I used to close my eyes and visualize which way to swing my saw, especially if I was mitering a tricky corner. When I first started using a miter saw, there was a time I’d cut the wrong miter. And on tricky corners, even after years of experience, I still got them wrong nearly as often as I got them right.

Not any more. The method I’ve been using for the last ten years is almost fool-proof—even for a fool as big as me. And it’s fast and simple, too.

All of us, every carpenter imaginable, identifies miters by short points and long points. So why not learn how to swing your saw according to the same vocabulary?

Several Roadshow attendees have asked me to provide a clearer explanation of the Shortpoint-Longpoint method. I hope this short video does the trick!

Though closets seem to come in many different sizes and shapes, they’re actually limited to only two basic types: walk-in closets, and reach-in closets.

Control Closet Design

The three most common types of shelving arrangements are (see image, above): Double Pole, Single Pole, and Linen Shelves. We try to include a little of each in every closet, and we use 15 1/2 in. dividers to separate and help support the shelving.

To allow enough room for medium-length coats and shirttails, Double Pole should be spaced a minimum of 40 in. from the floor, and 40 in. apart. That puts the top of the 1×4 cleats at 42 in. and 84 in. from the floor (see image, below). We angle-cut our dividers, leaving a 1-in. toe on the floor, so it’s easier to get a vacuum near the wall. Whether the customer wants wood, melamine, or MDF shelving, we limit the span—anything over 34 in. will sag without a support.

Single Pole is meant for dresses and long coats. It must be installed at least 66 in. from the floor, farther for tall clients. To secure the pole and the rosettes, we use 1×4 cleats to support all closet poles. For linen shelving, we use 1×2 cleats.

This shelving arrangement is a catchall—it’s not meant just for bedding: shirts, sweaters, sports clothing, and even toys will end up on these shelves. To keep closets uniform and easier to install, we keep to the same layout—12 in. on center for all but the bottom two shelves.

Blankets and boxes need more space, so we put the first linen shelf at 18 in. from the floor, and the second one 15 in. higher, for boots or tall toys.

The top shelf is usually above the door header, which means that, in a 24-in. deep closet, it’s tough to get anything up there.

Even though the dividers are 15 1/2 in. deep (so they’ll support the poles!), we install a 12 in. top shelf, and radius or angle-cut the tops of the dividers.

Just remember one thing whenever you turn a corner with shelving: All closet poles require a minimum 24 in. clearance before the next divider, otherwise there won’t be enough room to slide clothes into the corner.

The best solution to sagging shelves is another design strategy: eliminate mid-span supports on linen shelves by limiting their span to 32 in., then let the closet poles run longer.

A not-so-simple story pole

Once you’ve controlled and simplified the design, control and simplify the layout and installation, too—teach your crew how to make and use a story pole for every job.

Make closet story poles from a piece of durable 1×4, and don’t just pencil the marks—cut notches so the pole can be used from job to job.

Make all the notches at the top of the support cleats, except the top cleat! Instead, cut the story pole 3 1/2 in. short, so the mark for the top shelf—made by striking a pencil across the top of the story pole—will be at the bottom of the cleat; that way, your carpenter won’t have to climb a ladder to see the top shelf mark.

Whenever possible, we try to keep linen shelves the same width, so they can be cut in packages. The same with Double Pole arrangements, especially if there are several closets of roughly the same size. That way, only one special measurement needs to be made in each closet.

Important Closet Requirements

Single Shelf-and-Pole: To accommodate long coats and dresses, a section of Single Shelf-and-Pole should be installed in every closet (closets for children are often an exception). To keep dresses and coats from dragging on the floor, install Single Shelf-and-Pole at least 66 in. from the floor—take the measurement from the bottom of the shelf (that puts the pole at about 64 in. from the floor). For exceptionally tall people, increase the height to keep long clothes off the floor.

Double Pole: If pants are folded over a hanger, they only need half the hanging height as a long dress—about 34 in. from the bottom of the shelf to the floor. Shirts are longer and require 40 in. from the bottom of the shelf. Because most of the clothes in our closets today are pants and shirts, Double Shelf-and-Pole should predominate in every closet, which doubles the storage space. To make the job of installing shelves easier and to allow homeowners the choice of changing the arrangement of their clothes, I separate all Double Poles by 42 in., which makes the top shelf 84 in. from the floor.

The Top Shelf: The top shelf should run completely across the closet, and around all three walls in a u-shaped closet, so the same 84-in. height determines the second or top shelf over a Single Shelf-and-Pole, too (see diagram, above). In most 8-ft. closets, 12 in. of space remains between the top shelf and the ceiling, which is enough room for shoe boxes, hat boxes and other storage.

Sweater Shelves: A typical bank of sweater shelves should begin 16 in. from the floor, which allows room for tall boots on the floor. Succeeding shelves should be spaced about 12 in. apart. If the top shelf is installed at 84 in. from the floor, this sweater shelf arrangement should result in a somewhat even spacing.

Shoe Shelves: Shoes only require about 7 in. of height (that includes high-tops and pumps). To get the most from your closet space, design shelving specifically for shoes and don’t rely on 12-in.-spaced shelves for shoe storage. An 84-in. tall bank of shelves, with the first shelf 16 in. from the floor, can include 4 shoe shelves and 3 sweater shelves (see diagram). Of course, if there’s room, and you’re expecting a lot of shoes, build an entire bank of shoe shelves.

The only shelf in a closet that won’t align horizontally with other shelves is the Single Shelf-and-Pole, because it’s set at 68 in. from the floor. The 16-in. space between the Single Shelf-and-Pole and the top shelf can be divided again by an additional shelf, which creates a perfect location for a few pairs of shoes.

(This TiC Toolbox article was adapted from Closet Shelving Layout & Design)

Carpenters today frequently work with segmental arches, and they often need to determine the arc length of an arch. That’s the only way to order or cut trim material accurately. The steps on a construction calculator are easy—whether you use a CMPro or BuildCalc, the key strokes are the same, even though the keys are in slightly different positions. I’m using BuildCalc for these screenshots, because that’s what works best on my iPad!

Using this example:

1. Enter 48 in. and press Run.

2. Enter 6 in. and press Rise

3. Press the Arc key. The first result is the angle of the arc—which has rare use for carpenters (more on that later).

4. Pres the Arc key a second time. That’s the length of the arc.

For a stair to pass inspection, these code requirements are critical. But, these requirements are also critical if you want to build a safe, easy-to-use stair.

Railing height gets confusing. Here’s a simple illustration. But remember, the bottom newel post in this illustration isn’t legal! The railing must be continuous to a point plumb with the bottom riser.

Many carpenters think that the “4 in. sphere rule” applies to every space on a balustrade. Not true! The balusters on a guard rail must be close enough so that a 4-in. sphere cannot slip through. But the balusters on a raked handrail can be spaced wider; and the spandrel space between the bottom rail and the tread can allow for a 6-in. sphere.

And don’t forget to check the head height! To meet IRC Code, there must be 80 in. clear, measured plumb from the nose of the tread to any obstruction above (floor, coffered ceiling, beam, etc.).

Woodworkers and carpenters should tattoo this chart on their chests! If you want to know how much wood is going to move, this chart, and a moisture meter, is all you need.

Understanding Equilibrium Moisture Content

The moisture content of wood is tied directly to the relative humidity of the surrounding air. The higher the relative humidity, the higher the MC of the wood. Period. If you’re installing wood that’s recently been transported, or installed on a job, it might take a little while for the material to reach its EMC with the air—in other words, for the wood to accommodate to the humidity level for the climate around the wood: the wood may take on more moisture or it may dry out. For example, if wood at 10% MC is exposed to 25% RH, the wood will dry to 5% MC (and shrink as it dries).

The EMC helps us understand the response wood will have to relative humidity, whether it will shrink or expand. For woodworkers and carpenters, the EMC is more helpful than RH. The simplified chart above shows the EMC values of wood when stored at the humidity and temperatures indicated.

Regional Equilibrium Moisture Content

Knowing the regional EMC for exterior wood application in your area of the country—and the time of year of your installation, is also critical if you want to ensure durable joinery and long-lasting woodwork. Click on/download the following chart! Find the nearest location to your area and identify the time of year you’re installing exterior material.

Regional_EMC.pdf

If you can’t acclimate your materials to the suggested EMC, at the very least you’ll be able to predict the movement after the material is installed. Using that prediction, you can calculate exactly how much to space your material for future expansion.

(This Toolbox App article is abbreviated from Understanding Moisture Content and Wood Movement.)

To adjust hinges, so that a door will fit better in a jamb—and maybe eliminate scraping on the head or the strike jamb—I bend hinges. If you’re working with a solid brass hinge, you might want to chisel the hinge in deeper, or shim it out of the hinge mortise with a piece of plastic laminate. But this technique works great for solid steel hinges.

The Spread

To spread hinges, which increases the leaf gap, and moves the door away from the hinge jamb, I place a nail set between the leaves and close the door, pinching the nail set. Here’s the thing to be careful about: make sure you push on the nail set and hold it firmly against the barrel of the hinge, otherwise the hinge will push the nail set out across the leaves, and then you’ll be putting too much pressure on the hinge screws—you’ll probably rip them right out of the door. Plus, you’ll scrape the nail set across the hinge leaf and leave an ugly mark.

The Squeeze

To squeeze hinges, which decreases the leaf gap and moves the door closer to the hinge jamb, I use a crescent wrench.

First, I drive the hinge pin up out of the hinge until it’s just engaging the top two knuckles—one knuckle on the door leaf and one knuckle on the hinge leaf. Then, I tighten the wrench on the leaf that’s attached to the door—the trick here is to remember you want to move the door, not the jamb. If you bend the leaf that’s attached to the jamb, you’ll close up the leaf gap instantly and the hinge will be leaf-bound. So, tighten the wrench on the knuckles that are attached to the door and bend those knuckles toward the lock stile! Once you drive the pin back in, that bent leaf will shift back toward the hinge jamb!

The editors thought it wasn’t “necessary” to give Joe credit for that chart—by that time, those charts were appearing everywhere. But even though it’s posthumous—he passed away a few years ago—Joe Fusco deserves credit for developing the first one.

Scribing the skirt board

To scribe skirt board over installed risers and treads, start with a straight skirt board laid on top of the points of the treads with the bottom corner against the finish or sub-floor, and the top corner above and beyond the top tread nosing. Finish nail this piece to the wall (leave the nail heads and part of the nail shank exposed for easy removal) and mark two registration lines on the wall, on the top of the skirt—one above the bottom tread and one above the top tread.

Using an oak stick for a scriber (with a slightly rounded bottom, so it contacts the treads and risers like the point of a standard scriber)…

…mark the height of the rise, or slightly more (use the highest riser if there’s a variance) and put a sharpened nail or brad through the stick with the point protruding slightly.

Next, scribe the level line of each tread (it’s important that you hold the scribe stick plumb), starting at the bottom and finishing at the upper landing tread.

Now, take the skirt board off the wall, cut the bottom scribe mark, and slide the skirt board down the wall until it rests on the floor. Make sure the top of the skirt is lined up with the registration marks you put on the wall. Finish nail the skirt to the wall again, leaving the nails proud for easy removal.

Next, change the brad point from the riser to the unit run dimension (or a little more).

Scribe from each riser face moving up the stair from the bottom. Again, it’s important to hold the scriber level as you work your way up the flight.

While using the same scribe setup, mark the projection of each stair nosing.

Next, remove the skirt from the wall and, using a sample tread block and a sharp pencil, draw the nosing, using the slight arc you previously scribed from the tip of the nosing as your reference point.

It’s time to start cutting. Start on the first riser line and cut every riser on the plumb line, working up the flight. Next, cut the treads on the level lines, starting at the top and working your way down. Remove the triangular piece as you go. Use a coping saw or jig saw to cut out the nosings.

TIP: When cutting, hold the saw at a slight angle to achieve an undercut, except for the top and bottom plumb cuts that the base will die into.

Once you’re finished cutting out for the treads and risers, slide the skirt into place and check for the “$20 fit” (a $1 bill will do, in a pinch). I like to have just enough material left above the nosing to allow some flexibility in the skirt, and also enough to receive a carpeted edge, if it’s not a finish set of stairs. Usually 1 1/4 to 1 1/2 in. is good. Depending on the rise/run and size of the original board, you may have to rip some material off the top edge.

Next, use a level to mark a plumb line on the skirt board at the top and bottom that matches the height of the flat portion of your baseboard. These lines will mark the vertical cuts for the skirt-to-baseboard transitions.

After cutting the base transitions, it’s time to nail the skirt in place. Nailing through the skirt at the nosing will draw it up tight. I also pre-drill each section of the skirt where it fits against the tread, close to the riser, and install a 4d finish nail.

Finish up by adding the base, base cap, and cove moldings. You’re done!

One advantage that I’ve found in scribing the skirt over the treads and risers is that the joint between the skirt and the finish stairs is not staring you in the face as you walk up the steps. It’s the same principle as starting the base or crown at the far end of the room and fitting to it.

The installation time is reduced with this method, since only the skirt board will need to be cut accurately. The time-consuming process of scribing and fitting each individual tread and riser is eliminated.

If it’s your first time, it might be a good idea to start with a set that will get carpeted, or with a painted skirt. It will give you the opportunity to practice before you try this method on a stained skirt board. Once you get the hang of it, you’ll get quick and accurate.

It’s not the perfect method for every installation, but for some jobs, it’s efficient and workmanlike!

(Drawings by Wm. Todd Murdock)

Step 1:

Every wall of wainscoting has an unequal number of panels and stiles. That’s because you have to start with a stile and you have to end with a stile. So make the math easier by subtracting the last stile from the overall length of the wall.

If the wall measures 96 in., and the stiles are 3 in. wide, use 93 in. as the working length.

Step 2:

Next, choose a panel size that seems appropriate for the room—say 10 in., then add the stile width to arrive at a unit measurement for both the stile and the panel. In this case, 10 in. + 3 in. =  13 in., which is the unit measurement.

Step 3:

Divide the working length of the wall by the unit measurement. On a construction calculator, enter 93 and press the Inch key. Now press Memory +. That way you can use the number again without having to enter it again! And you’ll need to use it again.

Step 4:

Press the ÷ (divide) key and enter 13 in. (remember, enter “13″ and press the Inch key). Then press the = key. The result will be 7 1/8 in. You’ll almost always end up with an uneven fractional number the first time you divide the working length by the unit size. That’s because the panel width must be adjusted slightly to fit the length of the wall.

Step 5:

To adjust the panel width, round that fractional quotient to the nearest whole number—in this case, divide 93 in. by 7. To make it easier and quicker, this time, instead of entering 93 in., press the Rcl button (Recall) and then the M+ button.

Step 6:

Next, press the ÷ (divide) key, enter 7; finally, press the = key. The result will be 13 5/16 in. That’s the location of the second stile—the first stile from the corner.

Step 7:

To lay out the third stile, simply press the + button once, then press the = button.

Step 8:

For the fourth stile, and all the others, do not press the + button! Just press the = button—over and over again.

Step 9:

The calculator will continue to add the decimal fraction to itself (13.28571), each time rounding off to the nearest 1/16 in. The panel sizes will be within 1/32 in. of each other.