All posts by Eric Hart

Who Invented the Jig Saw?

A few years ago, a press release came out declaring the history of that most useful of tools, the jig saw. It read:

“The jigsaw is celebrating its 60th birthday. About 60 years ago, Albert Kaufmann, who worked for the Swiss company Scintilla AG, invented the principle of the electric jigsaw. The inspiration for this came from his wife’s sewing machine: the very fast up and down action of the needle. By clamping a saw blade in this sewing machine, the inventor was able to produce extremely attractive curved cuts in wood. This represented the birth of a completely new tool. In 1947, Scintilla began series production of what was called the “Lesto jigsaw”, the first electric handheld jigsaw in the world.” [ref]A Youthful Sixty-year-old: The Jigsaw Celebrates Its 60th Birthday. Bosch Media Service, 4 June 2007. Web. 23 Apr. 2012.[/ref]

With the absence of any evidence to the contrary, this information has spread throughout the Internet, including to Wikipedia. For anyone researching the history of the jig saw, they will most likely find some quoting or paraphrasing of this press release; the fact that it is parroted on so many other web pages may make it appear that it is universally accepted as the truth.

While companies typically use press releases to extol the virtues of their own products and exclude all others, it is lazy for others to use such a press release as the sole citation in a history of the jig saw. The account given is an extremely simplified and unverifiable account of the history of such tools. We can see that better by examining the individual claims in the statement: that it is “the birth of a completely new tool”, that Kaufmann “invented the principle of the electric jigsaw”, and that the Lesto jigsaw was “the first electric handheld jigsaw in the world”. Along the way, we will get a much richer understanding of how many of the tools we use have evolved over time.

“The birth of a completely new tool.”

First, just what is a jig saw? The Oxford English dictionary defines it as “a vertically reciprocating saw driven by a crank, mounted in various different ways.” The term can be better understood by looking at the definition for jig: “To move up and down or to and fro with a rapid jerky motion”.  [ref]Murray, James A. H., ed. A New Dictionary on Historical Principles. Vol. 5, Part 2. Oxford: Clarenden, 1901.[/ref]

Hierapolis. Relief of an ancient double stone saw on the sarcophagus of M. Aur. Ammianos (2nd half of 3rd century AD).
Hierapolis. Relief of an ancient double stone saw on the sarcophagus of M. Aur. Ammianos (2nd half of 3rd century AD).

A reciprocating saw itself is nothing new; the Hierapolis sawmill from the second half of the 3rd century BCE used a reciprocating saw powered by a water wheel. [ref]Bachmann, Martin. Bautechnik Im Antiken Und Vorantiken Kleinasien: Internationale Konferenz 13.-16. Juni 2007 in Istanbul. Istanbul: Ege Yayinlari, 2009.[/ref]

A jig saw is used to cut curves, though. A 1916 book put out by famed saw makers H. Disston & Sons, Inc. explains the provenance of saws for cutting curves:

“As a matter of fact, Fret, Scroll and Jig saws are very similar, and are used for practically the same purpose… The Fret Saw is used almost always by hand… The Scroll Saw, the blades of which are somewhat wider, is used on heavier work, and although frequently worked by hand is also used in a machine run by foot or other power. The Jig Saw, though often confused with the Fret and Scroll Saws, is distinctly a machine saw, and is used on all heavy work…

The Jig Saw resembles Fret and Scroll Saws mainly in the purposes for which it is used. It is a sawing machine with a narrow, vertical, reciprocating saw blade, on which curved and irregular lines and patterns in open work are cut…

A species of Fret Saw is the Buhl Saw. The name of this saw is derived from André Buhl, an Italian. He was celebrated throughout France, in the reign of Louis XIV, for inlaid work in wood.” [ref]The Saw in History. Philadelphia: H. Disston & Sons, 1916, pg 27.[/ref]

The Buhl saw, characterized by its long, thin blade held on either end in tension, is the ancestor of the fret saw. The earliest illustration of one is in Diderot’s famed encyclopedia, first published in 1751. There, in Volume 2, on page 96, in the second plate for Boissellier (carver), is a small drawing. [ref]Diderot, Denis, and Pierre Mouchon. Encyclopédie; Ou Dictionnaire Raisonné Des Sciences, Des Arts Et Des Métiers, Vol. 2. Paris: Briasson etc., 1751.[/ref]

Buhl Saw, from Diderot's Encyclopédie, 1751
Buhl Saw, from Diderot’s Encyclopédie, 1751

Knight’s American Mechanical Dictionary provides some of the earliest descriptions and illustrations of jig and scroll saws. A jig-saw is “a vertically reciprocating saw, moved by vibrating lever or crank rod… Fig. 2723 is a form of portable jig-saw, which is readily attached to a carpenter’s bench or an ordinary table by means of a screw-clamp.”[ref]Knight, Edward Henry. Knight’s American Mechanical Dictionary. A Description of Tools, Instruments, Machines, Processes, and Engineering; History of Inventions; General Technological Vocabulary; and Digest of Mechanical Appliances in Science and the Arts. Vol. 2. Boston: Houghton, Mifflin and, 1884, pg 1215.[/ref] We can see figure 2723, the portable jig-saw, below:

Portable jig-saw, 1884
Portable jig-saw, 1884

The same book also has a definition for a tool known as a “gig-saw”. This machine is “a thin saw to which a rapid vertical reciprocation is imparted, and which is adapted for sawing scrolls, frets, etc.” [ref]Ibid. pg 965[/ref]

Gig-Saw, 1884
Gig-Saw, 1884

Lastly, the book defines a scroll saw: “A relatively thin and narrow-bladed reciprocating-saw, which passes through a hole in the work-table and saws a kerf in the work, which is moved about in any required direction on the table. The saw follows a scroll or other ornament, according to a pattern or traced figure upon the work.” [ref]Knight, Edward Henry. Knight’s American Mechanical Dictionary. A Description of Tools, Instruments, Machines, Processes, and Engineering; History of Inventions; General Technological Vocabulary; and Digest of Mechanical Appliances in Science and the Arts. Vol. 3. Boston: Houghton, Mifflin and, 1884, pg 2077.[/ref]

Scroll Saws, 1884
Scroll Saws, 1884

Interestingly, the dictionary also states, “the band-saw is a scroll-saw and operates continuously.” Indeed, under the definition for gig-saw, Knight writes, “Scroll-saws are usually gig-saws or band-saws.”

The earliest use of “jig saw” I’ve found is in an 1857 patent, which describes a reciprocating saw method that can be used “for small scroll or jig saws”. [ref]Whipple, Carlyle. Method of Hanging and operating Reciprocating Saws. Patent 16416. 13 January 1857.[/ref] The first occurrence of the term “scroll saw” I could find was in an advertisement in the March 1, 1843, issue of the New York Daily Tribune on the front page.

New York Daily Tribune, March 01, 1843
New York Daily Tribune, March 01, 1843.

“Invented the principle of the electric jigsaw”

So it seems strange to claim that Kaufmann’s discovery represented “the birth of a completely new tool,” since the jig saw predates the supposed 1947 discovery by nearly a century, and automatically reciprocating saws in general date back to around 250 BCE. But Kaufmann made his electric, right? That’s the real discovery, isn’t it?

Too bad we have this little nugget from 1933:

“The simplest sort of hand scroll-saws can be purchased for as little as fifty cents. Those of better quality cost a dollar or two. Old-style jig-saws, that are run by foot-power as the older sewing-machines are, can be had at varying prices, but average around twelve or fifteen dollars. You find fewer and fewer of these, however, as the modern jig-saws are nearly all electric.” [ref]Wendt, Carl E. “These Jig-Saw Puzzles.” Boys’ Life Mar. 1933: 16.[/ref]

Hand scroll saw and electric jig saw from Boys' Life, 1933
Hand scroll saw and electric jig saw from Boys’ Life, 1933

Not only does this article state that by 1933, electric jig-saws have become far more common than non-electric ones, but it also makes the interesting comparison between jig-saws and sewing machines, which is supposedly the flash of inspiration Albert Kaufmann will have in 14 years.

There were, in fact, a number of patents filed in the late 1920s through the mid 1930s for electrifying both scroll saws and stationary jig saws. Electrifying a jig or scroll saw was attempted as soon as possible at the advent of the Age of Electricity. An article in the 1888 Omaha Daily Bee states, “Besides, after using the batteries and motor during the summer vacation, you can unship them and take them home to run a sewing machine, a lathe or a jig-saw.” [ref]”Summer Excursions by Electricity.” The Omaha Daily Bee (Omaha, NE) 9 Jan. 1888: 7. Library of Congress. Chronicling America: Historic Newspapers. Web. 3 May 2012.[/ref]

Omaha daily bee, 1888
Omaha daily bee, 1888

Seven years before that, an article titled “Electricity as a Hobby” described a shop run in Brooklyn by Dr. St. Clair, a classmate of Thomas Edison. While listing the various novelties which have been electrified in his shop, it states, “The turn of a switch starts a self-feeding scroll saw by electricity.” [ref]”Electricity as a Hobby.” The Sun (New York City) 20 Mar. 1881: 5. Library of Congress. Chronicling America: Historic Newspapers. Web. 3 May 2012.[/ref]

So it would appear the “principle of the electric jigsaw”, claimed as an invention of Kaufmann, actually dates sixty years prior to the date claimed in the Bosch press release.

“The first electric handheld jigsaw in the world.”

But what about their biggest claim, that the 1947 production of the Lesto jig saw was the first electric handheld jigsaw in the world?

I found a patent issued in 1931 for “a motor-operated jig saw, adapted to cut wood, fiber, metal and other materials, with a simple and convenient operating means; to provide convenient means for manipulating the saw.” This jig saw features “a base having a flat supporting surface so that it can be moved at will over a flat surface.” [ref]Pickering, Albert V. and Moore, Albert H. For a motor-operated jig-saw. Patent 1826188. 6 Oct 1931.[/ref] The drawing below certainly resembles an electric handheld jig saw.

Pickering's 1930 jig saw
Pickering’s 1930 jig saw

Another patent, this one from 1941, describes providing “the benefits of jigsaw cutting, for example, to a portable tool.” [ref]Briggs, Martin. Power tool. Patent 2240755. 6 May 1941.[/ref]

Of course, patents do not necessarily mean that a working prototype was ever built. Even working inventions do not mean a commercial product was ever brought to market. Indeed, none of the above-mentioned tools seems to have been available for purchase. So while claims of being the “first” electric handheld jig saw in the world are debatable, the fact that the Lesto was the earliest model you can actually buy seems likely.

One of the earliest written histories of the electric handheld jig saw comes in 1958. The authors refer to the tools as “electric handsaws”:

“[Forsberg’s] Whiz-Saws were the first American-made electric handsaws. They appeared soon after the Swiss-made Scinta (now Lesto) was introduced into the U.S. in 1945… The electric handsaw has been around ever since the first Scinta saw (now called Lesto) was brought over in 1945 from the world-famous Scintilla Company in Switzerland. Scintilla had been attempting to develop a “portable jigsaw,” little dreaming it would become the husky, all-around workhorse it is today… Scintilla soon had a competitor. Forsberg, working in this country, brought out its now-famous Whiz-Saw, using a similar version of the still-expensive planetary-gear drive… Early sales went to a small and strangely assorted group of professional users, among them stagehands, builders, heating, plumbing and electrical installers.” [ref]Gallager, Sheldon M., and Ralph Treves. “Electric Handsaw: Year’s Most Exciting Power Tool.” Popular Science Mar. 1958: 168-73. Print.[/ref]

An advertisement from eight years prior claims, “The electric Lesto Portable Hand Saw Designed, Manufactured and Patented by Scintilla, Ltd., Switzerland, since 1944.” [ref]The Electric Lesto Portable Hand Saw. Advertisement. The Wood-Worker Aug. 1950: 65.[/ref]

So by 1950, it would appear the story is that Scintilla has been making the Lesto (previously called the Scinta) jig saw since 1944 and has been selling it in the US since 1945. This is pretty good proof that the Lesto was indeed the first electric handheld jig saw you could buy, though I am unsure why the 2007 Bosch press release claims the Lesto was first produced in 1947 rather than 1944.

So in conclusion, the history of the jig saw is a fascinating and complex history and is part of the general evolution of tools over the centuries. I do not mean to knock Bosch (I believe they still make some of the best jig saws in the world; it’s the brand I own), but for all the other websites presenting the “history” of the jig saw, I wish their research would delve deeper than a 97 word press release.

Friday Props Notes

It’s Friday; enjoy it while you can. For many of us, things are starting to gear back up. School is upon us, new seasons of theatre are beginning as summer stock draws to a close. It’s just a busier time of year all around. So enjoy the following bits from around the web if you get a break:

Here is a newspaper article on Zoe Morsette, who builds specialty props for Broadway (such as Les Miserables and Shrek) and television (including 30 Rock and Saturday Night Live).

This Diablo sculpture is a pretty intense piece made by Jason Babler, the creative director of Make Magazine. He does a tremendous job documenting the various materials and methods he uses to build the various shapes and textures which make up this creature.

What Tools Do I Need to Start Woodworking” takes a good look at that question, and the answer is useful for any craft, not just woodworking. As the author says:

“The problem is that without experience, a beginner really isn’t able to tell the often-subtle difference between specialized tools. If you get one chisel, one saw, or one plane and put it to work, you’ll begin to understand the relationship between your eyes, brain, hands, sharp steel and wood. When you develop that understanding, the next tool to get becomes obvious.”

To celebrate the release of the first season of Grimm on DVD, NBC has released a short video with prop master Drew Pinniger detailing many of the fantastical props made for the show. Grimm is a fairly imaginative show, and the custom props it features every week are always fun to watch.

Deer from Shakespeare in the Park

I spent the early part of the summer back in New York City working on the first show for Shakespeare in the Park. As You Like It, directed by Daniel Sullivan and designed by John Lee Beatty, required a dead deer corpse that could be carried around the stage.

Fabric hinges
Attaching the pieces with fabric hinges.

Jay and Sara had already purchased a urethane taxidermy deer form, which was waiting for me when I arrived. I proceeded to chop it apart at the joints and reattach them with fabric hinges (using left-over canvas from the tents we made for last year’s All’s Well That Ends Well).

Creating the spine
Creating the spine with rope and foam.

The spine needed a bit more flexibility. The deer was going to appear on stage as if it had just been shot, and then one actor was going to hoist it over his shoulders and carry it around fireman’s style. I used several pieces of rope to give a semi-flexible span between the front and back half of the deer, while a big piece of upholstery foam was added to help it maintain some shape and volume.

Eric Hart sewing
I am sew good at this.

I also carved the neck out of upholstery foam. I wrapped the foam in fabric, sewed it shut and glued it to the rest of the body.

Attaching the pieces
Attaching and articulating the pieces.

The photograph above shows the deer all jointed and floppy and ready to be covered in fabric. Yes, that is pantyhose on the legs; I added them to give further support to the legs while maintaining full flexibility.

Gluing on the hide
Gluing on the hide.

It took three separate deer hides to completely cover the whole body. I arranged them as best I could around the deer so the fur coloring, direction and length would match the hide of a real deer. Real fur has so many variations throughout, whereas fake fur would just make the whole thing look like a giant stuffed toy. Jay bought me a bottle of “Tear Mender”, which is a latex-based adhesive designed for fabric and leather. As the back of the hide is essentially leather and the body was covered in fabric, the glue made a really strong but flexible connection.

The hooves were also purchased from the taxidermy supplier. I had to drill out the bone a bit on top so I could slide them onto the threaded rod which ran through the urethane foam cast legs.

Head and face
The head and face.

We also had some glass eyes for the head as well as plastic ears from the taxidermy supplier. I patterned some fur over these ears, but they were deemed “too stiff” after the deer’s first rehearsal. Luckily, I just had to reopen the seams and pull the plastic parts out; the fur maintained the shape pretty well on its own.

The deer also got a nice open head wound. We had a separate set of antlers that the actors danced around with, and the scene opened with the antlers already removed. I mixed various colors of acrylic mixed with epoxy to give it a permanent “wet” look.

Raphael and the Deer
Raphael and the Deer.

I had Raphael, one of the other prop artisans, pose while holding the deer. He moved fairly decently, though the joints between the legs and the body were a bit stiff-looking. Some of the transitions between the different hides I pieced together were a bit rough when viewed up close, but on stage under the lights, he looked amazing.

I am back

It was quite a busy summer, between Shakespeare in the Park in New York City, the Santa Fe Opera and editing the final manuscript for my book (as well as a brief trip to Italy thrown in there). I will be posting photographs  in the coming weeks of some of the more interesting projects I have completed.

You may have noticed a slight redesign to this blog. I’ve been meaning to update it for awhile, and then the whole thing sort of crashed, so I had to rebuild it from scratch. I hope it’s a little cleaner and more straightforward than previously. I’ll probably be tweaking it as time goes on, but nothing major.

I now have a site up for my book at propbuildingguidebook.com. Don’t get too excited, as there is not too much there at the moment, but it does have the table of contents and the cover. Over the next few months, the team at Focal Press will be proofreading and editing the text as well as laying out all the photos and illustrations in the interior. I should be receiving a mock-up of all that in a few months, and once I check over and approve everything, it will be sent off to the printing presses, which will take another few weeks. If everything stays on schedule, it will be available to purchase next February. I will be filming some companion videos for the book, which may begin to appear on the site in the weeks leading up to the book’s release.

In case you missed it, I also had an article in the August issue of Stage Directions magazine. “Make Your Props Pop” looks at three different props built by the shops at the Actors Theatre of Louisville, Trinity Repertory Company and Paper Mâché Monkey. The last one was built for the current Broadway production of Peter and the Starcatcher. Interestingly, this article was originally supposed to run earlier in the Spring, but it was bumped to a later issue because of space restraints. In that time, Peter and the Starcatcher won Tony Awards in all its design categories, so I reworked some of the article to include that.

Last Post of the Summer

I just wanted to let everyone know that this blog will be going on hiatus until August. I am working on editing my book right now, as well as driving to Santa Fe to work for a few weeks, followed by a quick trip to Italy. I figured this blog could take a break for a few weeks so I can spend as much time on my book as possible; you’ll thank me when it comes out.

So enjoy the following links until then:

The New York Times has an interesting article on prop maker Doug Wright. Wright just finished working on Tom Cruise’s codpiece for Rock of Ages. He works on the weird and completely unique props that pop up in TV and film every now and then.

The Washington Post ran an article about the fake vomit in Signature Theatre’s production of God of Carnage. If you are working on that show, prop master Aly Geisler gives away all her secrets.

Jesse Gaffney adds her two cents to the ongoing debate of whether to call yourself a props designer or a props master.

If you have ever wondered how to prep your wood joints for gluing, here is a pretty definitive answer on the subject. Short answer: the joints should be sanded smooth, but not polished.

Have a good summer, everyone!