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I’ve given it my best shot so far. For 25 years and few more I’ve given it my best shot and I’ll keep giving it my best shot for as long as I can. Seeing things in black and white somehow dispenses with the peripheral and gets you to the core issues and that’s what …
This is an excerpt from “The Joiner and Cabinet Maker” by Anon, Christopher Schwarz and Joel Moskowitz.
The two-foot rule was the standard measuring device for woodworking for hundreds of years. The steel tape was likely invented in the 19th century. Its invention is sometimes credited to Alvin J. Fellows of New Haven, Conn., who patented his device in 1868, though the patent states that several kinds of tape measures were already on the market.
Tape measures didn’t become ubiquitous, however, until the 1930s or so. The tool production of Stanley Works points this out nicely. The company had made folding rules almost since the company’s inception in 1843. The company’s production of tape measures appears to have cranked up in the late 1920s, according to John Walter’s book “Stanley Tools” (Tool Merchant).
The disadvantage of steel tapes is also their prime advantage: They are flexible. So they sag and can be wildly inaccurate thanks to the sliding tab at the end, which is easily bent out of calibration.
What’s worse, steel tapes don’t lay flat on your work. They curl across their width enough to function a bit like a gutter. So you’re always pressing the tape flat to the work to make an accurate mark.
Folding two-foot rules are ideal for most cabinet-scale work. They are stiff. They lay flat. They fold up to take up little space. When you place them on edge on your work you can make an accurate mark.
They do have disadvantages. You have to switch to a different tool after you get to lengths that exceed 24″, which is a common occurrence in woodworking. Or you have to switch techniques. When I lay out joinery on a 30″-long leg with a 24″-long rule I’ll tick off most of the dimensions by aligning the rule to the top of the leg. Then – if I have to – I’ll shift the rule to the bottom of the leg and align off that. This technique allows me to work with stock 48″ long – which covers about 95 percent of the work.
Other disadvantages: The good folding rules are vintage and typically need some restoration. When I fixed up my grandfather’s folding rule, two of the rule’s three joints were loose – they flopped around like when my youngest sister broke her arm. To fix this, I put the rule on my shop’s concrete floor and tapped the pins in the ruler’s hinges using a nail set and a hammer. About six taps peened the steel pins a bit, spreading them out to tighten up the hinge.
Another problem with vintage folding rules is that the scales have become grimy or dark after years of use. You can clean the rules with a lanolin-based cleaner such as Boraxo. This helps. Or you can go whole hog and lighten the boxwood using oxalic acid (a mild acidic solution sold as “wood bleach” at every hardware store).
Vintage folding rules are so common that there is no reason to purchase a bad one. Look for a folding rule where the wooden scales are entirely bound in brass. These, I have found, are less likely to have warped. A common version of this vintage rule is the Stanley No. 62, which shows up on eBay just about every day and typically sells for $20 or less.
The folding rule was Thomas’s first tool purchase as soon as Mr. Jackson started paying him. I think that says a lot about how important these tools were to hand work.
— Meghan Bates
Filed under: The Joiner & Cabinet Maker, Uncategorized
Folks have a dread about learning design. They feel that it is somehow beyond them. They are not artists. They are not creative enough. They lack the weird curiosity to be a designer. Or the hair.
Nothing could be further from the truth. Think back to your dreams last night if you want weird.
Design is not an immediate skill, but like throwing a baseball you can do it even at first. Your throw may be ungainly or downright ugly or straight into the ground. But you can throw. So too can you design, however badly at first. But like baseball, how many throws did you have to make to first before you could zing it there? Hundreds, maybe thousands. The same is true with design, but make the practice fun and you will succeed.
If you want the thrill of designing your own work, then you learn to practice its vocabulary. Learn the things that make up a good design: form, pattern, details. Study great design, design that appeals to you, and then reverently steal from these good sources. For after all, that is what good design is: reverent theft.
We have been stealing from nature for centuries as this ancient wooden sculpture from China shows.
A woodworker walks into a brew pub, glances around, and spots another woodworker across the room. As the first man approaches the second, words ensue. In a few seconds the second woodworker clenches his hand into a fist and sticks it right under the nose of the first man.
This might be Mickey Spillane’s telling of a episode a the recent Lie-Nielsen tool event in Covington KY. Of course there is much more background to the tale.
The two woodworkers in question were Dr. MichaelCD and me. Michael is a professor and practitioner of the healing arts, particularly as they relate to the repair and rehabilitation of injured hands and wrists. We have been corresponding regularly since I broke my arm last year. His counsel has been a Godsend, especially once he convinced me that I was working too aggressively on my rehab exercises and was actually retarding the progress. Once I learned to ease up a bit the progress was much faster.
While at the LNT event he gave my wrist and hand a through going-over. The break to my radius bone was so close to the wrist (about 1″ up from the base of the thumb, in the narrowest part of the forearm) and of such a nature that the cast had to be quite snug and restrictive with my hand at a peculiar angle to facilitate the bone knitting properly. As such it pushed all the swelling downward into my wrist and hand, hence my struggles at rehabbing them. As the orthopedist noted when examining the x-ray, my lifetime of working with my hands has resulted in every joint being afflicted with arthritis and they did not take well to the incursion of the extra fluid mass being inflicted on them. (At the same session the bone doc asked me when and how I broke my wrist. When I replied with a quizzical look he pointed to the x-ray image. “All this debris here and here indicates a broken wrist, and the fragments are well-worn so it was a long time ago.” Huh, who knew?)
At the end of the day in Covington I bestowed Michael with a whisk broom and the best meal we could find close by, a time of grand fellowship. That’s the way health care should be. Now if only they could figure that out in Mordor on the Potomac. In parting he gave me a new finger flexibility regimen that I have been following with much success.
Oddly enough the part of arm/wrist/hand rehab that is usually the hardest (rotating the hand relative to the elbow) went very well and fast for me, while the more simple and easy recovery (hand and finger dexterity) is something I still wrestle with. It gets better every day as I notice something new I can do; roll the toothbrush in my hand, put in my contact lens, use a credit card reader, unscrew the gas cap in the truck, and finally today, using a spring clamp for the first time with that damaged hand. At this rate I expect these hurdles will be distant memories by the time I hit the First Anniversary.
But for now, thanks to Michael I am well past the 90% recovery mark, and find my effectiveness in the shop at almost 100%. To top it all off, my left arm and hand are by necessity much more facile than they were a mere six months ago, in the end yielding greater aggregate hand skill than I started with.
How much more blessing can a fellow take?
In this episode of 360 with 360WoodWorking Mark Arnold of Boston Woodworking discusses his time at North Bennet Street School, editing and writing for American Period Furniture and a woodworking technique known as sgraffito, which he’s teaching at the Marc Adams School of Woodworking in late June 2017.
Join 360 Woodworking every Thursday for a lively discussion on everything from tools to techniques to wood selection (and more). Glen talks with various guests about all things woodworking and some things that are slightly off topic.
William, you have a good knowledge of Japanese woodworking tools even though you are base in America. I am from Borobudur, Indonesia but based in Thailand and Singapore. I like to ask where can I see your portoflio work that is done by Japanese tools....
Thanks for reading! I really appreciate it.
I don’t really have a portfolio of the stuff I’ve built, but this is probably the nicest thing I’ve made so far. It’s a Bible box, an item that was common for 18th century Colonial American households to have, especially in the Pennsylvania region. Despite the western design, I made this all with Japanese tools.
I’ve only been in Singapore once, and that was for a meeting for work, so I didn’t have time to scope out woodworking resources. One thing I would highly suggest is to join a local woodworking club. Even if no one uses Japanese hand tools in particular, someone there will be into hand tools, and you can learn a lot that way. The internet is great, but there is nothing like seeing woodworking done in person to help you out.
In my ongoing quest to learn to turn and, to a lesser extent, shrink my mountain of offcuts I present the next beginner project that I have tackled. The Honey Dipper.
There is not much to say about the honey dipper, the name pretty well sums it up. It is another simple lathe project that lends itself to beginner success. There is ample opportunity for practice with basic shaping and working with the parting tool. The honey dipper can be any shape or size that your imagination can contrive or available material will support. However, I thought I should at least set forth a goal. Part of the skill building for me is to develope the ability to execute whatevere desired shape and size that I want. To that end, I worked up a design drawing for a simple honey dipper.
I’m not going to show photos of the progression. What I will show are the first two honey dippers that I have turned on the lathe. The first one is the prototype prior to the design drawing.
Here is my first attempt at matching the design drawing.
As you can see, its not an exacting execution. It is, however, a perfectly acceptable and functional honey dipper. I’ll keep trying.
This is one of those quick 15-20 minute projects that can be done whenever I just want a few minutes in the shop. I need to find a basket or build a box to start collecting these type of projects in. I think they will come in handy as gifts.
Anyway, there you go. Another simple beginner project for those of us just starting out and possibly a fun quick project for you experienced turners.
Well the leather sewing machine belt drive cord gave up the ghost. A little disappointing that it only lasted about three weeks of moderate use. Rather than waste my remaining leather cord, I made a trip to the Big Box and bought a fifty foot hank of 7mm solid braid polyester cord. I let you know how this stuff holds up.
This next bit is about an accessory. Once I started using this lathe it became immediately apparent that it would be impossible to turn short lengths of wood or oddly shaped pieces. There would be no area on which the drive cord would run in those instances. What I needed was a drive mandrel that would serve to accommodate the cord and transfer that energy to the workpiece.
After doing a bunch of searching online, I came up empty. There is plenty of information to be found on creating a drive mandrel for bowl turning on a pole lathe, but practically nothing about a mandrel that was independently supported from the actual workpiece. So I did a little head scratching and sketching and came up with an idea that seemed promising.
My idea is essentially the same as the drive pulley on a typical treadle (flywheel) lathe except I only need to have a bearing to support the end of the mandrel. There is no need for thrust bearings. The existing dead centers continue to serve in that capacity. In use, the drive mandrel and the workpiece are “pinched” between the existing dead centers. The bearing mounted on a removable puppet serves to support the juncture of the mandrel and workpiece.
So I ordered a 1-1/2″ bore flange mount bearing and a 1MT drive center off of fleabay.
The mandrel I turned from hard maple. I sleeved each end of the mandrel with copper to prevent splitting and add durability. A 1-1/4″ copper slip coupling has a 1.9ish outside diameter and was a friction fit to the bearing once I added a shim fashioned from aluminum tape. The 1MT drive center was installed in a stepped hole same as the dead centers.
The tricky bit was getting everything to line up along the same centerline. Time and patience paid off and everything lines up reasonably well.
The thing works great! The bearing is new and arrived somewhat stiff, so it takes a little more spring and little more effort to push the foot board. The bearing is beginning to loosen with use though. I also needed to put together a smaller tool rest. The new one is about 5″ wide and utilizes the same locking base as the the large one.
Now I can turn just about any length of wood I want.
A short clip taken before the drive cord swap.
Notes 2 Greg Merritt
The good news is I now have a super cool shop apron. #8 duck canvas (or 18 ounce canvas) is some seriously stout stuff. It should last a long time.
One bit of feedback I got from Instagram was white is a bold color for a shop apron. I disagree. It is very traditional. At least all of the old pictures of woodworkers from the 19th century show them with a white apron and a tie.
I don't think I'll wear a tie while I work wood, but perhaps the white apron will motivate me to keep it clean.
Since the last post, I just had to sew on the leather straps and join them together somehow. I had to sew six straps to the apron in order to get the straps to cross over the shoulders and a waist strap.
I joined the leather on the cross straps with some Chicago screws I had laying around. I made some extra holes so I could adjust it, but I figure this is my apron, and once it fits, it shouldn't need adjusting. The waist strap I joined with two snaps, so it can be easily fixed and unfixed. The waist strap doesn't have to be super tight. I wanted to not have long straps dangling all over the place.
|It should be a good apron.|
|Leather treated with BLO on top, plain untreated veg-tan on the bottom.|
|Treatment consisted in soaking the belts in BLO for 20 minutes or so.|
|I've never actually sewed leather before.|
|Using the Speedy Stitcher.|
|A loose ring keeps everything in place in the back.|
|Snaps are inexpensive, and these ones came with a tool and an anvil.|
|View of my best side.|
I've never really used a shop apron before. Please let me know if you use a shop apron.
The Frau has complained that I always decided to do woodworking while wearing my best clothes. I don't know why, but I've always avoided wearing a shop apron. I guess I'm just too cheap to buy a nice one, and the cheap ones tend to be a distraction.
Unlike this project...
I've never done very much sewing before, and didn't quite know how to go about it, so I did some googling, and came across a post from a sewing blog. It's good to have a place to start. The other place I looked was the shop apron page on Texas Heritage Woodworks site. Jason seems to be making the best shop aprons out there at the moment.
This project seems to be a good one for someone who has never sewn before. It's not too complicated, and has enough hems to make you want to never do another one again.
A sewing machine would make this project very quick and easy, except for the fact that I am using #8 duck canvas (18 oz.) requiring a heavy-duty sewing machine, and I don't have one.
I do have a Speedy Stitcher. I haven't ever really used it, so I suppose it's a great time to learn.
|Working on making some hems with the Speedy Stitcher.|
Next is about two days worth of sewing hems. A professional seamstress I am not.
|After a while, I could finally sort of do it straight.|
|Finished with the hems!|
|Straps soaked in BLO.|
But I hope I don't.
Voy a probar un experimento con este mensaje, y escribo en inglés y español, que estoy aprendiendo porque vivo en España. Te pido disculpas por matar tu idioma. Con suerte, esto me ayudará a aprender, y agradecería algunos comentarios. ¡Viva el Tooleráble!
I built a panel gauge about three years ago that I am very proud of. It only has two problems: one, it has a Chinese style blade that works great, but the mechanism I built to hold it in place is a little finicky, and the tiny ebony wedge I made to hold the blade in place is rolling around in the dust on my shop floor somewhere. The second problem is it is still in Munich with my old shop, and I am in Spain.
Construí un calibrador de panel hace unos tres años que estoy muy orgulloso. Sólo tiene dos problemas: uno, tiene una hoja de estilo chino que functiona muy bien, pero el mechanismo que he construido para manterlo en su lugar es un poco fino, y la pequeña cuña de ébano que hice para sostener la hoja en su lugar está rodando en el polvo en el piso de mi taller en alguna parte. El segunda problema es que todavía está en Múnich con mi antiguo taller, y estoy en España.
@haandkraft on Instagram posted a picture of a vintage panel gauge, and I really liked the design. It has an unusually wide beam which appealed to me.
@haandkraft en Instagram publicó una imagen de un calibrador de panel antiguo, y me gustó mucho el diseño. Tiene un astil anormalmente ancho que me atrajo.
I took a look around, found some suitable scrap, and started building.
Miré a mi alredador, encontré algunos desechos de madera, y comencé a construir.
I found a very nice pear scrap that used to be the leg of a safari chair I made a while back. There was a clear piece at the top that would suit.
Encontré un desecho de pera muy agredable que solía ser la pierna de una silla de safari que hace un tiempo. Había una pieza clara en la parte superior que se adapte.
|Pear scrap. Marking the first cross cut.|
Decidí no apurar este corte, ya que quería usar esto directamente de la sierra. No es perfecto, pero no requiere limpieza, ya que pretendo biselar un ángulo en esto más tarde. No hice eso en este punto porque no estaba seguro exactamente cómo resultaría todo.
|My cross cutting is getting better.|
Marqué el próximo corte que determina la longitud de la culata. Ya no hace el corte, porque la longitud extra de la pierna de una silla ayuda a cortar la mortaja.
|Mark out stock length.|
No tengo aqui un 13mm formón de mortaja. Tengo solo tres formónes, que me queda muy bien. Decidí usar este 13mm formón para cortar la mortaja. A continuación establacer la mortaja con las dimensiones directamente desde el formón.
|It looks like it is about 1/3 of the width of the stock.|
Entonces sólo era cuestión de marcando la longitud de la mortaja. Elegí un longitud apenas un poco más estracha que la anchura del astil.
Tuve un desecho del sicomoro sobra desde el Danés Silla Construyendo Gran Espectáculo que estaba justo a la derecha. Jonas molió la madera que se convirtío en este palo. Él consiguió el registro de un árbol que estaba en el jardín de su papá. De hecho, aquí hay una vieja foto de Jonas en su Moto Guzi con el árbol de sicómoro en el fondo.
|Jonas, his bike, his brother's old girlfriend, and the sycamore tree.|
Aquí esta la organización uso cepillar esta paloa la dimensión correcta. No tengo un banco de trabajo, pero tengo dos caballetes para serrar. Cepillado de esta manera mientras está sentado es bastante cómodo.
Parece ridículo para cepillar con un cepillo grande, un #8 cepillo en este banco pequeño, pero funciona.
Amoldé el astil mejor cortando la mortaja porque no quiero hacer el ruido en un domingo por la noche. El lunes, mientras los vecinos renovaba, yo corté ruidoso.
|I did this just like any other mortise.|
El uso de este formón frágil fue no problema. Solo tuve que evitar curar las fichas como lo haría normalmente. Mientras yo cortara hacia abajo y luego tirara hacia afuera, podría hacer un millón de las mortajas con este formón.
|Just don't pry.|
|See? It worked!|
Sin demasiados problemas, pude deslizar el astil en la culata. La mortaja no tiene que ser un ajuste de pistón. Un poco de imprecisión puede el astil para moverse libremente hacia adelante y hacia atrás.
|The beam fit to the stock.|
Aqui necesito una cuña. Pensé en usar un desecho del ébano que traje aquí, pero decidi usar una pieza de madera más barata. Por suerte, encontré la madera perfecta en el basurero al otro lado de la calle mientras dumpster buceo. ¡Roble!
|Former bits from oak parquet flooring. Perfect wedge stock.|
Imprimí un escaneo de la cuña desde mi calibrador de panel anterior y lo pegué en la madera de la cuña. Serré la forma y la refinando con una formón y una escofina.
|Double sided sticky tape wasn't ideal, but it is what I had.|
Hay probablemente maneras más limpias de hacer esto. Decidí cortar con mi formón pequeña excavar la mortaja para la cuña. Marqué cada lado, y corté desde cada lado.
|Making room for the wedge.|
Con un poco de jugueteo, estaba listo en muy poco tiempo.
|A less artsy shot.|
Entonces corté el desperdicio desde la pierna de la silla de safari.
Pensé en algunas maneras diferentes de hacer un alfiler. Quise endurecer un clavo, pero no tengo un soplete aquí. Se me recomendó usar un tornillo. Ya están endurecidos.
Conduje el tornillo en un desecho de madera así que podría sostenerlo mientras moldeando el punto en mi placa de molienda de diamante.
Redondeé la punta, entonces aplané media la punta en el borde de la placa. Después tuve la forma áspera, Fue por las piedras hasta que quedé satisfecho.
|Shaping a flat on one side.|
Es muy bien.
|Close up of the point.|
I marked a point in the center of the end of the beam, and drilled a pilot hole.
Marqué un punto en el centro del extremo de la astil, y perforé un agujero piloto.
|Starting the hole with an awl.|
Puse el tornillo hasta que la punta salió y se orientó correctamente.
|Actually, this is oriented 180 degrees backwards.|
Una vez que esté feliz con todo en este cortador, voy a ver fuera del final de este tornillo. Mientras tanto, si necesita ser retrocedido para ser ajustado, la cabeza del tornillo vendrá en práctico.
|Making a test mark.|
Funciona muy bien. La estabilidad del haz más ancho hace la diferencia. El pin hace una línea nítida.
|The line is deep, and one-sided.|
Puse el acobado en él puliendo un poco de cera de abejas en él con un pollisoir.
Estoy feliz con cómo resultó esto, y esperamos hacer otro!
My only beef with it for a long time is the smell.
It turns out that BLO isn't boiled at all. Nowadays, raw linseed oil (which works as a finish, but takes weeks to dry making it unhandy) is mass produced by adding metallic chemical drying agents such as manganese and cobalt which through the magic of chemistry makes the linseed oil dry relatively quickly.
A quick internet search produced a Material Safety Data Sheet (MSDS) for some BLO, which includes this:
Effects of Overexposure:
Inhalation: Vapors may cause irritation of the respiratory tract.
Skin: Prolonged or repeated skin contact may cause irritation or dermatitis.
Eyes: Contact with eyes may cause burning and tearing.
Ingestion: Ingestion of large amounts may cause gastrointestinal irritation.
Chronic: Not Available.
Overall, it looks pretty safe. But not totally. I wouldn't drink it.
Then, I was ruined by Dictum. They sell a Swedish cold-bleached linseed oil.
|Linseed oil from Dictum. Also, some great smelling turpentine balsam, and some natural tung oil from Denmark.|
What could go wrong?
The first thing I found was this great YouTube video by Joe Besch:
His website led me to a page on Tad Spurgeon's website. Mr. Spurgeion's passion is oil painting, and shares on his site how oil paints made by the old masters were made from linseed oil.
I figure if this is good enough for the old masters, it should also work for woodworking.
Enough blah-blah. Let's get to work:
First, instead of pressing my own flax seed, I ordered a liter of pure, quality raw linseed oil from El Barco, a local paint shop in Valencia.
|Raw linseed oil.|
I'm not sure, and if you would like to try it, I'm sure you'll have success using only tap water.
|Believe it or not, you can buy sea water at a local grocer for 3.99/liter!|
|beach sand and seawater. And who-knows-what.|
|Filtering the sea water.|
|The clean sand.|
|Next I dumped in my raw linseed oil.|
|Oil on top, the water sank below it, and the sand is on the bottom.|
|After the mixture was shaken. Not stirred.|
Then, let it sit in the sun.
|After an hour.|
If you are wondering what you are looking at, you can clearly see everything settling in layers. The bottom is the sand, and the little black bubble looking things above that is actually clear water. It is heavier than the oil so it sinks to the bottom.
The yellow band is a layer of fat we've just rendered out of the raw linseed oil. I suspect this is the stuff that prevents raw linseed oil from drying quickly.
The brown layer on top is the good stuff.
|The next morning.|
I'll follow Joe Besch's advice and do this process again with my refined oil. I imagine after a couple times of this, I should get some pretty nice quality stuff.
The last step is to let it rest in the sun for some weeks or months, and the yellow color will evaporate away.
For my purposes, it probably doesn't need to be crystal clear, but it will be fun to see how far I can take this.
There is likely to be quite a bit less than one liter of oil after this process, but what I have should be good.
I'm not sure if this will be worth it, but it is fun to see if it will work.
Keep an eye on this blog in the future, I plan to post on the results of this experiment over time.
I have to say that Richard's conclusions about the BU jack are spot on, 100%.
Does this mean I am recanting my endorsement of this tool? Absolutely not.
|This plane is really great at end grain.|
What about the rest?
|Can one joint with this plane?|
|This thing works great shooting end grain. Did I already say that?|
Well, I have to say that while those other planes do better at those tasks than this plane, the BU jack will indeed do them all.
|I almost always do all my jointing with this plane.|
I had noticed that many great woodworkers had recommended "beginner's tool sets" that required many thousands of dollars to fill out before a beginning student could feel like they could do "proper" woodworking.
I thought that was baloney then, and I think it is baloney now. A jack plane (whether BU or bevel down, new or vintage), is a great first tool to get because of the versatility.
Other tools work better for those everyday tasks, but one plane instead of four can be a deal maker for a beginner.
After my exclusive use of this plane for the time I used it, I found out that "plane monogamy" (as Christopher Schwarz puts it), is a wonder.
Face it, there are all kinds of situations where even the largest hand tool shops require making a plane do a bit more than what's in it's name.
To be able to do these amazing tricks with a plane, one really, REALLY needs to know their tool.
I learned that it really is true that you can't buy skill by purchasing a new tool. One should learn how far they can push (get it?) a tool they have before deciding if another is needed in their situation.
|Plus, using the same tool is faster: you already have it out.|
For rough work, I do my best to avoid having to thickness stock very much. My wooden jack plane with an eight inch camber on the blade hogs off wood like crazy and in no time flat. A BU plane is difficult to put a camber on the blade because of the angle of the bed. Taking 1/16" thick or thicker shavings isn't going to happen.
It will take medium sized shavings. If your wood is roughly the thickness you need it, and mostly flat to start with, it is a breeze to bring it to good working dimensions with this plane.
For fine smoothing, again, choose your wood wisely. This plane will easily achieve a finish quality surface without much work. Even without going crazy with steep sharpening angles. Make sure the blade is as sharp as you can get it, and you will be fine. At least until you try to plane against the grain. Even then, lighten the cut a little more and close the adjustable mouth as tight as you can.
For jointing, I find this plane to be long enough to joint nearly anything I can throw at it accurate enough for gluing up a panel. It does take some skill. One will get good at making edges flat eventually with this tool. Just keep checking with a good straight edge, and practice removing the parts that aren't flat. Follow that up with a fine shaving from one end to the other. I find it rare that I need to pull a jointer out for edge jointing anymore.
I finished the shelf, but did not yet finish the drawers that were supposed to be an integral part of the design. It looks a little funny with that one strip of dark wood on the divider. That's because that is the same wood that will be the two drawer fronts. Maybe I can get them in over the next few days. In the meantime, I'll submit this shelf as it was Sunday night when I completed it.
Here are some pics of what I did on Sunday after my last post.
|I have an idea for the divider that requires stopped dadoes. It's only a little more complicated than through dadoes.|
|No router? No problem.|
|Except this part. This part was a little harder.|
|Not perfect, but this will suit just fine.|
|All parts for the carcase are done.|
|I wanted to pre-finish the parts, so before glue-up I burnished all of the pieces,|
|And applied a home-made soap finish.|
|This was actually the only parts I glued. Everything else is only nails.|
|First I lay out the nail holes. I learned the hard way that pencil lines are hard to get off after nailing.|
|Drill pilot holes with a tapered drill bit.|
|Insert the nails,|
|and drive them home.|
|I marked where I wanted the nail holes, then drilled with the tapered bit just until...|
|It starts to poke out the other side. Then...|
|Put the joint together and drill the entire pilot hole.|
|Everything is together surprisingly well!|
|Now it's time for the back. I cut three pieces to length.|
|Then I used my self-made ship lap plane. This thing is coming in way more useful than I ever thought it would.|
|Once the ship laps are done, lay out the pilot holes and drill.|
|All that is left is to trim the top pieces. I used a jack plane and a flat bottomed spokeshave.|
|Finished! At least, as finished as it will get for this Build-Off.|
|It involved a hike.|
|But the view is great!|
Today so far has been a lot of little stuff that you can't really see any progress with.
Hopefully I'll be able to nail the carcass together soon and get started on the drawers.
|I figured out why this toggle doesn't close right - a crack!|
|Easy fix with hide glue. On to regular programming...|
|Working on the spacer.|
|Glued a dark bit to the front.|
|Top rail being rabbeted in.|
|One step closer to glue up!|
|This spacer goes between the two drawers.|
Before just dropping my tools like I usually do, I had to ask myself, "What would Alex do?"
|Trying out the newly sharpened rabbet plane.|
|Oh, this is way easier than doing it with only a saw and a chisel!|
|Saw and chisel for a dado is easy, though.|
|What Would Alex Do?|
|Cross cutting shelves to length.|
|Now they are the right width.|
|Here's a sneak peek of the finished project.|
Time for coffee and pastries.
It's coming along, I should be done in about a week or so. :o)