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The canon camera I have sucks in that I can't just replace the faulty lens. I not only have to replace the entire lens assembly but also the CMOS circuitry that makes the pics. The last time this happened it cost me $225. It is not something I want to shell out $$$ for again. Besides that, the last time I had it done the camera guy said parts were getting hard to find for it. I found the camera I started taking pics with when I started this blog 10 years ago. I'll use that until I figure out what to do next in the pic snapping department.
|so far it's working|
|working on the stone holder|
|bandsawed the wedge and squared it up|
|waste removal next|
|waste removed, router will get me to a consistent depth|
|wee bit too deep with the saw on this wall|
|side rabbets 4, me %%$#^^@@=&*( zero|
|same luck on the left side|
|disaster I forgot|
|the wedge is cocked|
|should have done it this way?|
|road test up coming|
|it is working on both|
|the wedge is cocking|
I don't know what I'm going to do with this holder. I could glue the wedge in place and start over but I'll revisit this tomorrow.
What is the oldest US Greek letter college society?
answer - Phi Beta Kappa established at the college of William and Mary in 1776
Dear Drivel Starved Nation;
If there is one thing that drives me crazy about being in the woodworking business are customers who are reluctant to acknowledge the potential of new ideas. I will never understand this, and frankly, it frustrates me when I have to spend time with people who never appreciate that the world is full of new ideas yet to be revealed.
We recently introduced a set of four “V” groove texturing kits for our HP-10 Convertible Plane and all they do is make perfect “V” Grooves. Yup, that is all they do.
Don’t get me wrong, I love speaking with our customers but not like this…
CUSTOMER: “I saw the “V” groove kits for the HP-10 and like all your stuff, I know it will be incredibly well made. Why would you come out with this kit? I can see ZERO use for it.”
ME: (In my head only, “%$^*&(I*TGH #@$&!! UGH!) “Well, I believe it gives users an incredible opportunity to add texture, shadow and interest to their work.”
CUSTOMER: Like how?
ME: “OK, tomorrow I will post some ideas on my blog.”
The conversation ended amicably and I quickly doodled out some sketches and made some CAD dummy models of projects using this texture kit that can be achieved in a weekend.
These are what I call “low hanging fruit ideas” and by that I mean they should be obvious to most. All are makeable in a weekend.
One obvious use (to me) of this kit is for picture frames. Here is an 11 x 17 frame idea:
In this instance, the texture was cut in the edge of a board and the frame member was liberated from the parent stock with the table saw blade tilted at 30 degrees. This creates the downward slope moving from outside to in that adds depth to the frame. The rabbet for the art and glass can be cut with a rabbet plane or the table saw. The bevels are cut with a block plane.
Of course when you shrink a frame down to where the inside corners touch, you create a mitered tile. In this example, this tile is just under 3″ square…
When I make textured tiles, I glue the four pieces to 1/16″ aircraft plywood and use no glue on the joints. This allows me to pre-finish the textured strip before it is mitered and makes incredibly clean (no glue mess) miter joints.
Using this tile as a lid idea, I designed this small box…
Here, the box sides were grooved to receive “V” groove strips. When I make boxes where I am gluing strips across the grain, I like to make my own 3-ply plywood where the thickness of the two outer layers equals the thickness of the center layer. This method serves two purposes, it keeps the sides from cracking one day and it makes for glueable miters that are not solely endgrain.
A single tile can be ganged into a motif. From here you can play with variations on a theme, such as experimenting with different wood colors and arrangements. I caution getting too crazy with contrasting woods, it is SO EASY to create a contrived look that fails…
Here’s a cool looking box idea using the same tile as the lid in the smaller box above…
If you make this you will be working to some pretty tight tolerances which I think is fun. Using square tiles it is easy to make items with clean proportions – notice the 3 : 5 ratio of the depth to length.
To create an incredible level of detail, you can make triangle strips (you can nest two textured boards together, “V” grooves to “V” grooves and run them through the planer, the top board will eventually become individual strips with a perfect triangular cross sections.) These strips can then be crosscut to create little tiles. Here is just such an idea…
This is just the beginning of what is possible when you understand how much more interesting projects can become with a little texture!
The post Weekend Projects Using the New V Groove Kit for the HP-10 Plane… appeared first on John's Blog.
Though I’ve built a lot of chairs, I don’t own an adze, which is used to roughly shape a plank seat so it has a buttocks-shaped depression. I also don’t own any of the typical power-tool solutions, such as an angle grinder outfitted with a special cutter for seats. Instead, I have a scorp, which is like a drawknife that was bent around a telephone pole. It’s much slower in […]
The most obvious difference is that they drive on the right side (or should that be 'wrong'). The steering wheel is also on the wrong, sorry 'other', side. However the accelerator and break pedals stay the right way round which is a relief and you don't have to worry about a clutch, you can't hire a manual (stick) car over here. BTW that's not our car, sorry to say.
There are one or two other differences to contend with. At a red light you can turn right, in fact you are actively encouraged to do so by the car behind!
Another quirk is the 4 way stop sign, seen at many crossroads. This means everyone stops with no apparent priority. This turns it into a game of chicken, although being used to the manic roads in the UK I was quite good at this game.
Just to keep us foreigners on our toes I also saw these crossroads signed '3-way' and 'all way'.
Now here is another game of chicken I wasn't so keen on, the railway crossing. They only have two small barriers that come down, one on each side, leaving plenty of room to ignore the barriers and shoot straight through. There were lots of cars playing this game (not me) although when I saw the length of the trains I could understand why they were taking the risk.
On the plus side, the petrol (sorry 'gas') was very cheap, about a third of the price of the UK (I'm not sure which vehicles run on the 'skim milk'). Still it's good to know our onerous government taxes are being well spent on the healthcare, education and welfare of anyone and everyone who wants to come into the UK.
No doubt the low fuel costs explain why there were so many gorgeous burbling V8's on the road. These UV's were everywhere.
If I was going to buy a US car (and I might) it would be one of these. A retro styled Dodge Challenger R/T with a 5.7 litre V8 Hemi engine, chucking out 375 bhp.
Nice number plate.
I came on this trip with my son and for two days we had great fun on an altogether more sedate and more environmentally friendly mode of transport.
Back to the UK in the morning.
You can now purchase our poster of the H.O. Studley tool cabinet for $20. That price includes shipping anywhere in the United States and Canada.
Our poster features an image of the cabinet taken by Narayan Nayar, the photographer for the book “Virtuoso: The Tool Cabinet and Workbench of H.O. Studley.” The 13” x 19” poster is printed in the United States on 80 lb. recycled stock with a matte coating and ships in a rigid tube.
Note that Canadian orders will be delayed by a week or so as we get our inventory transferred to the warehouse in Ontario. We hope to offer this poster to our other retailers, but we don’t have any more information on that just yet.
— Christopher Schwarz
Filed under: Uncategorized, Virtuoso: The Tool Cabinet and Workbench of Henry O. Studley
A few years ago a contributor to Fine Woodworking, Jeff Miller, made a horrendous blunder in stating that in-line tenons were commonly used in chair making by furniture makers because they were stronger. His assertion was untrue, and I felt I needed to help balance out the issue at the time. It’s this kind of flawed comment that shapes …
This past week I had a few woodworkers in class to build a Stickley desk based on a L & JG Stickley #602 original. No, we didn’t keep the project as a true reproduction. We added side and rear slats to dress it up a bit, and updated different aspects to make the desk more usable – each woodworker picked and chose where to drift from the original design. I also drifted on my own as I built a desk to serve as a prototype.
So if you’ve ever picked out paint, you know that every infinitesimally different shade of blue, beige, and gray has its own descriptive, attractive name. Tuscan sunrise, blushing pear, Tradewind, etc… There are in fact people who invent these names for a living. But given that the human eye can see millions of distinct colors, sooner or later we’re going to run out of good names. Can AI help?
For this experiment, I gave the neural network a list of about 7,700 Sherwin-Williams paint colors along with their RGB values. (RGB = red, green, and blue color values) Could the neural network learn to invent new paint colors and give them attractive names?
One way I have of checking on the neural network’s progress during training is to ask it to produce some output using the lowest-creativity setting. Then the neural network plays it safe, and we can get an idea of what it has learned for sure.
By the first checkpoint, the neural network has learned to produce valid RGB values - these are colors, all right, and you could technically paint your walls with them. It’s a little farther behind the curve on the names, although it does seem to be attempting a combination of the colors brown, blue, and gray.
By the second checkpoint, the neural network can properly spell green and gray. It doesn’t seem to actually know what color they are, however.
Let’s check in with what the more-creative setting is producing.
Later in the training process, the neural network is about as well-trained as it’s going to be (perhaps with different parameters, it could have done a bit better - a lot of neural network training involves choosing the right training parameters). By this point, it’s able to figure out some of the basic colors, like white, red, and grey:
Although not reliably.
In fact, looking at the neural network’s output as a whole, it is evident that:
- The neural network really likes brown, beige, and grey.
- The neural network has really really bad ideas for paint names.
I’m impressed by how many of these look like traditional milk paint colors. They have terrible names (Hurky White), but a lot of the colors fall in the traditional colonial milk paint palette.
There’s a followup with more colors and terrible paint names (Farty Red, which may actually be an awesome paint name) here.
First of all, thanks to everyone who met us in Amana for Handworks 2017, and to Jameel and Father John of Benchcrafted for putting on another great event.
Thanks as well for the great reception our poster has gotten. For it I have to thank Tim, TFWW's designer, and Kate, our poster designer. And I want to thank our favorite woodwright for this photo.
I constantly get asked which plane is which, and while our limited edition poster on plane spotting has some basic profiles (and get the poster while we still have some - it's a limited edition and we are almost out), I thought it might be worthwhile to give you some links on how to do serious plane spotting.
Most of these sites don't go into the minutia of different versions of the same tool, but some sites do. If you're spotting planes because you want to use them, the most important aspect of plane spotting is figuring out if the version of an old tool you are about to get has the right features.
For Stanley planes, Patrick Leach's Blood and Gore is the gold standard on the web.
For the anti-Stanley folks, here is a link to Miller's Falls plane info.
For Record planes, try these two sites: record-planes.com and recordhandplanes.com.
For an overview of wooden planes, including illustrations of just about every permutation of wooden planes, John Whelan's book is the way to go. If on the other hand, you want to get more information on the dates and manufacturer of a wooden plane you already own, then Guide To The Makers of American Wooden Planes (temporarily sold out) is the way to go.
We stock a reprint of several Norris Catalogs with come commentary by yours truly. On the web norrisplanes.com has loads of info.
This site, which has a ways to go, is a good place to start learning about Spiers models and planes.
I know I have missed a fair number of great sites, so let me know about any omissions and I will add them to the list.
|I'm so happy with this I could wet myself|
|last rub down with 4-0 steel wool|
|got my two inch hake brush|
|the proposed home of said cabinet|
|1/2 x 6 x24 poplar|
|first piece of scrap white oak|
|found a bigger piece|
|squared a reference edge with my new 5 1/2|
|I'll use the off cut to make the wedges|
|this end will get a dado for the two wedges|
|sawed the two walls for the bottom dado|
|did pretty good this time|
|wee bit tight|
|using the 4 1/2 to thin it|
|fits snugly here but too tight on the near side|
|snug fit side to side|
|it is not rocking|
|the offending end|
|glued and cooking|
What does the word "amen" mean?
answer - so be it or let it be
Several years ago I picked up this little tool at an antique store. It works great for tracing shapes accurately. I had quite a few questions today about it, and I don’t know what it is called or if it can still be purchased. If anyone can identify this thing or where one could be bought please comment.
— Will Myers
Filed under: Uncategorized
Biting Back The yellow duster is unbeatable for trapping dust, taking it outdoors safely and shaking it out to the four winds. Its fibrous soft fibres are the very thing that make it work the best. I am guessing that these National Trust leaders and advisers are not of the generation that actually dusted much of anything …
The last several months have been taxing on both a personal and business level; the death of my brother, an unexpected surge in orders, developing a saw sharpening class for Lie-Nielsen, and outfitting myself for upcoming woodworking shows all met in one great confluence.
Over the last several years, I’ve tried my best to turn most orders around in a week or so. The events of the last few months have stretched that turnaround time to an uncomfortable level. Now, with Handworks done, and the summer looking relatively calm, I look forward to tackling the backlog and reducing turnaround time once again (I hate running behind just as much as my customers!).
I’ll also be working to catch up on emails. If you haven’t heard from me in the next week or so, feel free to send another one. I try my best to respond to everyone, but despite spending an hour or two each day answering them, some still slip through.
Finally, I have some great news for my European customers: Dieter Schmid Fine Tools is now carrying my Roubo frame saw kits. Shipping, import fees, and VAT on these saws has always been a sticking point, so this partnership should work well for everyone. Kits are available in all three sizes (2×32, 3×36, and 4×48); all come with sharpened blades. As always, plans and instructions/tips for use are available on my website and free for all to use.
Suzanne Ellison, on the lengths folks will go to in the pursuit of figuring out how furniture was made:
We still need those curious and intrepid souls who enjoy exploring out-of-the-way shops and regional museums and know how to charm their way into taking a closer look at that one piece that has caught their eye. If need be, they are perfectly willing to sprawl on the floor and get a bit dusty.
I completely understand. In the course of visiting the Chinese furniture collection at the National Museum Of China in Beijing, I managed to come away with this photo of a Ming Dynasty table.
|time to see if anything stuck together|
|same thing on this side|
|passed the tap test|
|trying it again|
For the rest of the week the frame and bookshelf will be sharing the #1 spot on the Workshop hit parade. I will slip in making a new stone holder sometime this week too. I've been thinking of something new with that.
|step one with the bookshelf|
|small card scraper on the long grain edges|
|gave the 4-0 a good workout|
|this looks good|
|I love the look of the back slats|
|my hake brushes|
|solid wood is my first choice|
What do J.C. Penny's initials stand for?
answer - James Cash
With the front panel redesigned to be flatter and less delicate in order to accommodate a drop-front on the chest, carving commenced. I picked a piece of mahogany because I liked its color, and I’ve struggled ever since with changing grain direction. Every quarter inch or so, the direction takes a reverse turn, and I’ve learned a lot about wood selection and reading the grain for carving. It’s been a challenge, but I finally finished the front and two side panels. I’m going to take a break from carving and build the chest, leaving the top panel for last.
Thursday was the time or setting up at Handworks, and we were one of the first arrivals at the site. That let me get set up and explore the five venues for this bestest toolapalooza ever.
Slowly but surely the exhibitors began rolling in, beginning with my immediate neighbors Jeff Hamilton, maker of marking gauges whose spot was in between me and Lie-Nielson, and planemaker Gary Blum.
Directly adjacent to me across he aisle on one side were plane maker Matt Bickford and the Tools for Working Woods folks.
Across the other aisle was the temptation provided by vintage tool maven Patrick Leach. Much to my own astonishment I managed to avoid the siren song from this booth the entire weekend (admittedly at this point in life my tool needs are modest.)
Directly further up the Festhalle center row was printer and designer Wesley Tanner, the award winning collaborator for both Roubo books and the Studley book.
Along the barn side with Matt Bickford was a booth shared by Konrad Sauer and Raney Nelson, and immediately past them was Lost Art Press/Crucible Tools.
Then came our hosts, Benchcrafted vises and such.
Up in the far corner was designer and furniture maker Jeff Miller, who unfortunately occupied the coldest space in the building. I know, because it is where I was four years ago.
Working down the other outside wall we have Hock blades and precision maven Chris Vesper from Australia, followed by Blue Spruce Tools and David Barron.
The other end of the center row from me included plane maker Ron Brese, tuning up a tool for the masses tomorrow, jig maestro Tico Vogt, and Czeck Edge Tools.
At either end of the hall were the large footprints of Lee Valley Tools and Lie-Nielson Tools. These anchors to the tool-mall guaranteed a spectacular experience for the hordes on Friday and Saturday.
By the end of the day we were all set up, ready for the onslaught in the morning.