The head of the hammer
- Thread starter EdZ
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In Hogan's grip, he stressed the right index finger and thumb stay pressed together, thus creating the 'trigger'.
The tip of your right index finger, of the 'trigger' can be used as a guide which PP3 will follow into the inside back corner of the ball, downplane through the base line, into the ground - just like you had a hammer and its 'face' was the tip of the trigger, the index finger.
Get a hammer in your right hand, then translate that feel to the tip of the right index finger.
When you get the feel for this, you will notice the lead hand pinky, the lead hand index finger, the 'interlock point' (if you interlock, also known as the 'rotation point and mirror point') will all be 'on plane' and 'on paralell tracks'.
Or for those that have Brian's tape, the "Texas Longhorns" will be on paralell, on plane tracks.
More like an uppercut punch, but similar to skipping a rock, very similar in that the 'tip of the trigger' is your guide.
post impact you can either bend/arch (mirror point) or swivel (rotation point)
Either way, the feel is that the index finger of the lead hand is the same motion as a left handed frisbee throw, and the tip of the right index finger is your guide to send PP3 downplane through the inside back corner.
Hogan had a few big keys, a few big secrets. Plane. The right knee and the tip of the right index finger, the left thumb. Lag pressure. The arch of the left wrist, page 102 of 5 lessons, pure swinging of the club and pure balance. Downplane, into the dirt.
The tip of your right index finger, of the 'trigger' can be used as a guide which PP3 will follow into the inside back corner of the ball, downplane through the base line, into the ground - just like you had a hammer and its 'face' was the tip of the trigger, the index finger.
Get a hammer in your right hand, then translate that feel to the tip of the right index finger.
When you get the feel for this, you will notice the lead hand pinky, the lead hand index finger, the 'interlock point' (if you interlock, also known as the 'rotation point and mirror point') will all be 'on plane' and 'on paralell tracks'.
Or for those that have Brian's tape, the "Texas Longhorns" will be on paralell, on plane tracks.
More like an uppercut punch, but similar to skipping a rock, very similar in that the 'tip of the trigger' is your guide.
post impact you can either bend/arch (mirror point) or swivel (rotation point)
Either way, the feel is that the index finger of the lead hand is the same motion as a left handed frisbee throw, and the tip of the right index finger is your guide to send PP3 downplane through the inside back corner.
Hogan had a few big keys, a few big secrets. Plane. The right knee and the tip of the right index finger, the left thumb. Lag pressure. The arch of the left wrist, page 102 of 5 lessons, pure swinging of the club and pure balance. Downplane, into the dirt.
A drill that may help folks get a better understanding of the right hand, of the flail, and of lag pressure, and of the 'head of the hammer'-
go to your kitchen and get a wooden spoon
point your right index finger out in front of you, and hold the end of the spoon between your thumb and the side of your middle finger, near the top joint. The spoon will 'hinge' between the thumb and middle finger, and be 'in plane' with the index finger.
If you allow the hinge to move freely, and align either the edge of the spoon to the plane of the index finger, or the face at 90 degrees, you can use a gentle swinging of your right hand back and through, like an underhand toss, to show you how the right hand works, the 'skip of the stone' and the 'uppercut punch', as well as the 'loading' against the index finger, the 'head of the hammer'. You will also be able to 'trace the plane line'. This drill can work well with a laser pointer instead of the spoon, but the spoon is very helpful in showing the 'clubface'.
go to your kitchen and get a wooden spoon
point your right index finger out in front of you, and hold the end of the spoon between your thumb and the side of your middle finger, near the top joint. The spoon will 'hinge' between the thumb and middle finger, and be 'in plane' with the index finger.
If you allow the hinge to move freely, and align either the edge of the spoon to the plane of the index finger, or the face at 90 degrees, you can use a gentle swinging of your right hand back and through, like an underhand toss, to show you how the right hand works, the 'skip of the stone' and the 'uppercut punch', as well as the 'loading' against the index finger, the 'head of the hammer'. You will also be able to 'trace the plane line'. This drill can work well with a laser pointer instead of the spoon, but the spoon is very helpful in showing the 'clubface'.
The 'skip of the stone' - Brian's article has a good picture of why that is a good image - gets the right shoulder down plane and the right elbow into a 'pitch' postion which is more efficient from a physics standpoint (punch being more efficient from a geometry standpoint).
As for the 'punch' - think of it as an upper cut punch that goes 'under ground' - you punch down (heel of right hand), the circle brings you up.
As far as swing feels, I consider it a stone skip that morphs into an uppercut on the way up, if that makes any sense. It is a combination of the two feels. On the way down it 'feels' like more of a skip, on the way up it 'feels' like an uppercut punch. In a sense, max delay. You feel the 'skip' until you reach the limit and it snaps into the uppercut punch.
The skip image gives me personally a better sense of direction control, the punch impact image gives me more of a sense of 'compression' of power into and through the plane line.
As for the spoon - it is a drill to show the relationships of the right hand to shaft and clubface, the right index finger being a big part of feeling that control and clubface relationship. Most appropriate for a hitter's feel. I know TGM likes to put the clubface in the left hand, but I think you need the feel in BOTH hands. The wedge.
That may be the impression you get Yoda, but in fact it's rotational. The shoulders rotate to generate the uppercut. This same rotation occurs in the golf swing on an angled plane. This makes both motions similar but with slightly varying extensions and alignments of the arm. The behavior of the upper body is however similar. 2-H and 7-13 shows us that the shoulders have "crucial On Plane Functions".
Jim Kobylinski
Super Moderator
The only "uppercut" i think about is my left shoulder uppercutting Brian right in the mouth to get my right shoulder to go down plane 
We worked on this
We worked on this
He does that when he has drained a key putt. Other than the fact that a boxer uses a pivot to throw an uppercut I don't really see how it relates to the swing as the thrust is downward . The intent of the uppercut is to apply an upward force . By the time you have got both arms straight in the follow through there should not be any thrust or intent to thrust left. The uppercut image is Ok for describing the shape of the pivot motion well past impact with the caveat that you are free wheeling not thumping and applying force.
The term 'upper' in uppercut is apparently misleading
I do not mean to say the force is upward at all. As I said, the motion is DOWNPLANE into the dirt, and the circle brings you up.
It is an underhand toss/stone skip but as the motion continues around the circle, it is an uppercut 'motion' of the hand and arm.
I do not mean to say the force is upward at all. As I said, the motion is DOWNPLANE into the dirt, and the circle brings you up.
It is an underhand toss/stone skip but as the motion continues around the circle, it is an uppercut 'motion' of the hand and arm.
My problem with this uppercut image is not that Clubhead Force and Motion is Rotational and On Plane. This is exactly correct per 1-L #9 and #11. My problem is that an uppercut punch -- no matter how explained -- still involves an Upward Thrust. And this is not how the Golf Stroke works.
What actually happens is that the Club is Driven through Impact by an On Plane Force moving toward the Plane Line (1-L #10). That On Plane Force is the Right Forearm (itself Driven by either Muscular Thrust or Centrifugal Force). And that Right Forearm Drives Down Plane directly at the Plane Line until the Bent Right Arm has become Straight. This Full Extension does not occur until the end of the Follow-Through (6-A-4), and this is after the Clubhead has passed Low Point and is already on its way back Up and In. Therefore, it is crucial that the Player continue to direct his On Plane Thrust strongly Downward (and also Outward) directly at the Plane Line -- which is on the Ground and not "up" in the air somewhere -- even though the Ball has long gone and the Club has already begun its Upward journey toward the Finish (1-L #15).
At the end of the Follow-Through, both Arms are Straight, the Left Wrist has Rolled (or, far less desirably, Bent) and the Flail (the Left Arm and Club) has entered its Deceleration Phase (2-K #3). Thus, only Momentum is available to carry the Club to the Finish.
Again, at no time is there an Upward Thrust. There is only a Downward and Outward Thrust. I promise you that 100 percent of the golfers who are told to employ an "Uppercut Punch" will misinterpret the advice. In other words, they will not Drive the Right Forearm Down and Out directly toward the Plane Line (on the Ground) until the Right Elbow has fully-Straightened and the Right Arm Thrust has been exhausted.
And if they don't do that, they're toast.
I agree that this can be unclear, and there is no upward force, only DOWNPLANE, through the ground
As I said:
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As for the 'punch' - think of it as an upper cut punch that goes 'under ground' - you punch down (heel of right hand), the circle brings you up.
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We are in agreement about the 'downward' goal (but not the flail in the left arm as we have discussed, I have no problem agreeing to disagree on that)
I would be interested in discussing your views on roll vs bend/arch after both arms straight. I certainly think that you must learn roll first, but once lag is understood there are benefits to bend/arch, uppercut 'style' finish, of course, which relate to my view of 'hugging the flail'.
As I said:
------------
As for the 'punch' - think of it as an upper cut punch that goes 'under ground' - you punch down (heel of right hand), the circle brings you up.
------------
We are in agreement about the 'downward' goal (but not the flail in the left arm as we have discussed, I have no problem agreeing to disagree on that)
I would be interested in discussing your views on roll vs bend/arch after both arms straight. I certainly think that you must learn roll first, but once lag is understood there are benefits to bend/arch, uppercut 'style' finish, of course, which relate to my view of 'hugging the flail'.
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