I've had to do this a couple times and was wondering, is there a specific name for this technique?...snap a line from tip to tip, then notch up to the line.
Hey Joe,
Great to read this from you here and the same on WoodWorkingTalk too. Did we ever reach an actual end to our email discussion on Plinth Stones and related layout from March of last year? Either way, this is a very good question!
In a generic fashion yes there is a name, or I should suggest many terms for these different layout challenges, but its different in different cultures and there languages...for just a few very basic examples:
Sumidzuke (sumitsuke) Another term for “layout” but literally means “Blackening the face.”
Sumi-uchi The process drawing a reference line on stone, timber, textiles, etc. or from Korea:
Jayeonseog juchonohgiwa gidugse-ugi Placing natural stone and layout of pillars...
The general aspects of "offsets" within Line Rule systems of layout are perhaps the core motivation around this system of layout.
It has also been discussed (debated?) here a number of times over the years on other post threads as it relates to Scribe Rule and Edge/Mill Rule systems of layout. With many contemporary timber framers amalgamating the traditional Edge and Line systems of layout modalities into a modern hybrid.
I find most of these amalgamations clearly either a "reinvention" of a traditional system and/or often lacking in complete clarity because the systems had never been properly learned (or studied?) in there entirety to begin with. Reinvention and adaptation, for those reasons given, became a necessity for the user. The collective lack of full understanding (and/or training?) constrain and obliged timber framers back in the 50's to 70's to fill in the gaps within their collective understanding there by making the "new" layout systems functionally applicable to current trends in the collective craft of timber framing as it is known here in North America.
Where the woodworking cultures and timber craft have remained untarnished, for lack of better vernacular, (i.e. China, Korea, Japan, France, Germany, and parts of Eastern Europe and the Middle East) the systems look as they did a thousand years ago overall in character with only regional variations and some elements of modernity seeping in.
I will state, from my perspective and study, that the current very young crop of Timberwrights learning and applying the craft globally (most likely because of the internet and information exchange)...are doing an incredible job of "re-learning" both the tradtional systems and adapting them to specific current needs. Overall...everything looks pretty bright to me in general, but I tend to be an optimist...LOL...
Here is the last deep discussion on the topic from this very forum:
"Out of Wind" I can email you excerpts with more information from some of my writing on the subject not yet published (that I wish not to be made public till then) should you be interested and inclined to study the traditional aspects of the subject in more detail.
Warm Regards,
j