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Nothing can beat it when you are notching with two from aside the log and working well together in a steady rhythm and rapid progression from end to end.
Though above all a good working relation is needed to make it that way. Like sawing in tandem, bucking or ripping, when there are clashes then it is something to chuckle under your breath about instead of a satisfying way to work. But OK, a picture is limited in what gets conveyed, its content an abbreviation for a more explicit explanation which dials in on not only the action but intention.
"WV Form Notching"
This is a specific sub-category and in an improvisation of the moment we'll call it "WV form notching", for lack of alternative, where three notches become one, the lines of the first symbol, the "W", indicating either the pattern of removal or sequencing of cuts. The "V" clearly enough represents the notch, and the underline, _____ representative of an edge of the beam, our stricken line on the log itself. In general the technique gets used when the demarcation of the beam's corner is far in meaning a lot of wood removal or similarly with logs of larger than average diameters. The extraction can occur in one of two ways, or, a combination of the two. In one, the two initial notches individually cut out keeping in mind all the parameters, leaving the central section for cutting out last.
When it's removed, what's left is the V or notch - the difference between the left and the right above. Alternatively the whole notch can be cut in a single pass, cutting side notches and central notch simultaneously, a personal preference of mine always subject of course to prior agreement . Because of the depth and volume of wood getting chopped away in instances where this technique gets called on, in order to keep the form of the notch progressing under control, that is to say, straight and more importantly vertical, the chops are segmented and this, essentially shortening the fibers within the cut at large, can be visualized as a "W" dropping its way lower and lower as the notch is cut. It basically means, "I will reach to you and you will reach to me" So, if I am cutting down one side of the notch and there is too much space between me and a partner I will shout, " Gi' me some help" or just, "Help" and the response will be interim cuts shortening and freeing the fibers in between the sides of the notch, the chips falling to the ground all the more efficiently. A beauty being that this technique is variable according to conditions. When the wood is straight and clear the cuts are more spaced and maybe interim cuts eliminated. When the wood's twisted and knotty cuts are as close as needed, maybe millimeters apart. Well, my explanation, as it may be, of the sequence is only one of many. For example another would be for chopper one to hold to his straight and vertical side of the notch while chopper 2 makes leading cuts out front along that line and then alternating sides of the notch of course to keep the progress balanced, working from out to in, essentially an ever expanding notch which comes out more or less, given that the work progresses equally from both sides of the larger notch, to working in the form of the "W", out to in.
And who chops where and when? It normally is not necessary to make explicit agreements but as I said in the beginning let the work flow, where needed calling for - or giving - help and it should all work itself out in the end.
Edging
We can move on from the notching to the edging. In my view the most important. It's not purely a question of wasting - jargon for removing material - but even more crucial, edging is setting the stage for creating a desired character with the breitbeil. In prominence the breitbeil is in front hogging all the attention, in use not insignificant but secondary. And this is sensible considering a relative sensitivity and time consuming maintenance, better to spare the breitbeil's edge for the critical work of creating the best surface attainable with axes.
Removing waste is a two step process with the first one called rough wasting in a self descriptive way.
The two proceeding images are repetitive and in that way reinforce the core elements of good posture, stance, grip and all that. The medieval figure has got his wood set up high but the dimensions of the piece I work means the effective consequences of the low staging are the same in both instances. Which is not to say the wood can't be set to low
This should be avoided at all costs.
The second step is to set the conditions for surfacing using the breitbeil with only the need to remove a minimal amount of wood and so prolonging the life of its edge, taking into consideration the effort it takes to keep it sharp and effective. Those conditions include pairing back to the line, creating a uniform surface and most critically ensuring that the face is vertical. This second phase can be done in combination with the first or in addition to it once the rough wasting is completed. Typically I choose to work in sections along the length taking in three of four notches together.
And with the beam essentially squared and brought to the predetermined dimensions the surface is cleaned up or refined with a broadaxe.
Though above all a good working relation is needed to make it that way. Like sawing in tandem, bucking or ripping, when there are clashes then it is something to chuckle under your breath about instead of a satisfying way to work. But OK, a picture is limited in what gets conveyed, its content an abbreviation for a more explicit explanation which dials in on not only the action but intention.
"WV Form Notching"
This is a specific sub-category and in an improvisation of the moment we'll call it "WV form notching", for lack of alternative, where three notches become one, the lines of the first symbol, the "W", indicating either the pattern of removal or sequencing of cuts. The "V" clearly enough represents the notch, and the underline, _____ representative of an edge of the beam, our stricken line on the log itself. In general the technique gets used when the demarcation of the beam's corner is far in meaning a lot of wood removal or similarly with logs of larger than average diameters. The extraction can occur in one of two ways, or, a combination of the two. In one, the two initial notches individually cut out keeping in mind all the parameters, leaving the central section for cutting out last.
When it's removed, what's left is the V or notch - the difference between the left and the right above. Alternatively the whole notch can be cut in a single pass, cutting side notches and central notch simultaneously, a personal preference of mine always subject of course to prior agreement . Because of the depth and volume of wood getting chopped away in instances where this technique gets called on, in order to keep the form of the notch progressing under control, that is to say, straight and more importantly vertical, the chops are segmented and this, essentially shortening the fibers within the cut at large, can be visualized as a "W" dropping its way lower and lower as the notch is cut. It basically means, "I will reach to you and you will reach to me" So, if I am cutting down one side of the notch and there is too much space between me and a partner I will shout, " Gi' me some help" or just, "Help" and the response will be interim cuts shortening and freeing the fibers in between the sides of the notch, the chips falling to the ground all the more efficiently. A beauty being that this technique is variable according to conditions. When the wood is straight and clear the cuts are more spaced and maybe interim cuts eliminated. When the wood's twisted and knotty cuts are as close as needed, maybe millimeters apart. Well, my explanation, as it may be, of the sequence is only one of many. For example another would be for chopper one to hold to his straight and vertical side of the notch while chopper 2 makes leading cuts out front along that line and then alternating sides of the notch of course to keep the progress balanced, working from out to in, essentially an ever expanding notch which comes out more or less, given that the work progresses equally from both sides of the larger notch, to working in the form of the "W", out to in.
And who chops where and when? It normally is not necessary to make explicit agreements but as I said in the beginning let the work flow, where needed calling for - or giving - help and it should all work itself out in the end.
Edging
We can move on from the notching to the edging. In my view the most important. It's not purely a question of wasting - jargon for removing material - but even more crucial, edging is setting the stage for creating a desired character with the breitbeil. In prominence the breitbeil is in front hogging all the attention, in use not insignificant but secondary. And this is sensible considering a relative sensitivity and time consuming maintenance, better to spare the breitbeil's edge for the critical work of creating the best surface attainable with axes.
Removing waste is a two step process with the first one called rough wasting in a self descriptive way.
The two proceeding images are repetitive and in that way reinforce the core elements of good posture, stance, grip and all that. The medieval figure has got his wood set up high but the dimensions of the piece I work means the effective consequences of the low staging are the same in both instances. Which is not to say the wood can't be set to low
The second step is to set the conditions for surfacing using the breitbeil with only the need to remove a minimal amount of wood and so prolonging the life of its edge, taking into consideration the effort it takes to keep it sharp and effective. Those conditions include pairing back to the line, creating a uniform surface and most critically ensuring that the face is vertical. This second phase can be done in combination with the first or in addition to it once the rough wasting is completed. Typically I choose to work in sections along the length taking in three of four notches together.
And with the beam essentially squared and brought to the predetermined dimensions the surface is cleaned up or refined with a broadaxe.
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