A few weeks ago I ordered 300 board feet of 12′, #1 common walnut from a wholesaler that I use on a regular basis. The customer that I ordered it for doesn’t mind knots, so #1 common, which is not the highest grade, is usually a fine choice – except in walnut. In the order, none of the boards looked very good, many were so crooked that I had to cut them in half to get a straight board, only a couple of the boards were over 7″ wide with a good number of them only 3-1/2″, and half of them looked like pallet wood. They were painful to look at and painful to use. So painful, in fact, that out of the 300 bd. ft., I couldn’t find two boards that contained a 4″ x 7′ clear piece to finish up another order. Out of 300 bd. ft. of medium-grade walnut lumber, I couldn’t even find 5 bd. ft. of clear lumber. If that same stack was red oak instead of walnut, I would have been able to find those two pieces in the first layer of the stack. I may have even found the two pieces in one wide board, between the knots.
This wasn’t a randomly poor batch of walnut from a consistently good supply. Every time I order walnut, no matter which sawmill or distribution yard it comes from, the quality of the wood from any of the grades is always worse than I could imagine. The crazy thing is I know it is going to be bad going in, so I try to prepare myself for it, and I am still surprised when I see it. I do end up using it or selling it, explaining to my customers that it’s just the way walnut is, that it is graded by different rules and even though it doesn’t look great that it is indeed higher-grade lumber. I have a hard time with this explanation, but it is absolutely the truth – walnut is graded differently from other woods.
If you search the internet for the reason walnut is graded on a different scale, all you will find is something along the lines of, “Walnut is graded differently from other woods to make better use of this valuable resource.” This sounds like a quote from someone towing the company line and giving a politically correct answer, and it does nothing to explain why the grade is so different.
The only tidbit you will find that sounds like a real reason for the lower grade of walnut is that it is difficult to get good quality wood out of the walnut log supply. Most of the wording would make you believe that walnut trees don’t grow tall and straight and don’t get to a decent diameter, so there just isn’t anything good to pick from. This is partly true. There isn’t a lot of good quality logs to choose from, but it has almost nothing to do with the way walnuts grow – walnuts grow just as tall and straight and big as many reputable hardwoods. The real, full and complete truth is that, yes, the log supply doesn’t have many high quality logs, but it is because the high-quality logs never make it to the sawmill, it’s not that they don’t exist. I know that I find good-looking walnut logs all of the time, and I don’t have any special powers to find good logs.
So, where are the good logs if they aren’t at the sawmill? They are sold to make veneer, which requires the best logs, and they are shipped overseas where walnut is viewed as even more valuable because it is a fancy import. And, since the demand for walnut is so high, even the “not the best, best” walnut logs are being shipped out and sliced into veneer. Species other than walnut are being sliced into veneer as well, but not in the same ratio when compared to the number of available trees. Walnut accounts for less than 1% of our forest, so there just aren’t as many logs to choose from and since almost every decent walnut log ends up anywhere but the sawmill, the odds of a good board ending up in the hands of a domestic customer are not good.
The situation is very obvious if you visit a higher production sawmill with a big supply of logs, where you will probably find three sorting categories for logs entering the yard. The largest pile of logs will be smaller diameter (14″ and less) and low-grade. The second biggest pile will be larger diameter logs (over 14″), but they will still be knotty and/or crooked. The last pile will be hidden in the back, away from the hustle and bustle of the sawmill where the best logs wait for the veneer buyer. These logs don’t have a chance of being cut into lumber because the sawmill can make just as much or more money selling the logs for veneer instead of wasting their time cutting, drying and selling them for lumber. If the sawmill can purchase a walnut log at $2 per board foot delivered to them and sell it for $3-$4 or more per board foot just for loading it on the veneer buyers truck, it makes no sense to touch it more than once.
So, the problem with walnut comes down to simple economics, supply and demand, that sort of thing. But why are the grades different? Obviously, “to make better use of this valuable resource,” meaning so sawmills can cut the lower grade logs that are available at a reasonable price and still sell them at a higher price. Walnut is that much in demand.
I did some research on walnut grading rules by contacting the National Hardwood Lumber Association (NHLA), which is responsible for implementing the current rules, thinking that the rules must have started out the same as other species (called standard grade) and then changed at some point based on the increasing demand for walnut. I found no time when the rules made any sort of abrupt change, so it appears that even though walnut may drift in and out of style, it has always been in demand and in relative short supply. Working with the chief lumber inspector, we went back to the 1920’s and even then walnut had special exceptions to make it easier to achieve a higher grade.
The differences in the grading rules for walnut may not sound so aggressive at first, but when you see them applied in real life, it is easy to see how lower-grade walnut can slide through in the higher-grade categories. Hardwood lumber is graded by the percentage of clear area in each board, with higher grades having fewer defects and more clear wood. The assumption is that the lumber is going to be cut down to make a finished product, so it can contain a specified number and minimum size of imaginary pieces (cuttings) that can be cut out of a single board. The main differences between other hardwoods and walnut is in the additional number of cuttings allowed per board and the smaller size of the cuttings in each grade, meaning that you are allowed to cut a walnut board into more and smaller pieces to remove defects. The percentage yield of clear wood needs to be the same as other species in each grade, but the pieces can be much smaller. A great example is in the FAS (First and Seconds) grade of lumber, which is the highest grade in hardwoods. FAS lumber in walnut can have three cuttings instead of just the two in other hardwoods, and it can have shorter cuttings in lumber 8′ and longer, so the best walnut usually has a knot right in the middle of the board, where other species often won’t. That is great if you only need shorter pieces, but a real pain when you need 8′ of clear stock. You would be amazed how much FAS walnut you will have to go through to get a good amount of wide, clear and long stock, if you find it at all.
Another painful part of using commercially processed walnut is sapwood. Sapwood is the white wood on the outside of all logs, and it is a part of living life in the world of hardwoods, but since walnut heartwood is dark brown and contrasts so much, it is considered a defect (at least by the grading rules) and should be removed. Larger operations get around the sapwood issue by steaming their lumber to darken the sapwood. This is a separate operation, performed after the lumber is milled and before it is dried, that has moved walnut sapwood out of the defect category. In researching the NHLA grade books, walnut sapwood was not considered a defect, as long as it was steamed, as early as 1920.
Walnut with steamed sapwood may grade higher and look homogenous in a rough board, where it is difficult to discern sapwood from heartwood, but once the lumber is planed, the sapwood is often clearly visible, even though it has been darkened. This wouldn’t be the worst thing if it just kept a high-grade board with a touch of sapwood from being rejected, but it has allowed sawmills, while still meeting grade, to cut walnut lumber that may have up to a 100% sapwood face. No amount of steaming is going to make an all-sapwood walnut board look like anything more than an imitation of the original, and one that needs to be stained (with a walnut stain, crazy enough) to have a chance of looking acceptable.
Along with allowing the sapwood to be 100% useable introduces our good friend “Wane”. Wane isn’t a person, it is the area on the outside of a piece of lumber that is permissible to be non-existent and not reduce the footage of a board. It’s our favorite spot on the end of a 7″ wide board that only measures 5″ wide, when we really need that 7″. It comes into play now because lumber is being cut to the outer edge of the log since steamed sapwood is allowable. Sapwood and wane is allowable in other species as well, but in walnut it is just another obstacle in the way of producing a board that looks like it has no defects. A piece of walnut lumber can, and often will, have sapwood (as long as it is steamed), knots and wane and still make a high-grade.
To be clear on the sapwood issue, I am not against sapwood overall. I think the contrast between the sapwood and heartwood can be very pleasing. But some jobs require all dark heartwood or the customer would prefer all dark heartwood, and it is almost impossible to get it, even if you tried to specify it. Plus, while darkening the sapwood, steaming reduces the depth of the color in the heartwood, turning the entire board into a brown gray color instead of the deep-rich brown it is without steaming. Allowing steamed sapwood to not be a defect, just like the other special walnut grading rules is done, as they say, “to make better use of this valuable resource,” or maybe, just to sell more walnut.
I would argue that while there are written rules that clearly explain the different grades of walnut, it is unnecessary and extremely painful to have them different from other hardwoods. It is so painful, in fact, that both of my wholesalers told me that it wouldn’t break their hearts if they never sold another stick of walnut again, especially since they spend so much time listening to unhappy customers and dealing with a constant stream of returns. The point of having a grading system is so that everyone has a consistent and clear understanding of the products they are purchasing, and having such a great variation for one species does nothing but muddy the waters.
Again, it all comes back to economics. Sawmills can now pay a reasonable, if not low price (relatively speaking) for lower grades of walnut logs and sell the lumber as fast as they can cut it for a good margin. If sawmills had to move to cutting the high-grade logs to produce more truly high-grade lumber, the price of walnut, which is already high, would increase even more, probably to a point that it couldn’t be sold, at least that is what the custodians of the walnut lumber market would fear.
I personally think that the market would then just reflect what the real situation is. Just like gold, which is rare and very expensive, walnut lumber would go up in price commensurate with the demand because it wouldn’t be so easy to produce high-grade walnut. It already isn’t easy to produce high-grade walnut, it is just easier to sell it as high-grade walnut. The highest grade walnut might end up selling for twice the price it does now, but at least those paying for high-grade might actually get it.
There have been attempts to move walnut to standard grade, but they have fallen short with the walnut industry members voting to keep special rules for walnut in effect. The way the system is now keeps large walnut producers running their operations like they always have, which seems to be working, so there is little reason to change it. And, after some of my discussions with industry insiders, I found even one more reason walnut producers may want to stick to the status quo, and that is proprietary grades of walnut, meaning that producers can now sell “premium” or “super-premium” or whatever they want to call it walnut.
Since the highest grades of walnut are not that high, mills that specialize in walnut can now sell the clearest and straightest-grained walnut lumber for a premium (well beyond listed top prices) because no official grade exists for this product. They can ask higher prices and get it, as long as they deliver a product that they have the luxury of defining. It is a big win for the sawmill, but another loss for those on the other end just trying to purchase a good walnut board, because now a board that may have been beautiful and straight and perfect has even less of a chance to end up in a bundle of “high-grade” walnut. It just helps guarantee that your next FAS board won’t be clear and it will have a knot or three, probably right in the middle. Well, if nothing else, at least we are making better use of this valuable resource.
To be clear, I am not blaming any of my sawmilling friends for the current walnut situation. They are simply following the approved standards for the industry. I do, however, think walnut should be graded following the standard hardwood rules and without all of the exceptions. It reminds me a lot of playing a game with a first-grader that keeps changing the rules when they are not in their favor, and I just don’t want to play on that playground.
One of the first things I needed to figure out when I started cutting rough lumber on a sawmill was what thickness to make it. I could generally determine if I wanted it to be thick or thin, but just how thick or thin? 4/4 lumber is 1″ thick, so it should be rough cut at 1″ thick, right? Not exactly. For hardwoods, the commercial target for 4/4 lumber is actually 1-1/8″, which allows enough margin to produce dried and planed lumber at a thickness of 13/16″ or 3/4″ (3/4″ is acceptable, but the extra 1/16″ of thickness in 13/16″ material allows room for additional planing or sanding after panels or doors are glued up).
The crazy thing is that back then I couldn’t find solid information on lumber thicknesses anywhere and when I referred to the NHLA (National Hardwood Lumber Association) guide, the thicknesses didn’t match up with what I was finding from hardwood producers. The NHLA guide doesn’t include the bonus 1/8″ of thickness – 4/4 lumber, for example, is specified at a minimum of 1″.
In my experience, 4/4 hardwood lumber cut at 1″ is too thin to consistently produce flattened and planed lumber at 13/16″ thick and will even have trouble producing 3/4″ thick unless the boards are very flat. The only way 1″ thick rough-cut hardwood lumber can plane out completely to 13/16″ or 3/4″ thick is to skip the flattening and just plane the lumber. This will produce thicker finished lumber, but it won’t be flat and straight since the planer will simply follow the curves of any crooked boards. From a woodworkers perspective this is a horrible practice and makes woodworking much more difficult. For this reason, I cut my 4/4 hardwood lumber like all other quality producers at 1-1/8″ thick and don’t accept anything from other sawmills or wholesalers at 1″ thick.
Starting with the lumber measurement and adding 1/8″ for the final thickness is how all of the hardwood measurements go, with a target for 4/4 lumber at 1-1/8″, 5/4 lumber at 1-3/8″, 6/4 at 1-5/8″ and 8/4 at 2-1/8″. These are the commercially accepted numbers, and except for 8/4 lumber the ones that I shoot for. The problem with 8/4 lumber is that since there is more wood it shrinks more than thinner lumber and 2-1/8″ thick just isn’t enough thickness to flatten and plane lumber to consistently finish at 1-3/4″, which is the target for 8/4 lumber. When I flatten and plane batches of 8/4 lumber milled at 2-1/8″ thick it isn’t uncommon for half of the lumber to finish at 1-5/8″ thick instead of 1-3/4″.
Because I think 2-1/8″ is a little thin, I commonly cut 8/4 lumber at 2-3/8″ thick. 2-3/8″ thick is twice that of 4/4 lumber, plus the 1/8″ saw kerf that would have been between the two imaginary cuts. The extra thickness not only impresses the ladies, but it assures a final dried and planed thickness of at least 1-3/4″ and officially uses no extra wood when compared to cutting 4/4 lumber (to keep things simple, a friend of mine simply calls it “double four quarter” lumber). As I mentioned though, 8/4 is commercially sawn at 2-1/8″ thick, so if you cut it at that measurement it isn’t wrong, 2-3/8″ is just better for the end user (none of my customers have ever been upset that the wood is a little thicker).
The previous examples were for hardwoods, but softwoods, like white pine, can be cut thinner since they shrink less and dry straighter overall, plus softwoods are commonly used for construction purposes instead of furniture, which don’t need the extra thickness for secondary planing or sanding, so 3/4″ final thickness is common for 4/4 softwood lumber. For 4/4 white pine for example, I cut 1″ thick, which will finish at 3/4″. And, for cedar, which shrinks very little and is very straight and stable, I will go even thinner, down to 7/8″. In general though, softwoods are cut on the standard quarter scale with 4/4 lumber measuring 1″.
The scale below shows the target hardwood lumber thicknesses for commercially produced, rough-cut lumber and their planed thickness counterparts. These are the sizes you should expect to find when shopping for hardwoods.
Hardwood Lumber Measurements
Quarter-scale measurement Rough cut thickness Planed thickness
4/4 1-1/8″ 13/16″
5/4 1-3/8″ 1-1/16″
6/4 1-5/8″ 1-1/4″
8/4 2-1/8″ (or 2-3/8″*) 1-3/4″
*2-3/8″ is a better thickness to consistently finish at 1-3/4″ thick, but 2-1/8″ is the norm.
I have been cutting a lot of slabs lately and building a lot of tops. This is the first one that I have finished out of a big double-crotch Siberian elm that I milled in the spring. The top is 36″ at the narrowest and 58″ at the widest. The slab was milled 3″ thick and was flattened and finished with a hand-planed surface at 2″ thick.
For those of you that haven’t heard yet, Siberian elm is one of my favorites. The wood needs nothing added to it to make it beautiful – just a clear top coat (actually four coats of Klearvar) is all it takes. The wood for this top is a delicious medium brown with tons of visual interest, especially where the main trunk splits into three branches.
The wood slab and the steel base (built by Commercial Fabrication) are going to serve as a 42″ bar-height community table in my customers newly remodeled basement.
I have been on a sycamore kick lately, and this sycamore slice keeps my streak going. There are three stacks of these rough sawn slices for sale in my shop, and though I have sold a few, this is the first one to officially get finished and installed.
The slice is 3″ thick and is a cross cut of a 48″ diameter hollow sycamore log that had the added benefit of having a long open wound that didn’t quite seal up. In the tree’s attempt to close the wound the new wood took on a curl shape on both ends that make the slice look more like an artistic expression than just a hollow log.
Since the tree was standing dead all of the sapwood is consistently spalted and marbled in appearance. There is some solid heartwood in the piece which isn’t spalted, but has a beautiful rust color.
I was planning on ditching this tree since it was hollow and didn’t seem to have any millable lumber in it, but when I saw the curl shape on the inside of the log I did a u-turn on my way to the dump. Solid logs with complete centers that are sliced like this tend to crack and fall apart because of the drying stresses in the log, but in this case all of the drying stresses were relieved since the center was gone. When the outside wood wanted to shrink it wasn’t restricted by wood on the inside and could freely reduce in diameter without any problems.
I installed the slice on the wall with two lag screws, just like a mantel. I drilled matching holes on the back of the wood and just slid it on the wall (with the help of my customer). This system works great since it allows the piece to get flush to the wall and enables it to be removed without tools should the need arise.
Overall, I am ecstatic to have one of these completed and out the door. Next up is to finish at least one extra to keep in the shop to show off. You wouldn’t believe how much faster they sell with a finished sample around to seal the deal.
Recently, I was in need of some empty wine crates to fill in the bottom shelves of a wine cellar that I was building for Silver Oaks Chateau, a wedding venue just outside of Wildwood, MO. I picked up the wine crates for $5 each, which seemed fair, but only a couple of them had complete lids. The rest were destroyed when the cases were opened by the employees at the wine store.
My plan was to install the empty wine cases so they looked as though they were full and unopened, so the lids had to be rebuilt. All of the boxes are made from pine, and mostly Eastern white pine. I am guessing that a couple from France are some more exotic form of pine found only in Europe, but they looked a lot like Eastern white pine.
I worked through the stack of twelve cases and found three that had serviceable lids, which just need to be nailed on again. The others were broken or nonexistent, so I headed over to my rack of pine and grabbed a few boards to resaw and plane to 1/4″ thick. On my way to the table saw I thought to myself, “It sure is nice to have a bunch of pine just waiting around to be used like this.”
And, it wasn’t by accident.
I have white pine in the shop because I like it. I especially liked it because I had it when I needed it, but I like it well beyond that. White pine is easy to work with, lightweight, dries quickly and stays straight, it is easy to nail and screw, it is easy to plane and distress, and the trees can get big with beautiful straight logs. Plus, the wood smells great and leaves my shop smelling fresh and clean. It isn’t so great at resisting dents or Mother Nature, but those usually aren’t deal breakers for me.
White pine is usually poo-pooed by everyone and treated as a lesser wood. Maybe it’s because it is sold at Home Depot and it doesn’t cost too much, or maybe it’s because pine is thought of as a framing lumber. Either way, it seems like everyone thinks that nice woodworking isn’t done with pine. But, I say don’t blow pine off just yet.
Think about the things that pine is good for and focus on them. It is great for projects with big and long pieces since it is light, dries quickly and the logs can be big (the 16′ long tables for Urban Chestnut in the photos above are a great example). Pine is the perfect choice for anything with a rustic feel because it can easily be worked with hand tools, distressed with minimal effort and is naturally rustic in feel from the characteristic knot patterns. But, white pine isn’t always knotty. The big logs can produce completely clear lumber for projects with a more modern look, and even smaller logs can produce clear lumber between the knots, which can be used for smaller projects. White pine is also fantastic for woodwork that needs to stay straight, like interior doors, because of the trees normally straight up growth pattern which produces consistently stable lumber. I have built many doors with white pine, and I love knowing that the doors will stay very straight. Just think about all of the places that you could use pine and haven’t given it a chance.
Lastly, think of the joy of working with pine. Everything, except sanding, is easier with white pine – focus on that. Pull that handsaw off the wall and make a few cuts, just for the fun of it. Grab a hand plane and make long curls of shavings. Leave those shavings on the floor and feel how soft and fluffy it is, and enjoy the smell. Pick up a board and feel how the lumber is so lightweight and a joy to carry. Heck, grab a stack of boards and carry those around for a bit, and be thankful they aren’t oak. Imagine your shop is much older than it is, maybe with a water wheel powering the entire operation, and be proud to use a wood that has been making its way into furniture for hundreds of years.
Stop finding reasons to not use pine, and you will start to fall in love with it before you know it. All you need to do is spend some quality time with the white pine and keep an open mind.
A few years ago I cut a huge American Elm log into slabs and quickly sold all of them except one piece that ended up being short after hitting a few nails. The nails dulled the sawmill too much to finish the cut, so I just cut the slab off at about five feet long and salvaged what I could. All of the other slabs where long enough to make large tables while this one struggled to find a home, until I got a request for a kitchen peninsula top.
I flattened the slab on the Lucas mill and sanded it by hand since it was too wide to fit through the wide belt sander. It wasn’t until I sprayed the first coat of finish on it that I realized how nice it was and was reminded why I like American elm so much.
The slab had a great shape with a beautiful crack down the middle and the edges had tons of character too with ridges and bumps down the entire length. But, what really made it stand out and grab your attention was the figure of the wood and its chatoyance, or the way the light bounces off of the surface. The finish has great depth and changes in brightness as you walk around the piece. It reminds me of satin sheets with ridges that reflect ribbons of light. It is really something that you need to see in person.
Here are some before and after photos of the slab.
The call usually goes like this. A potential new customer calls and says, “I am looking for a mantel. The stone guys are coming tomorrow, and I need something today so they can put it in. Can you cut me a mantel?”
The answer, of course, is yes. However, I spend a little time calming them down and explaining that they are going to mount the mantel after the stone work is done, how it will come out beautifully and how not having a mantel right now won’t slow anything down.
Most people expect that the wood is going to be embedded in the stone, which is the reason for all of the last-minute, frantic calls, but I argue that the wood should not be surrounded by stone, mostly because of wood movement and not because of the fact that they don’t have any wood to surround with stone.
All wood, dry or wet, moves with seasonal changes and the stone does not. This means cracks will develop around the mantel over time. They will be small, perhaps unnoticeable, around dry wood, but if the wood is newly sawn and installed wet, the cracks will be unsightly after the wood has dried and shrunk. The other possibility is that green wood could bow, twist, or warp in some fashion and blow things apart. If a 8″ x 11″ x 8′ long piece of white oak decides to move aggressively, there may be little that can stop it and the results could be catastrophic. It is definitely possible that any stone or brick veneer could be popped from the wall when the wood starts moving.
So, I say, don’t fight it. Don’t try to put the stone around the wood. Let the stone guys do their thing, step back, take a deep breath and then find a cool piece of wood to install in front of the stone.
The method I recommend works for installing any solid wood mantel above any fireplace, from drywall to stone and anywhere in between, and the process is quite simple.
Besides your tools and the actual piece of wood for the mantel (purchased, of course, from WunderWoods) you will only need 5-minute epoxy and two steel stakes. I get the steel stakes at Home Depot in the concrete supply aisle. They are 5/8″ thick steel stakes used for concrete forms and they are very sturdy. Do not use rebar because it is too flexible.
You might be thinking that just two steel rods aren’t enough and be inclined to use more, but don’t, unless it is absolutely necessary. Two 5/8″ thick stakes can easily hold 200 pounds (which I usually verify with a modified one-handed pinky pull up in which my knees stay on the ground), and I have found that even with more than two stakes, the heavy lifting is usually done with just two, while the others are just along for the ride. And, since the extra stakes just make for more drilling and more chances for things to not line up, I say don’t use them. If you feel that you need to beef things up, just get bigger steel rods.
The basic premise of this method is that you are installing two shelf brackets in the form of steel rods that will support the mantel which will have two holes drilled in the back to accept the rods, all of which will be hidden.
Start by determining the mantel location and then finding suitable places to install the rods. The rods need to be mounted solidly, either through the wood framing or through the stone, or both if possible, and close to each end of the mantel. Usually the exact locations are determined by the stone or framing layout.
Drill the holes in the fireplace surround with a 5/8″ masonry bit and a hammer drill in stone or brick, or a 11/16″ bit and a regular drill in wood. The 5/8″ bit in stone will usually leave a hole with enough room for level adjustment because the hammer drill makes a roomier entrance. Since wood drills easily and with a cleaner hole, the 11/16″ bit is required to allow for level adjustments.
Next, you will need to drill 1″ diameter holes as deep as possible in the back of the mantel that line up with the rods (be careful not to drill all of the way through). I usually just measure for the locations, but if you are worried about messing things up, you can make a drilling template to use on the wall and the back of the mantel. This still doesn’t eliminate screw-ups (nothing does) because it is easy to flip the template when you should have flopped it. Be sure to mark your template with top, bottom, left and right sides, and don’t forget to mark the side that faces the mantel and the one that faces the wall.
Next insert a steel stake into each hole and secure it with 5-minute epoxy. Be sure to fill in the front and back for full support. While the epoxy is setting check the rods for level and adjust as necessary. I often add some small wedges to help hold things level while the epoxy is setting up. After the epoxy is set up, trim the rods to the final length which is determined by the depth of the holes in the back of the mantel.
In a perfect world you would slide on the mantel and be done at this point, but it is rarely the case – often you will need to make some small adjustments to compensate for drilling by hand. If the mantel doesn’t sit level it can be adjusted by adding wraps of tape to the metal stakes, either near the front or back, depending on which needs to be raised.
Once you have the mantel sitting level you are done. Don’t worry about gluing it on – it isn’t necessary and will only make the mantel more difficult to remove if you need to work on it in the future.
Recently, I set up three large hollow spalted sycamore logs to cut in the Lucas mill. They are all in the 48″ diameter range and most were cut 3″ thick. I see future tabletops (with glass) and wall decorations. Out of all the logs I had on the lot, these were drawing the most attention, so they got cut first.
Since I started milling lumber, determining the difference between red oak and white oak has been a challenge. I’ve got a good handle on it now, but there are plenty of times (at least once a week) when a customer has a piece of wood that they want to identify. It is usually some old barn lumber and usually some sort of oak.
I have had a lot of practice trying to figure out what kind of oak I am dealing with since many of the logs I cut are salvaged. Often they are old, without leaves or even bark, and a challenge to identify. Even just raw, newly planed oak lumber can sometimes be tricky. The secrets lie within the structure of the wood itself.
What about color? Color can help, but it can also be misleading. While white oak is less red in color, red oak can range from very red/pink to the exact same color as white oak. I use color as an indicator only if the board is very red, which most likely makes it red oak. Anything in the tan range needs to be investigated further. Note that newly cut white oak lumber turns a bright pink when exposed to the air and then goes back to tan after drying (read more about that by clicking here).
How about the grain? The grain or texture of oaks is very similar. Even when finished, both just look like oak. There are subtle differences, but if you only have one oak in front of you and you aren’t sure what it is, it still just looks like oak. White oak is, on average, a finer texture, with tighter growth rings and a more refined appearance, but there are plenty of red oaks out there with tight growth rings that look similar. Red oak as a family has several members that are fast growing like shingle oaks, willow oaks, laurel oaks and pin oaks, while all white oaks are usually slower growing. If you find an oak board with wide growth rings and a coarse appearance there is a good chance it is a red oak.
Isn’t white oak water tight? Now, we are on to something. White oak, as compared to red oak, is water tight and is used to make wine and whiskey barrels. White oak can hold water because the “open” pores are filled with tyloses, which looks like foam – red oak is not. If you look closely at the pores on an oak board (and your vision is good) you will be able to see grain that either has open pores or pores that are filled with tyloses. On a very small level, especially with a magnifying glass, you can see the difference, and it is usually very clear.
How about the rays? Finally, we’ve got it. The big difference is in the rays. White oak has long, showy rays, which are especially visible in quarter sawn lumber and give quarter sawn white oak it’s one-of-a-kind appearance. However, the rays are also visible on flat sawn lumber, which is the main way that I discern between red and white oak. On the face of flatsawn red oak lumber the rays look like little short tick marks, usually no longer than 1/2″ long. The marks are very visible and strongly contrast with the surrounding wood. White oak has long rays, and on flat sawn lumber the rays look more like straw. The rays are so long that they blend together and are often hard to tell apart. There may be a few shorter ones here and there, but on average the rays are well over 1/2″ long.
The main reason it is necessary to discern between red and white oak, besides general appearance, is to determine its durability. White oak is water-tight and great to use both indoors and outdoors. Red oak is more like a sponge. It will tend to soak up water when it can and quickly rot. Red oak can be used outdoors in vertical applications, like barn siding, and last for quite a long time, but in horizontal applications, especially where the wood will dry out slowly or not at all, it wouldn’t be uncommon for red oak to decay in just a season or two. My unofficial testing of both species used in my own garden for tomato stakes showed a major difference between the two species with red oak rotting and breaking off at ground level in just one summer/fall season, while the white oak showed no symptoms.
The good news is that while it may be difficult at first to tell the difference between red and white oak, it isn’t impossible and actually pretty simple if you look in the right places. Remember you can check out the color, gawk at the grain and peek at the pores. And, if all that doesn’t work, you can always just rely on the rays.
We were sanding some walnut lumber the other day in the shop, and look what we found. It’s a walnut in the walnut. How nutty! It looks like the walnut shell fell into a crotch in the tree and the tree grew around it. I am so glad to run into a foreign object that doesn’t ruin the equipment.
This photo was sent in by a WunderWoods follower. He was resawing lumber for the top of turkey calls and cut a walnut perfectly in half. It makes a nice turkey call and a great story.