the terms, which they no longer do, as it can create open bench space(s). I am truly a lucky lad to live so close to a place that people come from all over the world to attend. As William said, it is truly inspiring. Robert and Yvonne are wonderful people, Robert a true Craftsman, and his assistant, Caroline, is exceptional as well.


I have been a fan of Jim Krenov forever, and read and re-read his books. I own one of his smoothers, which is beyond monetary value to me.

You are a lucky man Derek - Attending the School, I have had the opportunity to use several of JKs planes; that is as close as I will get...


Having said this, what you need to comment on is context. For example, you mention that the mouths of the planes made (no doubt still with the Hock blade-chipbreaker created for these planes) is very small. That supports my understanding that these planes - and Krenov - do not use the chipbreaker to control tearout. One cannot set a close chipbreaker on a tiny mouth as it will clog the escapement.

Derek: When made, the mouths are made as tight as possible - we set the CBs really close ( but not as close as I set my Stanleys for instance ) - on my Krenov style planes, I typically set to less that 1/32''.


The second factor follows from this, and that is the wood that is used. If figured, how do the students learn to control tearout? I do not recall Jim ever making a plane with a high cutting angle. All were common angle (45 degrees). Do they rely on scrapers? Or do they avoid all but straight grained wood?

Derek: Typically, Krenov used straight grain wood, however, much of the wood he used ( and the School uses in the later sessions ) can be reversing grain - Bocote, Goncalo Alves, Sapele, etc. Also, many of these are abrasive, which presents its own problems. There are a couple higher angle planes floating around, but a well tuned Krenov style plane at 45 degrees will deal with most issues, especially on real fine cuts. Scrapers are used, but infrequently. Sandpaper is not used for final wood finish at all. All surfaces are either planed, scraped, or chiseled before finish.


Thirdly, the jointer plane is 9". Again this suggests that hand planes were not used to joint wood, but perhaps only used to refine a joint, with the work mainly done by machines. Krenov was big on his use of machinery. This is not a criticism - I am equally a blended woodworker - but the reason for a short "jointer" needs to be clarified. 9" is the length of your average #3. Other than Paul Sellers (who probably also prepares his wood on machines), I do not know anyone recommending jointing with such short hand planes.

Derek / William: I don't know what William was shown - typically the smoothers are in the 9'' range and the jointer ( C/W 1'' blade ) is around 11-1/2 - 12'' long. The smoothers use a 1-1/2'' blade. The bulk of the work is done by machine, but like I noted, every surface is touched by a hand tool, even edge jointing- glue lines are non-existant if done properly, as we all know.

Here is a thread I started when I made, as a side project while at IP, a 1-1/4'' jointer while at the school - it is about 13'' IIRC: https://sawmillcreek.org/showthread.php?242583-Krevov-style-racing-jointer-plane-build/page3&p=2549372


Regards from Perth

Derek

[Dave Beauchesne]

Ernest:

An explanation - perhaps - the first session of the School is to build something that is achievable in the ten weeks. Larger = longer time required to some degree - as also noted, lugging anything larger back home - around the globe in many cases, would be a chore.

The ' Wabi Sabi ' cabinet from the first term starts out as a 14/4 to 16/4 ( or so ) x 11'' - 12'' x 24'' long piece of poplar, it is slabbed out with grain graphics in mind - a story stick is used from the already built example for reference. One week of the program is almost solely spent on making planes, so the raw cant to finished piece is less than 8 weeks. There are also other things incorporated in the program - mortice and tenon saw horses ( fairly diminuative ) parquetry exercise, a couple small hand carving knives, sharpening ( of course ) etc.

The cabinet contains: a concave, 5 piece door, a frame and panel back piece ( rail and stile with a cross piece ) dovetailed drawer in a tapered pocket, dowel constructed carcase ( a Krenov staple ), cross shelf on adjustable consoles, hand made brass hinges, curved sides on the top , bottom and sides of the carcase, etc. Ultimately, most of the skill required to make any size piece, as most of the disciplines are covered.

The Second Term is to faithfully re-create a JK piece, to exacting standards.

Third Term is Vidar's Chair and the Fourth Term is ' Composing ' - by this point, with consultation, a piece is made, more or less heavily Krenov inspired, to full size.

Hopefully that explains things a bit - there is a really nice web page - Google 'Inside Passage School of Fine Cabinetmaking' - lots of exceptional photos in the photo gallery.



I do have one criticism of this school and that is I think they take this diminution in scale to excess. The scale of Krenov's and similar work is a true eye opener in dimension but here they seem to try and go him one better. It's just a personal, not even beef but observation based on admittedly, (very), limited exposure. I wonder what you found William, (or anyone else with experience).

[ernest dubois]

Derek: Here are a couple notes to clarify, if I may:

You have said that sandpaper is never used to finish the surface, ok but it is not what I have heard from another student of Krenov at College of the Redwoods who has said he definitely did use sandpaper which was a surprise to me to hear.

Funny, I've got almost the same cocobolo plane as you show there382893

[Dave Beauchesne]

You have said that sandpaper is never used to finish the surface, ok but it is not what I have heard from another student of Krenov at College of the Redwoods who has said he definitely did use sandpaper which was a surprise to me to hear.

Funny, I've got almost the same cocobolo plane as you show there382893

Ernest - Nice plane! How does it perform? My ' racing plane ' from the old thread is a champ - last year we had a plane demo as part of the WW Guild I belong to - the main presenter did a great of showing how different angles performed on a piece of highly reversing grain Eastern Hard Maple. There was still some tearout with the best combination he displayed. I am not boasting here, but my 1-1/4'' jointer got rid of the tearout, and left a glassy surface on the same piece of ' diablo maple ' . Believe me, I am just someone who listens well when told what to do - that is how the racing plane was born.

My French Canadian Grandfather was a Carpenter in his youth - they made their own planes etc. Sadly, they were all destroyed in a fire when he was a young man- He always stressed that any edge tool ( knife, axe, chisel, etc. ) had to be razor sharp - that is one thing I vividly remembered from him. Sadly, he lived a long way from where I did, and I never got to learn anything woodworking other than the sharpness speech. I have only taken up somewhat serious woodworking for the past 20 years, mostly self taught until going to IP.

As for the CR student - I can't comment on the CR methods. I have been around the IP School enough that sandpaper just isn't used before finishing - it is the thought that the planed ( or scraped if necessary ) finish is superior. Like I said, there are a couple of higher angle planes around to use if required, scraping if that doesn't work, but definitely no power sanders or sanding blocks. Curved surfaces are finished with a spokeshave or, tighter quarters, a chisel , shop made knife, or files / really fine rifflers are employed. Uber sharp and a finely fettled mouth will tame a lot of beasts.

Flattening plane bottoms - yes. 180 grit sticky back automotive body repair sandpaper is stuck to the bed of a jointer and the bottom of a plane trued up if necessary.

Dave B

[Dave Beauchesne]

Thanks William. I called and talked to them a year or so ago. I wanted to attend but just couldn't find a way to make it work.

Did you get any sense of the room and board possibilities there? It seemed like they didn't make any arrangements or provide help finding places for the students to live. And it wasn't clear to me whether there was affordable lodging nearby or if I'd have to drive some distance.

Thank you.
Fred

Frederick: If you contact Yvonne at the School, she has a list of a few B&Bs that cater to the Students at IP - it is tough - there is a serious tourist component to living here, but accommodation prices drop in the winter, so that may be a better time to come if need be. Many of the places are withing walking or cycling distance.

Dave B

[John C Cox]

If I could find 10 weeks to spare I would love to sign up. The school has no accommodation so finding an affordable place to stay is one challenge, my lost income would be the greatest challenge.
The school teaches dovetails in the third term which surprised me. Many experienced students come for the first term only then resume their woodwork outside I was told.
Most of the students were working on a small cabinet about 15" high, 5" wide and deep with a convex door and one shelf inside. It did seem too small to be useful.
I asked if there was some course suitable for a non beginner as marquetry and veneer work would be of considerable interest but was only referred to the foundation program.
My 'mentor' would be Tage Frid if I can claim one guiding light many years ago. He taught being productive, fixing your mistakes and producing fine pieces. The time taken for each student to produce this small cabinet is considerable. The emphasis is clearly on slow precision not productivity. The quality of the final pieces has to make up for the time taken and it did seem to.
A different philosophy and food for thought in my own work.

Teaching folks to do things goes at a different pace than "making production".... Especially when you are trying to teach someone the process of how to do it right the first time and not have to fix, shim, and rework.... Slow patient work turns out to be quite fast at getting things done when you don't make mistakes...

Once people have "The Chops" - work speeds up considerably...

On the size of things.... Small things can be challenging to make because errors are glaring... But also let's face it.. There is probably a better market for hand made jewlery boxes than for large hand made casework.. And so it's worth teaching people how to make things that will sell.. No doubt it's also much easier for a student to take a small box home with them than a large free standing cabinet..

[ernest dubois]

Ernest - Nice plane! How does it perform? My ' racing plane ' from the old thread is a champ - last year we had a plane demo as part of the WW Guild I belong to - the main presenter did a great of showing how different angles performed on a piece of highly reversing grain Eastern Hard Maple. There was still some tearout with the best combination he displayed. I am not boasting here, but my 1-1/4'' jointer got rid of the tearout, and left a glassy surface on the same piece of ' diablo maple ' . Believe me, I am just someone who listens well when told what to do - that is how the racing plane was born.

My French Canadian Grandfather was a Carpenter in his youth - they made their own planes etc. Sadly, they were all destroyed in a fire when he was a young man- He always stressed that any edge tool ( knife, axe, chisel, etc. ) had to be razor sharp - that is one thing I vividly remembered from him. Sadly, he lived a long way from where I did, and I never got to learn anything woodworking other than the sharpness speech. I have only taken up somewhat serious woodworking for the past 20 years, mostly self taught until going to IP.

As for the CR student - I can't comment on the CR methods. I have been around the IP School enough that sandpaper just isn't used before finishing - it is the thought that the planed ( or scraped if necessary ) finish is superior. Like I said, there are a couple of higher angle planes around to use if required, scraping if that doesn't work, but definitely no power sanders or sanding blocks. Curved surfaces are finished with a spokeshave or, tighter quarters, a chisel , shop made knife, or files / really fine rifflers are employed. Uber sharp and a finely fettled mouth will tame a lot of beasts.

Flattening plane bottoms - yes. 180 grit sticky back automotive body repair sandpaper is stuck to the bed of a jointer and the bottom of a plane trued up if necessary.

Dave B
I have always been real pleased with this one in particular and I am attached to the scale of it which makes me want to do work that is similarly, scaled to suit. The heft of the cocobolo gives the plane a real quality feel to it. I will say this, the intention of the plane as I built it, is primarily for use in that one kind of veneering work, you know it and I know it and it's what gets taught at both these institutions. That said I won't hesitate to use it in a variety of cases, even on occasion, surfacing panels, end grain, where it excels and so forth and so forth...
What I say about sanding is information I've gotten from a student, only pertaining to Krenov himself and certainly restricted to a minimum meaning light hand sanding. I wouldn't want to give anybody any wild ideas.
Well, if your grandfather used self-made planes this is the connection then as Krenov explains he has taken inspiration from the old Swedish books on carpentry and the tools to make his new and improved versions.

[lowell holmes]

When my wife and I visited Alaska we visited the Inside Passage and also saw Denali. We visited the school, but we did not have time to take a class.

[Frederick Skelly]

Frederick: If you contact Yvonne at the School, she has a list of a few B&Bs that cater to the Students at IP - it is tough - there is a serious tourist component to living here, but accommodation prices drop in the winter, so that may be a better time to come if need be. Many of the places are withing walking or cycling distance.

Dave B

Thank you Dave! I appreciate it.
Fred

[ron david]

I did not get to spend much time with Robert as he was tied up with teaching buy Yvonne kindly showed me around and told me about the school. You can never have too much wood is a philosophy they share with me I was told, as I looked at their latest wood score from someone who actually had too much wood.

382756
One can never have too much wood as i know about that latest score as it came from my shop. All of that wood i had for over 20 years and some of it 40 years. It was time to downsize and I also realized that i more than likely realized that I would never use it
ron

[Rob Luter]

I need one of those bench lights. The instruction they offer wouldn’t hurt a bit either :o

[William Fretwell]

Well Ron your wood went to a good home! We all reach a point where we realise our time may run out before our wood. I too have had various woods for some considerable time. Some years back I made 7 tons of poplar from a very large tree, having dried it I have started using it at last, very satisfying. Hope you get to use up your wood!

[Terry Lewis]

Hi Norman,

I thought about teaching, but then decided not to tempt fate. Maplewoodshop has woodworking programs for teachers, but I guess I'm too old to bring my "ancient" methods into the learning process.



"It was definitely a woodworker’s love of wood which helped Bruce start his research and become a woodworking professional." - Rollie Johnson about R. Bruce Hoadley, contributing editor and essay writer (https://essaydune.com/) for Fine Woodworking.