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Megan Fitzpatrick does a great job with a list of what tools to start with for woodworking. But then there’s this:
My absolute favorites are a Japanese make that I can never remember (so I had a reminder on my computer at PW that I could look up. Oops.), but I also don’t think they are easily available. So among chisels you can actually get, I like the Lie-Nielsen Bevel-edge Socket Chisels.
*** single tear rolls down cheek ***
Sawing Straight is Getting Out of the Way
Learning to use a hand saw and sawing straight isn’t a thousand hours or practice thing. Honestly a well tuned saw really wants to saw straight and we have to really fight it to make it deviate. So rather than spending hour after hour making practice cuts, focus on aligning your body and getting out of the way. Focus on relaxing and actually working less and the saw will do its thing. Within a few minutes of this you will be getting straight and plumb saw cuts. It is the initial set up and alignment and relaxing that is so important. Going through that set up is what this video is all about and I address several different types of saw cuts and how to prepare and execute the straight saw cut.
More Sawing Tips
I referenced both of these videos during the session so make sure to check them out. Additionally I have a lot of sawing related content here on my site and do a little searching or looking under the techniques menu will find you some additional gems.
The unpleasant funny thing about visiting your family during the holidays is encountering your former woodworking self.
I’m in Charleston, S.C., with my dad this week and encountered my Late Willow Phase, a time during the 1990s when I was obsessed with rustic furniture. I had honestly forgotten about this phase (unlike my leather trousers phase).
For a couple years I drove around in my Volvo 240DL station wagon cutting willow switches out of ditches on the Westside of Cincinnati. I stored all these sticks in buckets in my shop, giving it an arboreal look. Using a drill and a tenon cutter, I made dozens of chairs, trellises, frames, anything you could fashion with sticks and tenons. It was my first pleasant encounter with bending green wood.
One Christmas we planned to visit my father in Arkansas. Lucy and I were broke, and my dad already owns everything he needs. So I took an afternoon to make this little footstool for him from a scrap of white pine and discarded willow switches from a chair project.
And here it sits today (I took it out on his porch for a photo). And for something that I threw together in a day, it’s not half-bad.
Phases can fade away or end abruptly. This one had its throat slit. One day I got a letter from a family that makes willow furniture with a bunch of photos of their beautiful pieces. The letter said: “We’ve seen your stuff. It sucks. This is what willow stuff should look like. Please quit.”
— Christopher Schwarz
Filed under: Personal Favorites, Uncategorized, Yellow Pine Journalism
Earlier this week, I was contacted by Serhat Köse from Ankara, Turkey. He had spotted a steel string guitar, which he thought had been made by me, for sale on the mobile classified app Letgo and he wanted to know more about it.
Although the guitar carried my label, it certainly wasn’t an instrument that I had made and I’m puzzled how the label got into it. The label was designed for me several years ago by Gill Robinson, an artist who is also a classical guitar player, and I had enough printed to last the rest of my guitar-making life. I’ve got a stack of them in my workshop but the only way in which they leave is when they’re glued inside a guitar.
I wrote about my new labels on this blog back in 2012, so perhaps whoever put it into the guitar for sale in Turkey obtained it from that post. It didn’t occur to me then that I needed to watermark the labels to prevent fraudulent use. But, of course, I have done so now.
Serhat sent me this photograph of the guitar. Anyone thinking of buying it should know that the label inside is a fake.
Last year I came across some 4 foot double LED shop lights for cheap ($15?). I bought enough of them to replace every single buzzing/humming fluorescent I had in the shop. I saved two fluorescents to put in the boneyard but I shitcanned them. Ocean State Job Lot is still selling these LED lights and I'll buy two more for the boneyard.
Do you know what I hear now? Nothing but the radio. It is wonderful to go to the shop, turn the lights on, and not hear that fluorescent dance music anymore. Not only is the noise gone, the light output has increased a bazillion percent. When I first put them in I was amazed with the brilliance of the light.I wasn't sure that I would get accustomed to but I did in a very short time - less than 2-3 days. If you are on the fence with LED lights, hop off and trot off to the store and buy some.
Oh and I forgot to say that the LED lights are instant on. Fluorescent lights also tend to lag coming on and have a diminished output in cold weather.
|sharpened the 1/4" iron|
|a Eureka moment|
|the Lee Valley plow plane|
|finishing the big plumb bob|
|the up/down plumb is dead on|
|got this R/L plumb fixed|
|second coat on the back of the chamfer wings|
|the storm came|
|screwed the lids back on|
|the front of the saw till box|
|it is clean looking|
|same problem with the square till box|
|sawing tails on sliding lid box|
|this side is a wee bit tight|
|it still amazes me|
|no bottom groove|
|double, triple checked it with a bigger square - glued it with hide glue and put it by the furnace|
|the Record 044 iron box|
|board for the lid|
|banged the lid on the bench|
|had to remove some twist|
|reference edges and one square corner|
|sticker it here until tomorrow|
I use the nubers1 through 4 and I always label the bottom. I do the bottom because it won't readily be visible and if I glue the bottom on, I don't have to erase anything. Tip #2, don't forget to allow for the half pin that gets sawn off. On those corners the label has to be set from the end a bit or you'll saw it off.
|pay attention to the labels|
Once you get in the habit of doing dovetails the same way you'll be surprised that you'll pick up on mistakes quicker. Something will not appear to be right and it usually isn't. Most of my catches have to do with me sensing a mismatch of the tails and pins (labeling).
|the type of saw doesn't matter that much|
|tails done on box #2|
Did you know that USDA standards state that a gallon of ice cream must weigh a minimum of 4.5 pounds?
Some readers seemed confused by my description of assembling a benchtop with the help of a “loose tenon.”
The expression doesn’t mean that the tenon rattles loose in the mortise. Rather it means that the tenon is not integral to either piece being joined. It is like a Domino or a biscuit. It enters mortises in both pieces.
I drew up two illustrations to show how this works. The drawing at the top illustrates the joint when it is apart. The loose tenon is shown floating between the two components of the benchtop.
The second illustration is an “X-ray” view of the assembled joint with 1/2”-diameter pegs piercing the benchtop pieces and the loose tenon.
“Loose tenons” have many other names, including “slip tenons” or “floating tenons.” All these terms are accepted in woodworking journalism.
Hope this helps.
— Christopher Schwarz
Filed under: Workbenches
Not my idea, probably an old one at that, but simple and effective. An adjustable marking gauge you can make in a few moments. Good for putting that running dent in the wood, something to cut to. The little screwhead lets allows you to get into the curves, which is nice at this point in the making.
Handy little adjustment tool, too.
We think of loose tenons as a modern joint, but it is far from it. Early Greek and Roman boats were made with loose tenons that were pegged to keep the hulls together.
I’ve always been fascinated by the fact that Richard Maguire also used this same technology to glue up his benchtops (read all about that here). I’ll be honest, I’ve always relied on glue alone (when I didn’t have a monumental one-piece slab top).
But my view changed a couple years ago when we got a bad batch of epoxy and several benchtops delaminated. If I ever have to glue up a slab benchtop again, I’m adding loose tenons.
Interestingly, Maguire doesn’t drawbore the loose tenons in his tops. He states: “a draw bored peg here would have been much weaker than this straight through approach.” I do believe I will be experimenting with this joint – both drawbored and not – to see for myself.=
Maguire wasn’t the first to come up with the idea of loose tenons in a benchtop (though I heard it from him first). Recently I got to inspect an early 20th-century French workbench from La Forge Royale that used the technology.
This commercial workbench was surprisingly rough in manufacture. Joints were deliberately overcut throughout to make the bench easy to assemble. The “breadboard” ends were merely nailed or screwed on. No tongue. I could go on and on. It’s still a great workbench (and still standing after 100 years), so I’m not knocking it. But I was surprised.
Despite the rough construction, the builders took the extra time to add loose tenons in the benchtop’s joint. That fact says a lot to me as to how important a detail they thought it was.
So it’s worth a thought for your next workbench.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Uncategorized, Workbenches
I have never been so happy to hear from a roofer.
After 10 weeks of waiting for my number to come up, Brian the Roofer called to say his crew will begin the job Monday afternoon or Tuesday morning.
Barring rain or a visit from the Angel of Death, I’ll have a new roof by the end of the week and will then set up my machines. That should take a day at most. I don’t have a lot of machines, and they (with one exception) are easy to move.
The only thing left to do is install the mini-split to control the climate in the workshop. The wiring for it is ready – so it’s a one-day job. (And until the mini-split gets installed, I’ll simply freeze my butt off when I work.)
Ever since moving my workbench to the storefront almost two years ago, I’ve been slowed down by having two shops. Though I don’t do a lot of machine work, there were times that I had to drive home to use the drill press for a very particular hole and then had to drive right back to the storefront to continue working.
Though I don’t live far from the storefront (4.2 miles), the route always has a chance of jackknifed semis or cornholed motorists on the stretch that locals call “Death Hill.”
When I was planning out my new shop, I half-considered writing a series of articles about the process. Then I realized that I think most people make it a lot more difficult than necessary. And by putting a lot of effort into the shop, they actually make it more of a pain to use in the long-term.
If you’d like to read my brief thoughts on setting up shop, check out my entry at my other blog at Popular Woodworking Magazine. Here’s the link. (Side note: I’d like to offer a huge thank-you to all the people who read my blog there – the monthly pay I receive is an important part of our family budget. And according to the traffic numbers, 2017 was a good one for my blog there.)
Now back to dreaming of my membrane roof.
— Christopher Schwarz
Filed under: Lost Art Press Storefront, Uncategorized
It's a nice touch to use a waney edged board for a shelf and the beautifully shaped handles below look very tactile.
Last year – that seems so long ago – when I posted about the five facts of fretwork mirrors, I received a few emails asking about the different observations. The most asked about was observation #4, grain direction of the cresting.
If you were left wondering about that particular observation, here’s the scoop. There is a better glue connection when matching long-grain to long-grain, and an end-grain to long-grain connection lacks a significant hold.
The temps we have seen in the past week for december are about the lowest I can remember. Forget having positive single digit temps, we are heading for negative single digit temps. This weather forced my wife to leave a day early for her annual business trip. She is headed for San Diego this year and I doubt that it has ever snowed there.
I had my truck winterized and I had to pony up almost a grand to do that. I had the coolant flushed and replaced and the heat in the truck is working better now. Before the coolant change, the heat output was tepid at best. The heat coming out of the vents now is hot enough to make jiffy popcorn pop. I'm glad that I got it done before the storm hit.
An oil change and four new sneakers rounded out the winterization. I should be good for a couple more winters now. Especially so with new brakes 5K ago and a new battery a few months back.
|walnut should be set|
|it's a snug fit|
|dialing in the fit|
|irons out of the EvapoRust, rinsed, and blown dry|
|EvapoRust darken the irons|
|will it fit now?|
|not so good taking the lid of|
|sanding stick to the rescue|
|this iron won't go down|
|the smallest, last iron, won't fit|
|sanded the lid but needs more work|
|you can see which irons were used the most|
|still grabbing irons|
|a problem iron|
|made a new sanding stick with 60 grit|
|put a piece on the other end, opposite side|
|the iron adjuster knobs fit the other screw stems|
|#0, #1, and #2 Grace square drive set|
|got a drill index too|
|ratcheting screwdriver square drive adapter|
|this doesn't look good sports fans|
|seems to fit and lock in place|
|it fell out|
|ready for paint|
|dovetail layout for the 78 & 044 boxes|
Did you know that Rafer Johnson was the first black athlete to carry the American flag in the opening procession of the Olympics? (Rome,1960)
With all the uncertainty a new year brings, as woodworkers we can all be certain of one thing: images like these make us do a double-take, maybe even drool a bit.
… so if you’re wiping the spittle off your chin, you’re probably in the right place.
We plan on starting out the new year with more ways to bring eye candy to your work other than relying on spectacular wood grain. In January, Autumn Doucet will give an extensive presentation on how to buy, cut and inlay mother of pearl, paua abalone, and other raw materials. So if you would like to incorporate the ability to add a little something to your woodworking skills, join us on January 17th .
Check out the blog section of this site to see updates leading up to the inlay demonstration. Included will be important links and tutorials.
The December Pybus event turned out better than we could have expected, with lots of public interest to spur us on. Craig Dixon and his wife worked hard to arrange the setup, and we all benefited from their insight and planning (and our new sign). One thing is certain: we have a lot of chair makers in our group.
A note of thanks
We would like to extend our sincerest thanks to Darrell Peart for his presentation to our group in November. Because of the timing of the meeting, many of us were unable to attend, but those guild members who were lucky enough to be there gleaned new information from his slide presentation of Greene & Greene furniture and his portfolio. “Engaging” was the adjective used most by those who attended, and they appreciated the many woodworking tips Darrell passed along, including how he executes the making of certain joints.
Remember, a few posts ago when I said this is my last book I will ever purchase, well I wrong and foolish to think so. There is another that comes highly rated titled Woods in British Furniture Making 1400-1900 by Adam Bowett.
I discovered this book when I read the latest post at the Lost Art Press by Kara Gebhart Uhl about another book written by Richard Jones on Timber Technology. The title of the post is The Highlights and Lowlights of writing about trees and woods, here is the link if you want to read it. As a new writer I could very much relate to it, many times I felt like just giving up. As it turns out I’m not the only one battling with words, constant errors and mental blocks.
As I scrolled through the comments, I saw Christopher Schwarz recommended link on Adam’s book. After spending a little time on the net researching more about it my desire to read it grew exponentially and I believe it will be one of those books that will be referred to regularly throughout my lifetime.
The book isn’t cheap at US$180 and will be the most expensive book I will have purchased, but I think it will be worth it. I have found this book selling at US$128.34 at Potterton Books in the UK. I don’t believe they are shipping to Australia though as I cannot locate it in their shipping destinations. Nevertheless there are others out there who are willing to ship Australia.
I will leave with a review of this book by Christopher Pickvance who is a Professor of Urban Studies at the University of Kent, Canterbury.
Woods in British furniture-making 1400–1900, an illustrated historical dictionary
Adam Bowett Wetherby: Oblong Creative Ltd. in association with Royal Botanical Gardens, Kew, 2012. 360 p. 620 ill. ISBN 9780955657672 £110.00 / $180.00 (hardcover)
The author is well known to furniture historians as the author of two major books on English furniture and many articles, and since 2010 as editor of the journal of the Regional Furniture Society. His extensive knowledge of furniture, and reputation for challenging established views based on documentary and scientific evidence, especially microscopy, give one high expectations of this new work.
The study of furniture has taken a social turn. Broad stylistic currents, their international spread and their reflection in catalogues of furniture designs are still relevant but today the focus is on the social relations of production and consumption, e.g. the makers (their training, employment situation, tools and materials, and social lives) and their clients (their life styles, how furniture was placed and used in the house, and the meaning given to it.) Bowett argues that furniture-making is a manufacturing process and that the availability of timber is one factor affecting what woods furniture is made of, along with price, suitability, appearance, preference and fashion.
The book consists of an Introductory essay, an introduction to botanical names and statistical sources, the main dictionary, Appendices showing timber trade routes, lists of the Latin names of the woods included and their geographical distribution, photos of 149 wood specimens, a bibliography and two detailed indexes. It is hardbound and printed on ivory matt-coated paper. Of the 500 woods covered about one third grow in the Americas.
The book is set out as a dictionary and each entry discusses the names used for a wood over the centuries (a major task in some cases), its habitat, geographical distribution, physical characteristics (colour, hardness, etc.), involvement in trade, and its uses in British furniture. The entries range in length from a brief paragraph to extended essays (29 pp on mahogany, 13 on walnut, 11 on cedar, 10 on deal and oak, and 9 on wainscot).
However, some of the entries go well beyond this. Many discuss the use of woods for furniture outside Britain, and for uses of woods beyond furniture, such as for tool handles, nutcrackers, woodcuts, drinking vessels, shipbuilding and dyeing. The use of lignum vitae for mortars is omitted. On the other hand, there are numerous entries where there is no known use in British furniture, or where the only recorded use is in cabinets made to show off the diversity of woods. The author’s policy is to start from a maximal range of woods and then ask what, if any, uses they have had rather than to start from those where there is clear evidence of use in British furniture. This expands the scope of the book and provides baseline information for future furniture wood analysis. It also increases the value of the book to readers interested in furniture in the US and elsewhere.
The book is more than a ‘dictionary’ in another sense too. A major theme in all entries concerns imports and exports. In this respect, Bowett presents what amounts to a separate book on the historical timber trade, drawing on available statistics and on his identification of wood names. Here the focus is on tariffs and subsidies, European wars and alliances, British colonial policy, etc. The author’s PhD research on the mahogany trade means we are in expert hands. He is able to debunk myths such as that the expansion of mahogany imports followed the wiping out of European walnut trees, and one gains insights into shipping economics, e.g. in the 18th century sugar was a more profitable cargo from the West Indies than mahogany, and imports of the latter depended on capacity not needed for the former.
The folio format of the book and the triple column layout of the text makes it very easy to use and footnotes are at the bottom of the page. The 620 photos are of exceptional quality and many of them are of unfamiliar items. My only reservation is that by placing softwoods in a separate short section the author places botanical precision above the reader’s convenience. Not all readers will realise that hard and soft do not have common-sense meanings (e.g. yew is a softwood, lime is a hardwood) and some woods are split between the two categories (e.g. types of cedar).
The intellectual base of the book consists of a) the Kew economic botany collection of wood samples where the author spent two years on a British Academy fellowship, b) historical sources such as customs records, landowners’ records and furniture inventories, c) an extensive literature from the 16th century onwards via the appropriately named Holtzapffel’s 1852 Descriptive Catalogue[II] to Hinckley’s 1960 Dictionary of the Historic Cabinet Woods[iii], d) microscopic analysis of woods used in British furniture and e) the author’s familiarity with a very extensive range of pieces from famous houses to private collections. A great virtue of the book is that Bowett makes one aware of the limitations of these sources. The Kew collection itself is a moving reference point as botanical classifications change and species are renamed. All historical sources reflect prevailing ‘practical’ rather than scientific usages which may be inaccurate: Bowett repeatedly criticises ‘trade’ names which are more to do with selling than describing. He points out that trade statistics under-record generally, lump many woods together as ‘unclassified’, and record ports of origin of ships rather than places of origin of cargoes (and that some ship owners avoided high tariffs by shipping via low-tariff ports). Lastly, there is the inability of microscopic analysis to always distinguish between certain woods (e.g. American white oak/European oak, poplar/willow and pear/apple/hawthorn). There are thus intrinsic limits to the accuracy of a book like this. But on all these questions Bowett guides the reader carefully through the quagmire of past and present confusion.
There are a few minor slips: conflicting dates are given for the round table at Winchester Castle (p 166) and the statement that boarded chests in England start around 1400 (p 166) ignores the Bury chest from Durham Cathedral and those shown in Geddes in her Medieval Decorative Ironwork in England.[iv] Bowett uses a mistake by Cescinsky about the source of satinwood imports to refer to him as the ‘source of many misconceptions about furniture and furniture woods’ (p. 217). Given Cescinsky’s strong contribution to the study of early oak, including in his Gentle Art of Faking Furniture,[v] this is an undeservedly sweeping comment. Lastly, some sources cited in footnotes do not appear in the bibliography, e.g. Cross and Laslett on p 34, Chinnery’s Oak Furniture on p.120.[vi]
However, generally this is a quite exceptional book in every aspect, from its intellectual conception to its superb production. The author proves an impeccable guide to the material he surveys. The breadth and depth of treatment means that the book will appeal to those interested in every aspect of furniture-making in Britain and elsewhere and in the world timber trade. This is a definitive work which will be used for decades to come.
[i] Adam Bowett, English Furniture 1660 – 1714 From Charles II To Queen Anne 1 (Woodchurch: Antique Collectors Club, 1999) and Early Georgian Furniture 1715-1740
[ii] Charles Holtzapffel, Descriptive catalogue of the woods commonly employed in this country for the mechanical and ornamental arts (London: Holtzapffel & Co, 1852)
[iii] F Lewis Hinckley, Dictionary of the Historic Cabinet Woods (New York: Crown, 1960)
[iv] Jane Geddes, Medieval Decorative Ironwork in England (London: Society of Antiquaries, 1999).
[v] Herbert Cescinsky, The Gentle Art of Faking Furniture (London: Chapman and Hall, 1931)
[vi] Victor Chinnery, Oak Furniture (Woodchurch: Antique Collectors Club, 1979)
Editor’s Note: Richard Jones’s book on timber technology is designed, and Chris, Richard and I are working on final edits. The book will be available early this year.
— Kara Gebhart Uhl
In almost every project one can find good elements and bad elements in the process.
I’ll get the lowlights of working on this book out of the way first. I found there were times I struggled to put words on the page. Many things can hamper creativity, for that’s what writing is, even with factual subjects. Trying to get information across in a readable form requires finding the right words allied to illustrations so, yes, creativity matters.
It’s frustrating to complete a piece of text and ‘red pen’ it – literally printing the page, marking all the bloopers, jotting corrections (in red) and then going back to the word processing. I can’t properly proofread on a computer monitor, so printing it is. ‘Red penning’ helps me find the repetitions, awkward phrasing, spelling mistakes and bits so badly composed I need to start again. It’s frustrating, time consuming and wastes paper because on average I print and proofread five times before I’m happy, and even then I miss errors.
Other things that frustrate the writing flow include too many work commitments in my full-time job, illness in the family, and just becoming fed up with the whole thing. Why am I doing this? I don’t even have any idea if it’ll get published, and it could all just sit in big stored digital files no-one except me will ever see.
Ah, but the highlights outweigh all the frustrations. The kindness and generosity of people throughout the UK and overseas: Kiln operators, timber (lumber) yard owners, entomologists, mycologists, engineers, wood scientists, meteorologists, woodworking forum participants and so on all came up trumps with suggestions, guidance, photographs, participated in discussions face-to-face, by email and phone, and were willing to peer review sections I’d written suggesting improvements and approval when I’d got it right.
Two things surprised me. First, apart from the essential wood knowledge I chose to cover, I found the secondary information the most fun to write: tree history, ancient deforestation, forests and climate, balanoculture, the special place of oaks in the role of human development and The Baltic Problem from the point of view of the UK. The second surprise was the discovery that the supply of wood from the world’s forests currently teeters on the balance of just about enough at our level of usage – it could go either way, probably depending on future human ingenuity, or, perhaps, our greed and stupidity.
— Richard Jones
Filed under: Timber Book by Richard Jones, Uncategorized
I’m in the final stages of setting up a new workshop in Covington., Ky. It’s my seventh (!!) workshop. I could probably write a book on the process, but instead I think I’ll sum it all up here. During the last 20 years I’ve visited and written about some of the most impressive and modest shops all over the world. From a home shop with a remote-control crane (that shop […]
|the problem area|
|the chamfer wings|
|the two outside runners|
|the plane body taped off|
|chamfer wings taped off|
|all 3 thumb screws are the same|
|it's a good fit for 6mm|
|can't use it|
|they can stay here for now|
|measuring for a box|
|1/8" scraps for making a box for the irons|
|an iron has to be kept in the plane|
|it's because of this|
|laying out the box|
|got my width|
|the box detail|
|first spacer being glued in|
|the cut in two mark|
|other half being glued on|
|cleaned up the irons|
|they'll be done tomorrow|
|I sawed off this proud before I glued the other side on|
|I'll let this cook for a couple of hours|
|found some nice figured walnut to use as the lid banding|
|time to wrap the plane|
|box sawn in two|
|the nozzle was clogged|
|the glue wasn't setting up|
|knifed the line on one side|
|transferred the line onto the other side|
|I knifed the line as deeply as I could|
|snapped right off cleanly|
|box stock cut out|
|no shellac today|
|I dropped the other half|
|box stock stickered|
Did you know that a baseball goes further when it is hot and humid because the air is less dense?
There are often setbacks to life—many of them. When others sail on through eventualities, we can find ourselves struggling even with the smallest things. At least it can seem that way when we’re in the thick of it. I remember days when men at workbenches surrounding me slipped a chisel through a cut and as […]
I recently spent a week at the Marc Adams School of Woodworking, teaching two three-day courses. I believe this was an experiment on Marc’s part, road testing some new scheduling concepts such as a three-day workshop during the week as opposed to only on weekends.
The Parquetry workshop had three enthusiastic attendees (plus a most excellent teaching assistant), a number the Marc told me precludes any repetition of the topic. This is an entirely fair conclusion on his part as he has a huge footprint to support. With several classrooms in simultaneous use I’m guessing he needs somewhere between 35-50 attendees every day for six months to make it work.
In fact our merry little band was in a huge, well equipped classroom with twenty (?) workbenches. The spaciousness was both unnerving and delightful as the students could spread their projects as widely as they wanted.
This workshop is somewhat unusual for me in that there was a finished project at the end, while I tend to prefer teaching a skill-set rather than a project.
But skills and processes were taught and practiced, including the making of sawing and planing jigs,
sawing veneer stock for making the patterns,
the assembly of the patterns,
fabricating and integrating simple bandings,
and gluing them down to a substrate.
In the end they were cleaned up with toothing planes, files, and scrapers making them ready for the finishing process.
Though I will not be teaching this workshop again at MASW, I will not completely set the general topic aside. I am hoping to have a workshop on knot-work banding perimeters there in 2019.