chopstick making jigs and fixtures
ABOUT
This set of chopstick making jigs and fixtures was designed for use with a Japanese hand plane fitted with a 30mm blade. Each set consists of six components, each playing a role in guiding users through the shaping process to achieve even tapers on all sides of the chopstick. The final shaping step allows users to customize the thickness and profile according to their personal preferences. This set up accommodates chopstick lengths of 9.5” and 12”. Each component was made from sapele and finished with Odie’s Oil. This project was completed in 2025. I use these sets to teach chopstick making workshops out of Allied Woodshop and also host private workshops and team bonding experiences across Los Angeles.
how it works
Details on each component:
Main Jig
The main jig features a runway for the hand plane. Guided by rails on both sides, the hand plane is restricted to a defined cutting area. The main jig also holds the inserts in place. A stop is inserted into the top mortise to prevent the insert from sliding out during the hand planing process.
Base Jig
The base jig is clamped to the work surface and acts as a passive stop. Forward extending arms hold the main jig in place and prevent raking during use. The base jig also functions as a “work bar,” providing a bar for the hand plane holder to latch onto. The hand plane holder can be positioned on either the left or right side to accommodate both left handed and right handed users.
Inserts
There are four inserts in each set, and each insert corresponds to one of the four steps in the shaping process. The first insert squares the stock, accounting for any wood movement that may have occurred between the time the stock was milled and the time of the chopstick making activity. Changes in humidity and temperature can cause the stock to warp or twist, and this step reestablishes a true reference. The second insert tapers the first two adjacent sides. The third insert tapers the remaining two adjacent sides, resulting in an evenly tapered, four-sided chopstick. The fourth insert is for users to soften the edges or create an octagonal profile in their chopsticks. This insert relies on a v-groove to rotate the chopstick, allowing the high points to be hand planed to the user’s preference.
Stops
There are two stops included in each set—one shorter and one taller. The shorter stop is placed into the top mortise of the main jig. It holds the inserts in place while remaining low enough for the hand plane to pass through without restriction. The taller stop is an optional safety feature for those who aren’t comfortable with the idea of an exposed blade from the hand plane potentially touching them. When placed into the bottom mortise of the main jig, its height prevents the hand plane from sliding off the jig, reducing exposure to the blade.
Hand Plane Holder
The hand plane holder serves as a rest for the hand plane when not in use. Its primary function is to elevate the tool to prevent the blade from contacting the work surface, helping maintain a sharp cutting edge for longer periods of time and ensuring a smoother cutting experience.
Positioning Block
The positioning block is used only for standard length chopsticks measuring 9.5 inches. It aligns the chopstick stock with the correct end of the fixture to ensure an accurate taper. Longer chopsticks measuring 12 inches do not require this component.
DESIGN PROCESS
My design intent was to create an inviting woodworking experience that blends culture and craft while remaining accessible to users with visual impairments. I began by researching the mechanisms of Japanese hand planes as well as existing chopstick making jigs. I also consulted several of my woodworking instructors for advice on best approaches (thanks Chip, Eric, Reuben, and Robert!), and had someone with zero woodworking experience test out my prototype to assess for areas of improvement (thank you Jamie!). The jigs’ and fixtures’ design revolves around the specific hand plane I chose, which is Kakuri’s hand plane with replaceable 30mm blades. With the tool determined, I was able to dimension the grooves and rails so that the hand plane’s blade will cut the wood of the chopstick stock but never the actual jigs and fixtures. I chose to construct the jigs and fixtures from hardwood despite the potential for wood movement because I like the premium look and feel of it over materials such as plywood or MDF. I wanted the user experience to be that of appreciating woodcraft from beginning to end, and encourage beginners to feel like woodworkers themselves as much as possible. I decided to go with sapele due to its primarily straight grain pattern, durability, and rich color. Several design features were developed to enhance usability, safety, and accessibility. Tactile stripes on the ends of the inserts allow users to identify which of the four shaping steps they’re on. The stripes are cut with grooves in between so the stripes are raised and those who can’t see can still rely on their fingertips to feel for the number of stripes which will then indicate to them which step they’re holding. The stripes wrap around all four sides so the inserts can be identified regardless of orientation. The textured surface from the stripes and grooves also improves grip when removing inserts from the main jig. The stripes are woodburned to provide immediate visual contrast for sighted users. The tips of the inserts are shaped with a cleat-style angled profile that corresponds to an opposing angle within the main jig. When inserted, this interlocking geometry holds the insert securely in place, eliminating the risk of the insert lifting during hand planing. Finally, the main jig can be easily flipped back and forth to accommodate opposing grain directions, allowing users to plane with the grain using pull strokes no matter what the grain direction.
reflections from MAKING PROCESS
In making thirteen sets of these jigs and fixtures, I gained insight into what it’s like to manufacture a product and I learned it’s not for me. While I enjoyed the experience of figuring out creative design solutions and building the pieces in the woodshop, I found myself growing bored of the same repeated actions during sanding and finishing. It was always exciting at first, but after many iterations of the same steps I was losing my mind. In those moments, I would usually take a break to forget how painstaking it felt to work on it, and return to it the next day or whenever it stops feeling like a chore. I think this approach is how I’ve avoided burnout from this project. I listened to my body and tried my best not to push myself too far. Sometimes moving slower and taking longer to complete a project is more sustainable than sprinting to finish it but then burning out before you even do and growing resentful of it. It’s hard because rather than immediate gratification, it’s an incredibly delayed gratification. I originally thought this project would take me half a year to develop and complete, but in reality it took me a year and a half total. But in the end I’m not mad about that. This project has taught me patience and that I don’t need to have every single answer figured out from the beginning. Sometimes if I have just the core elements solidified, I can proceed and trust that the remaining answers will eventually come in time and everything will work out.
