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Two years ago I wrote about some unusual homemade winding sticks I encountered in North Carolina (read the article here). Instead of using inlay to help broadcast a board’s twisted state to your eyes, these used a pair of half-moon cutouts. They worked brilliantly, perhaps better than any other set I’ve used before. This summer I made myself a quick pair while in Germany. These were made with a Forstner […]
After years of working with professional and amateur woodworkers all over the world I have concluded that people who are hostile to handwork tend to badmouth it for a simple reason: They cannot really and truly sharpen.
They might be able to rub a chisel on a rock so their chisels can chop out wood left behind by a router or saw, but beyond that, they are lost.
Think about it: What if your table saw tried to kill you every time you turned it on? (Oh, wait, that’s what it really does do.) OK, imagine if your table saw’s blade had only two teeth on it. You’d hate that saw. You’d tell your students to avoid it. You’d say it was no way to make furniture.
Fixing this ornery saw takes about five minutes, tops: Remove the old blade and replace it with a sharp one. The same goes for a dull chisel or plane blade. Five minutes on the stones (or strop, if you are so inclined) and you are back to perfect.
But if you are unwilling to take a half-hour lesson and perform a few practice sessions to learn to sharpen, then you are going to be forever left with tools that are frustrating, slow, damaging to the wood and awkward.
And that is – I think – the source of hostility to handwork. It’s not that these naysayers think their machines are so fantastic. It’s that they are unwilling to admit they cannot sharpen at a high level.
This is not a supposition. I’ve concluded this after looking at a lot of people’s edges and comparing it to their work and what they say. (The only outliers to my observation are the few people who really can sharpen, but their public personas are based on bashing handwork – yes, these people exist.)
I say all this because today marks a turning point on this blog. Until today, I avoided writing much about sharpening because it is a sticky wicket. There is more misinformation floating around about sharpening than any other woodworking topic (the topic of finishing is a close second).
I have started a new category on this blog: Sharpen This. Articles in this category will show you how I sharpen every tool in my chest: planes, chisels, scrapers, travishers, scorps, moulding planes, awls, spade bits, screwdrivers and so forth. I’ll also attempt to disarm the consumerist economy that has sprung up to capitalize on our craft’s fear of this simple process.
You don’t need a lot of equipment to sharpen. All the systems work. The trick is to pick one system (what I call “sharpening monogamy”) and practice.
And if you are willing to humble yourself before a teacher, admit you cannot sharpen and take a lesson, you can get fixed up with everything you need to know in less than half an hour. (Pro tip: Attend a Lie-Nielsen Hand Tool Event and they will gladly give you a complete and free lesson.)
But if you won’t do this and you continue bash handwork, then I have only two words (and an obscene gesture) for you: Sharpen this.
— Christopher Schwarz
Filed under: Sharpen This, Uncategorized
|saturday night after supper|
|unclamped the board|
|sealed the knot with shellac|
|cleaned up the rabbit|
|almost dead flush|
|planed the profile|
|why the woodworking isn't done|
|before the 2nd coat goes on|
|painted the shelf too|
The paint for the bookcase is similar to the white of the interior of the bookcase and shelves. But it has a slight grayish tint to it. I was hoping for darker color contrast between the two. This is going on the front porch so it won't get a lot of look sees. The important thing is my wife saw it and approved it.
I plan on painting the base on the bookcase with one more coat after dinner. Right now it's on the saw donkeys taking up way too much real estate in the shop. Once two coats are on the base, tomorrow I'll be able to put it upright and regain some walk around room.
|couple of boxes coming|
One thing I will not do is read a manual on my computer. I want to hold the pages in my hand and leaf through them. I want to be able to make notes in the margins and go back and forward if I have to. I think Staples will print this out and put in a booklet format. I'll have to check that on line and see if that is truth or rumor.
|went back to the shop|
|this layout looks a bit goofy|
What were the code names for the 5 beachheads on D-Day, June 6, 1944?
answer - Utah, Omaha, Gold, Juno, and Sword
When my former husband and I moved to southern Indiana in 1988, we became friends with a carpenter named Joe who possessed an endearing confidence that everything he thought and said was right. He and his wife were literal about the biblical injunction to go forth and multiply. By the time we met, they were well on their way to having a chief for each of their own twelve tribes. My husband and I, on the other hand, had decided not to reproduce, convinced that our species was already consuming such a disproportionate percentage of the earth’s resources that we had a moral duty not to make things worse.
One day Joe brought up the subject of our not having kids. “People who don’t have children are just selfish,” he began. “Don’t get me wrong; I’m not saying that you two are bad people. But you think only of yourselves: your work, what you’re going to cook for dinner, where you’d like to go on vacation. Now, none of this stuff is unimportant! But when you have children, you’re forced to think about others. Instead of keeping everything for yourself, you’re forced to share. It makes you a better person.”
Those of us who have a business but no employees occasionally find ourselves faced with a similar kind of judgment. Some people see the mere fact of having a business as evidence that you’re privy to a certain largesse that should be shared. If you don’t have employees, well, shame on you for keeping all that wealth for yourself. You ought to be a job creator, give something back.
You can find out where this opening leads in “Don’t Call Me Boss,” one of the stories in Making Things Work
Filed under: Uncategorized
I’m about to wrap up work on an office that’s almost fully paneled with sapele. There is wainscoting, a full wall of bookcases, a paneled fireplace wall with step-back cupboards flanked to both sides and a couple of angled bookcases. Plus, there’s a door to case. Earlier drywall work pushed out from the existing door frame, so I had to build out the frame to make the new casing sit flat. I needed quick and easy tapers.
|the bottom back support|
|it was flat|
|also bought two 1x8's|
|the two outside edges have hiccups|
|working on the top|
|the two big off cuts I can use for the plow plane box|
|this is the winner|
|the opposite side of the board|
|ripped off the first defect for edge gluing|
|got it glued up without killing anyone|
|back thing for the top|
|marked for ripping out|
|ripped out and planed the hump on this side|
|straightening the edge going against the bookcase|
|outside face has almost no twist|
|front face has about 1/8" twist end to end|
|cove molding rough sawn|
|layout for the back thing done|
|I sawed the rounded top on the bandsaw|
|chamfer laid out|
|stopped chamfer on the ends|
|sawed the end cut first with the Zona saw|
|worked down to the pencil lines with a chisel|
|repeat for the other side|
|flushing and cleaning up the dovetails|
|I'll mark and saw the over hang off|
|I inset the back a 1/2"|
|screwing the supports to the bookcase|
|screwed the back one in too|
|chamfered the base|
|going to need another shelf|
|flattening the top|
|reason #1 I don't like make the back thing first|
|big ass shooting board|
|tear out heaven|
|cleaned up the shoulder first|
|fine set #3 and then the molder again|
|came out a bit better|
|I don't like this|
|this looks better being up higher|
|nailed a piece onto the bottom|
|ripping the top to it's final width|
|flat, straight, and square|
How many batting titles did Babe Ruth win?
answer - one. in 1924
- Date: 1730–60
- Geography: Made in Boston, Massachusetts, United States
- Culture: American
- Medium: Maple, birch, white pine
- Dimensions: 86 1/2 x 40 x 21 1/2 in. (219.7 x 101.6 x 54.6 cm)
Japanning, the use of paint and gilded gesso to imitate the glossy finish on Asian lacquer work, was a popular method of furniture decoration in colonial Boston. This group of japanned furniture (40.37.1,.2,.4) descended in the Pickman family of Salem, Massachusetts, and is an extraordinary survival. The painted decoration on the high chest, dressing table, and looking glass is all by the same hand.Signatures, Inscriptions, and Markings
In a perfect world I would be using riven stock for building stools and chairs, but my world is far from perfect. So I make do with sawn stock. Which means that I have to be creative when milling stock to obtain pieces with straight grain and minimal run out. As a result, I end up with a fair amount of off cuts. Since I’m too frugal to throw them out I’m constantly trying to find ways of using them up. Otherwise I would soon be drowning in little bits of wood. Which brings me to the project at hand.
The two Shaker style stools that I just completed resulted in yet more off cut pieces for the ever growing pile. So to continue with the theme and to use up some scraps, I sat down and worked up a proportional design for the ubiquitous Shaker footstool.
There probably have been thousands of these little stools built over the years. I think this attests to its utility and ease of construction, as well as its broad appeal. Even though I have been on a bit of a stool building spree as of late, I think this one will be a good addition to the stable.
A classic little stool that can be built in the simple Shaker style or jazzed up a bit at the lathe. A bonus is that I’ll have another chance to practice weaving a fibre rush seat!
Since I anticipate building several of these (they should make great gifts) I first spent a little time making a proper story stick. I knifed in the lines, rubbed in some instant coffee and gave the stick a coat of oil.
I tackled the runs first. Step one took place at the shaving horse. Transforming them into rough octagons and then to rough cylinders. With the roughing done they went onto the lathe. I also managed to knock out one of the legs before calling it quits this evening.
I’ll finish the other three legs tomorrow and maybe even get this little stool assembled.
I’m happy to report that I gained a little speed and the weave looked much neater. So much so that I dismantled several courses on the first stool and re-worked it so that there wasn’t such a marked difference between the two. Not a dramatic difference, but it would have driven me crazy if I hadn’t fixed it.
Just about everything I have read or watched says that the fibre rush should be sealed with a couple of coats of clear shellac or something similar. This adds a bit of durability and stain resistance to the seat. So I dutifully complied with shellac.
The first coat took a good bit of shellac and I was a little worried that the uneven appearance wouldn’t subside once everything was dry.
The first coat did indeed dry to an even, albeit, darker color and the second coat went on quickly. I also took the time to add one more coat of Tried & True original to the frames of the stools.
With that, I’m calling these stools done.
Either hubris or taking the blame. Not sure which.
Installed into the kitchen.
Part 4 Greg Merritt
I was saddened to learn last week from Brian Meek that Lee “The Saw Guy” Marshall had passed away. Lee was the creator of the Knew Concepts company that produced the finest jeweler’s saws and coping saws known to man. My friendship with Lee (and Brian) had grown continually since we first met many years ago at a Woodworking in America event, and ever since we had picked each other’s brain on many occasions. In some respects our friendship must have been an odd one, and more than once Lee remarked, usually with a chuckle, that he was surprised that a “Santa Cruz lefty” got along so well with someone who thinks that 1964-era Barry Goldwater was a moderate.
Our relationship grew into me being an enthusiastic collaborator with Lee and Brian as they continued to invent and refine new versions of their products. Our correspondence was frequent and I reviewed countless design drawings that Brian sent me for comment, and I have many Knew Concept prototypes in my shop, and will continue using them until I hang it up. Lee was always curious about augmenting his own experience with that of others, and for several years we combined Lee’s aerospace machinist mindset with Brian’s background as a bench jeweler with mine as a woodbutcher. Many was the time I would explain precisely how it is that woodworkers used their tools, and before long I would see some new understanding become manifest in their tools.
In many respects Lee was a model for me to follow. An octogenarian whose good cheer, unfailing generosity and insights were never diminished by some serious injuries he had suffered many years ago, rendering him officially “disabled,” Lee was simply one of the most inventive and hard working men I have ever met. His brain never turned off, working diligently until the end, creating and inventing with many projects in development at the time of his death. Brian assures me that they will be carried to completion.
To his wife and family, and all who knew and loved Lee I extend my sincere condolences and offer heartfelt blessings in the sorrow of his absence from us. He is greatly missed.
Vickers’ reproduction of the Voysey Kelmscott “Chaucer” cabinet was a commission
Do you really need that 2400-square foot workshop?
I’ve lost track of how many retired friends of friends are currently building themselves shops. Most of these people moved to a rural location so they’d have the space to build. Once you’ve taken the plunge, it seems, the old English saying applies: “In for a penny, in for a Pound.” I mean, why have a shop that will hold a Mini Cooper when you can have one large enough to house a fleet of RVs? Who can’t use the extra space?
As someone who never seems to have enough room to store lumber and salvaged hardware for bona fide jobs, never mind the recycled plant pots, bags of ice-melting salt, antique chamber pots, old dog beds (which, perversely, became “insufferable” [to the dog] after being washed), and surplus hickory floorboards that “just might come in handy, and besides, the wood is so beautiful” (even though the boards in question have been lying there, undisturbed, for a dozen years), I feel your pain. And I am here to share a sobering example of a consummate craftsman who has made a name for himself with a workshop about as big one of those structures we Americans know today as a “tiny home.”
Christopher Vickers was born in Bexleyheath, south-east London, in 1961. His father, a cinema sales rep, had a keen interest in all things DIY but was especially taken with marquetry. That love of fine woodworking spread to Chris, who, at the age of 16, decided he wanted to be a furniture maker. No apprenticeship was forthcoming, however, so he served a seven-year apprenticeship as a joiner at Clark and Son in Islington.
Chris and Jenny Vickers in the conservatory they added onto their house
It was an excellent foundation in woodcraft: He made windows, doors, and staircases according to traditional methods. Still, he longed for finer work. When a friend suggested he apply to the London College of Furniture, he did. Most applicants to the program had taken A-Level exams (roughly equivalent to graduating from a high school in the United States), the usual prerequisite for university admission. But Chris’s significant woodworking experience, combined with his passionate desire to refine his skills, won him admission.
During that two-year furniture training Chris and his classmates visited the Cheltenham Museum (now called The Wilson) in Gloucestershire to see some of Alan Peters’ work. The museum also had extensive holdings of work by many other luminaries of the Arts and Crafts Movement, among them Ashbee, Gimson, Voysey, and the Barnsleys. “When I saw all the exposed joinery of the Cotswolds School, the penny dropped,” he remembers. He knew the direction in which he wanted to take his own work.
A Vickers reproduction of one of Ernest Gimson’s hayrake tables
After college he spent two years working part-time for a specialist silverware canteen maker, F. Mottram, in London, making pieces for Asprey’s and other top silversmiths. He then set out on his own, producing jewelry, sewing, and writing boxes made from English hardwoods.
In October 1987 Chris and his wife, Jenny, moved to the small town of Frome in Somerset, primarily because it was affordable. They bought a Victorian red brick row house on a narrow lot typical of that architectural form, and Chris set up a woodworking shop measuring 18’ by 8’ (yes, that’s under 150 square feet), which he nicknamed “the bunker,” in the backyard.
The ceiling height tapers from 8’ at the high end down to 6’. Chris is 6’ 2-1/2” tall.
With a workbench, hand tools, and basic set of small machines, he turned out beautifully crafted boxes that he sold at craft fairs, supporting himself and Jenny on that income. Small boxes were made with keyed miters, larger ones with handcut dovetails. His interest in specialty hardware for the boxes eventually led him to begin fabricating his own hinges, straps, and latches. He started making furniture for their home, along with small pieces such as side tables and chairs to sell.
His big break came in 1998. The owner of the Hotel Pattee in Perry, Iowa, wanted to create a room decorated in authentic William Morris style. On a trip to England she visited the Cheltenham Museum, where she met Arts and Crafts expert and curator Mary Greensted. Mary suggested she contact Chris. What began with an invitation to lunch at their home turned into two years of steady work.
“We had never flown before,” Chris remembers, “and the client flew us over business class, which was an adventure in itself.” Chris and Jenny were in Iowa for about two weeks, “wined and dined and shown around.” When the furniture was finished, it was shipped to its destination. “All done with just a handshake!” he adds. The hotel’s website has a section on the Morris Room with photos of Chris’s work.
After the hotel commission Chris was confident of his ability to make larger pieces in his tiny workshop. “The rule of thumb thereafter was, once I had worked out the size of the piece, would it go up the hall [of our house] and out the front door? Assuming the answer was yes, then I just needed to work out how to assemble and finish the main parts in our living room.”
Did you get that? He made the parts in his workshop, then assembled the pieces in their living room.
(OK, OK. Maybe there are advantages to having a shop with more than 150 square feet.)
This concern with size should help explain why he now specializes in lighting, which was originally an offshoot of his work producing his own hardware. In 2014 he added a second workshop to the backyard (this one 12’ long by 6’ wide with slightly higher headroom than “the bunker”), where he crafts replicas of original fixtures designed by W.A.S. Benson, C.F.A. Voysey, and the Birmingham Guild of Handicrafts.
“The bunker” at left. New workshop for lighting and metalwork in the far ground.
One of the many light fixtures Vickers now makes
You can see more of Chris’s work and read more about him at Inspired Illuminations
–Nancy Hiller, author of Making Things Work
Filed under: Uncategorized
|not the first thing I spaced|
|my second mind fart with the base|
This is what I had done thursday night in the shop. I didn't get any pics of it because my battery went dead. Tonight was first spent correcting these minor detours into La La Land.
|got my 1/4" at the front|
|the problem is at the back|
|washers and screws for the #2 came in the mail today|
|got my 3/16" pigsticker from Jim Bode too|
|rounded and flat bevels|
|back to the base|
|marking the back for length|
|squaring the back|
|clamped the bottom back so I can check it on the bookcase|
|fits and I have a 1/4" reveal on the 3 sides|
|the last step|
|did much better on the other 7|
|I have to fix this|
|sawed a bunch of shims with the Zona saw|
|trimmed them with a chisel|
|refined the shape with sanding|
|all four bottomed out and filled the kerfs|
|5 minute epoxy|
|I'll trim these tomorrow and glue the base up then|
What is the color of blood in a octopus?
answer - blue green
If you run across one of these ads and are considering making a purchase there are some things you need to know.
(1) All the planes sold as completed planes came with a document of provenance. If the seller doesn't offer to include the document then you need to ask more questions as to the origin of the plane. Why? See number (2) below.
(2) In the early years of plane making I also sold kits so that others could enjoy the plane making experience as well. Recently one of these planes was offered on Ebay. The title of the ad did not make reference to it being a plane completed from a kit. One line in the description did in fact reveal this fact. For this reason you could well be buying a plane made by a first time plane maker. Needless to say there will be considerable differences between a plane made by a person that has completed hundreds of planes and one made by a first time plane maker. Fortunately the eventual buyer of this plane asked all the right questions and was fully aware of what they were buying.
(3) Kit planes do not have the"Brese" logo stamped or engraved into the front of the lever cap. If the lever cap lacks this logo it's a kit plane. If the logo is present send me a picture and I'll verify that it is original.
Below is a picture of two 650-55 J planes I completed a couple years ago.
Recently another similar plane has been offered for sale. But not made by me. Look familiar? I just wanted to make it clear the plane pictured below was not made at Brese Plane or by anyone affiliated with Brese Plane.
I was reminded recently that imitation is a sincere form of flattery.
"Beware the sheep that wants to save you from the Wolf"
I recently posted about the advert where a jig maker, Leigh Industries, used a phrase that said, “The Classic Look of Hand-cut Dovetails”, which I thought seemed somewhat deceptive but there again, this is the age of fake news so why expect more of the advertising media? It seems all the more that everyone assents …
Read the full post The Classic Look of Routed Dovetails. Oops, Meant Hand-cut!!! on Paul Sellers' Blog.
|Beautiful and Functional But Why?|
I need your help.
A few weeks ago one of my old clients came in with this curious box. He hangs out at estate sales and finds things on Craig's list and is always looking for something unusual. He often discovers amazing things.
After all, isn't that one of the reasons we collect stuff? Not that we need it. If we need something essential we go out and get it. If I need gas I go to the gas station. Not much excitement there...
On the other hand, when I travel I always take time to explore old used book stores, antique stores, used tool shops and even, in some cases, thrift stores. It's the lure of the unknown which keeps me searching.
So this client walks in with this box. It is amazing. Made of Brazilian rosewood with boxwood trim. Made by a professional, probably British. It is about 11 x 12 x 22" in size. I think it' either British or even American since the writing on the drawers is in English.
The locks, keys, hinges and screws all indicate a period before 1850.
|Mid 19th Century Script?|
The secondary wood is Spanish Cedar.
|Lift Top With Two Trays Inside|
The front has double glass doors and the top lid lifts up. There is a lock on the glass doors and a second lock on the lid. Whoever had it wanted to keep the contents secure.
When you lift up the top there are two trays in a till. A very shallow tray on top of a deeper tray. The deeper tray is missing a divide which would go from side to side.
|What Are These Trays For?|
Inside the double glass doors are 4 fake drawers over 6 functional drawers, each with turned ivory pulls.
The amazing and curious feature is how the drawers are divided into strange and complex compartments. I have no idea how these compartments could be used. My only guess is that there was a fad of collecting exotic sea shells in the past. Perhaps these compartments could be designed for shells.
|When I Saw These Drawers I Was Speechless|
However, as the drawers are fairly deep and the compartments rather small, it would be difficult to reach some of the contents.
|What Would You Keep In These???|
Please help me find out what this is. If you have any idea just post in the comments.
Understanding the lost mysteries of past cultures is why we explore.
Enter the Lightning Round
OMG thanks so much for everybody who came out and asked questions. That was a lot of fun and as expected there wasn’t nearly enough time to get to all the questions. We talked about a lot of hand tool stuff from sharpening to tongue & groove joinery to smoothing planes and panel saws. I think I probably should do more of these open format sessions because there seem to be many more questions out there.
The Questions You Asked
- 3:40 A Lumberyard Story
- 7:08 Square Dovetail Cuts
- 12:47 Best Bits for Braces
- 18:30 Using a Combination Plane for T&G joinery
- 26:44 Where to get Auger Bits & how to sharpen them
- 33:11 Sharpening narrow chisels without skewing them
- 44:44 How to cut a T&G joint without a plow plane
- 49:00 What is the best smoothing plane
- 51:58 What is a good mallet to use
- 58:06 Where do you get leather for vises
- 1:00:00 Whats a good way to get my tools tested and sold
- 1:02:00 How flat does the sole of your plane need to be
- 1:04:15 How to sharpen a timber slick
- 1:06:30 Uses for a Stanley #80
- 1:09:28 How to know when a saw needs to be sharpened
- 1:10:30 Panel vs Hand saws
- 1:15:16 How to correct a saw cutting a curved kerf
- 1:18:20 How tall is my joinery bench vs my workbench
The events that are Groopshop are filled with levity and camaraderie, perhaps unlike any I have been party to (admittedly I might not be the best judge of this as I was the guy at high school pool parties who was sitting in the corner reading the encyclopedia). On the second night of Groophop we usually have a delightful evening of fun in the guise of “Refinishing Jeopardy” followed by “Mike’s Mostly Honest Auction,” when we raise money for the operation of the organization through selling and buying each others’ shop surplus supplies.
During the former event I was the off-screen judge for the answers, perhaps risking a conflict of interest as one of the categories was titled “Decoding Don.”
Apparently they think I am in love with arcane words and esoteric technical terms, and this was the chance for the contestants to try and figure some of that out. I may have been a little strict with Freddy Roman during the judging, but I sent him a box of shellac flour as an apology.
Following “Refinisher’s Jeopardy” the auction commenced, and the bidding was spirited and the lots were enticing. I bought some sheets of veneer, loose abrasive powders, and some more stuff I cannot recall at the moment. One of the most vigorous episodes was for some lumber AlL brought. I bought a lovely pair of matched Spanish Cedar boards, but was outbid for a spectacular piece of Swietenia mahoganii by JohnC. It was a real beauty.
But the real heartwarming surprise came the next day as I was in CVSW setting up for my workshops the following day, and found the John had left me the board as a gift. I was truly moved by the gesture, and since no good deed goes unpunished I am considering appropriate packages to send him in return. The board was perfect for turning into sawn veneer for an upcoming project.
That’s the kind of group Groop is. You should join us, but only if you want to learn, exchange information in a friendly environment, and have fun.
HANDWORK’s contributing author Joshua Steven aka Mr.Chickadee has uploaded a video on youtube on making a foot powered lathe. Joshua has built his homestead entirely by hand and now he’s showing you how to build this lathe entirely by hand. This is what its about, this is what true freedom is. This is handwork.
When I drove up to my house after work I noticed that there was a priority box on the front stoop. I am expecting a pigsticker from Jim Bode but this box was way too big for that. If it wasn't for me, than it was most likely book(s) that my wife had ordered. When I went to collect it I noticed it was for me but I had no clue as to what it was. I didn't look at the return address because right besides the priority box was a Lee Valley box.
It was my conversion kit but I don't know who left it. Was it the man in brown or the person who mistaken had it left at their house? Seeing that I now had my kit, I didn't care anymore about going to battle stations with UPS or anything else.
The priority box was from Ken Hatch who writes the 'I'm a OK guy' blog. I didn't have clue as to what was in the box nor had Ken given me a heads up on it. I had to get the garbage curbside first and then I gave the box my undivided attention.
Of course the battery in my camera decided to go south at this time too. So I wasn't able to snap as many pics I wanted to. I did manage to get one of each of the goodies in the box. Ken, I don't know what to say. Thank you for sure, but what you sent me was incredibly generous. I'm sure that my wife will get sick of me telling her about this but the cats usually walk away when I try to talk to them. Her I can wait until I have her cornered in her sewing room.
|first thing I pulled out|
|iron/chipbreaker set with a lever cap|
|this wasn't in the Ken Hatch box|
|This is over the top|
|realistic road test|
|planing the left side|
|flipped it over and did the bottom|
|square on all 3|
I am kind of torn between keeping this plane for myself or passing it on to my grandson. I think what I'll do is keep it as a guardian until he is old enough to use and appreciate it.
I plowed the dadoes in the base for the back but I have no pics of that. My canon camera battery was dead and I haven't had a chance to read up on the Olympus camera yet. I charged the battery in it but that is all I've done with it. I'll catch up and post follow up pics tomorrow.
How many US Presidents were former governors?
answer - 17
Wednesday 14 June 2017 Journal Entry I’ve spent over 50 years living with beauty. It’s not the stuff taught in schools by schools but it is learned mostly by seeing it in contrast with the unlovely. Unloveliness is the stuff local authorities and standardisation of things put together by government produces where utilitarianism dominates and …