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The traditional way of learning to carve was via an apprenticeship. Some kid who thought, or whose parents thought, that he had some talent for sculpture would be apprenticed at age 14 to a master carver. Ideally, seven years later the kid would be able to carve well enough and fast enough to make a living. Very talented youngsters, such as the young Grinling Gibbons, even had sponsors pay for their training. Amateur carving became a popular hobby in the 19th century, when shorter working hours made hobbies possible and the Arts & Crafts movement made craft hobbies attractive.
When I was a young woodworker, you could study carving in three ways:
In person at a class:
When I studied at the Craft Students League, carving was always a popular course. In-person craft classes provide the opportunity to for a teacher (and your classmates) to observe you carving and suggest ideas and techniques to improve. It's certainly the best means of instruction. But nowadays many carving programs (like the Craft Students League) have closed, and realistic carving and decorative architectural woodwork have decidedly gone out of fashion. Longer work hours may make evening classes difficult, even if you are lucky enough to live near a class. One-time workshops and seminars can be treats, but they don't have the regular weekly practice that a local class can have.
From books and magazines:
This is a fine way of learning and still has tremendous value. Carving magazines are a great source of ideas and designs, overviews on tools, and written instruction. They fall short, however, because a picture or drawing, even a before-during-and after picture, cannot always illuminate the particular misunderstanding a student has on a specific area. I had that issue myself with lettering. I went back and forth over one paragraph and I still did not get how to do serifs without breaking off a bit. Obviously the writer (Chris Pye - who is and awesome writer of instructions) missed the particular situation that a thickheaded student could miss.
From videos -- VHS and television shows back in the day, and in the modern world, DVDs: DVDs are the best of the video presentations. You can see the project being made, and things that are hard to understand on the written page can be easily demonstrated. Professionally shot and edited videos, traditionally 45 minutes or longer, are expensive to make (and so their cost must be recouped) and generally designed for linear watching on a computer (or old school DVD player). Increasingly this is not how people consume "content" - viewers expect to be able to find short videos focusing on particular issues that can be watched on a phone or tablet.
But here comes an entirely new method.
A couple of years ago, Chris Pye set up a subscription website to teach carving. The site now offers several hundred videos, all short. You can watch them in a curated sequence, or individually to answer a question, or randomly to see what's up. This is how I sorted my serif problem. I just watched the snippet I needed on serifs and I was done. I didn't have to wait for a DVD to arrive in the mail, and I could watch it at my bench until I got it.
I realize the obvious rejoinder to the idea of subscribing to a service is, "Why would I pay for video when I can get it all for free on YouTube?" This is a valid point. There are three main advantages to subscribing rather than viewing on YouTube.
The first reason is coherence. If perchance you were to wake up one morning and have a burning desire to make a nameplate, you might type "how to carve letters into wood" into YouTube. You would immediately get a list of credible videos. Some might be good, but most topics get a mix of good, off-topic and waste of time. You could probably muddle through and learn a bit.
But this isn't what really learning carving is about. It's a question of coherence. A good teacher will want you to understand sharp tools, which tools, lettering fonts, basic technique, and then more complicated approaches. The whole point of a website devoted to teaching carving as taught by one person is to get the benefit of your instructor's worldview and best practices. You get the sequence of lessons you need to really master the breath of a skill, and -- because all the lessons are taught by the same person or school -- the approach is consistent. YouTube, for all it's many wonders, gives a platform for every approach and method on the planet, and consequently it lacks consistency and depth. I am learning to carve the Pye way. It's not the only way to learn, there are several excellent sites on learning to carve via subscription. But as I know from previous experiences, Pye's approach really speaks to me, and with each video and my practice, I am slowly building forward. I am not learning every possible way to do something, but one way, that works and can expand.
The second service that you get with a subscription is that you can ask questions. If you have a problem you can email Chris and get answers.
Third reason is one of support and belonging. By supporting a teacher's subscription service, you enable more videos to be produced. The money goes straight to the teacher and goes a lot further. Because there is a revenue stream, production values are professional, and the topics covered can have both breath and depth. And at the same time you are belonging to something. The school of carving that Chris has established, even though it's virtual, has a style and a method, and you now have studied and learned in the same way as all his other students. If you get together for a reunion, you can sing the old school songs and understand and support each other's carving in a way that schoolmates can. And as a matter of fact, that's why I periodically write about his site. I am learning to carve; I really like his approach; and like a good alumnus, I want to give something back so I work the old school tie into all the conversations I can.
N.B. The videos in this blog are from several sample lessons Chris has put on YouTube.
“Popular Workbenches” is often suggested as a title revision for the magazine, given the number of workbench plans we’ve offered over the years. And it’s true that we have published a generous number of them – but every one is different! And given that a worksurface of some kind is integral to any workshop, well, it’s a perennially important topic. So in this post, just for fun (and to procrastinate […]
|setting up for mitering|
|out with the old and in with the new|
|rabbets are next|
|get a ridge|
|cleaned it up with the bullnose plane|
|done and with no blowouts|
|6/8 tongue and groove planes|
|I didn't do any work on the irons|
|made the tongue first|
|plowed the groove|
|went through this knot like it wasn't there|
|it is a snug fit|
|I was expecting more room underneath the tongue|
|5/8 tongue and groove|
|7/8" tongue and groove planes|
|they match up|
|5/8" tongue and groove|
|one of these, or both don't belong to either plane|
|#1 and #2 grooving plane irons|
|they are marked 5/8|
|next T&G planes - irons line up|
|I haven't done any work on the irons|
|where the size confusion is|
|half inch stock|
|better centering of the groove on 3/4" stock|
|fits, not quite flush, and the groove is deeper than the tongue.|
|pretty close on the flush|
|the iron end is square|
|the iron is twisted?|
This was my fun in the shop for today. I stopped to go shovel the driveway and that wore me out. After that adventure I spent the rest of day watching Richard Maguire's sharpening videos.
What are the only two words in the english language that contain all the vowels, including y, in alphabetical order?
answer - facetiously and abstemiously
The genesis of this blog was a visit to Atlanta in February of 2012. I attended the Cathedral Antiques Show, which I think is the finest antiques show I have ever attended. Nothing but the best with prices and hors d’oeuvres to match.
A dealer there had a game table I had read about but never seen. It has a mechanism for table support that is unique. It was a gorgeous table with a high level of appropriate decoration. The dealer was anxious to show me the table and explain in great detail the history and construction of the table. It was amazing.
Only problem was that the show had a rather strict “no photography” policy. The dealer was sympathetic but was more concerned about his status as a dealer than my blog. That I wasn’t writing yet.
I finally found another table of this design at an auction a few weeks back. I can finally share this different table with you, my loyal reader.
But first, a prime on game table technology. The game table or card table for the purposes of this blog refers to a relatively small table with a folded top that opens to reveal a flat surface that is meant for playing cards or other games. There are many forms and variations of this table including:
The one-legged table:
I have not seen a two-legged table. It could be that there is a trestle table with a folding top, but I’ve not seen it.
A three-legged table might be possible but, again, I’ve not seen one.
What comes close is actually a four-legged table:
In this implementation, the fourth leg pulls straight out of the rear apron to support the top.
A variation of this table:
Then we advance to the four-legged table. This variation has a hinged or gate leg that swings out to support the top:
This table needs two legs to make it happen:
(I was looking for through my library for a picture of this type table without luck. Then I went over to an auction Wednesday to preview on online auction and found this one being readied for the next auction.)
Let’s not forget the five-legged table:
This is an example of the table for which I have been searching for these five long years:
English Queen Anne Card Table
Description: Mid 18th century, mahogany, mahogany veneer, shaped top with molded edge, opening to reveal felt lined interior, skirt with herringbone line inlay, cabriole legs featuring acanthus carved knee, raised on pad feet.
The side view led me to believe that I had found it:
Using my spiffy camera with live view and rotating/swinging back I was able to shoot up and see what lay beneath:
There was a mechanism that unfolds and allows the back apron to fall back well over 18″ to support the top:
This view shows the board that slides in the groove to lock the back legs into place.
This blog has been five years in the making. Was it worth it? We’ll know when awards season arrives.
RULE 1 – Don’t Sweat The Small Stuff
Don’t sweat the small stuff. I have heard this saying over and over throughout my life. It always made a kind of sense to me, but had never become real to me until I stitched it together with the next two “Rules” .
Not sweating the small stuff could be taken as a polar opposite to what constitutes craftsmanship. The taking of the time and the effort to “sweat the details”. This is NOT how I choose to use the phrase here. I insist that a craftsman deliver their own, best effort, at all times and in all their projects. No corner cutting.
Rather, by embracing rule 1, it sets the stage for a woodworker to free themselves from fear. What I mean here is that in woodworking, and in life too for that matter, Fear is often times the major stumbling block to those good and satisfying things we wish to have in our lives. Fear is a barrier to attaining what we want in our heart, to accomplish.
Fear of failing, fear of embarrassment, fear of not measuring up to our peers. There seems to be no end to the number of things that we as people, let alone craftspersons, can convince ourselves to be afraid of.
By adopting a philosophy of “not sweating the small stuff”, we open ourselves to possibility.
Sure, all those things we convince ourselves to be afraid of don’t just go away. The chance that we might fail or be embarrassed surely do exist and may indeed come to pass.
The difference is, if we adhere to these three rules, and do so with genuine and honest effort, we can reach a place of Madcap Nirvana. That is to say, we just don’t care if we fail, we just don’t care if we do something embarrassing. We embrace the failure, we embrace the embarrassment.
A key element of Madcap Nirvana is redefining failure or embarrassment or other negative, fear driven outcome, as an outcome other than what we initially had hoped for. In embracing the possibility of outcomes other than what we initially had hoped for, we open ourselves to what is, rather than what should be.
Taking this a step further, it is in the acceptance and willingness to embrace what is, over what should be, that we can find avenues of creativity and discovery that would otherwise have been unavailable to us were we to remain fixed in the focus of what should be. Learning to operate in acceptance of what is creates an environment that allows the artisan savor each moment in the creative process fearlessly.
RULE 2 – It’s ALL Small Stuff
It’s all small stuff, and I can prove it…If you woke this morning, were able to open your eyes, see the dawn, wiggle your toes, stretch, feel the sun on your face, smell the lilac, walk to the kitchen and make fresh coffee… those things, are BIG STUFF.
Everything, and I want to emphasize this, EVERYTHING else is small stuff. The rest of your day is icing on the cake. Just realizing that having the ability to do those things I mentioned above, is reason enough to take the rest of the day as something to be grateful for, enjoy, and hypothetically would make the rest of the day something of a vacation day.
That is in spite of having to go to a job we dislike, or having to interact with people that leave us with a bitter taste in our mouth. We are ALIVE, and…and this is another big one… we are alive and have the ability to go out to our shop and make shavings or make sawdust.
What an amazing gift that is!
So if those dovetail joints don’t fit just right, or that board is not as square as you had hoped it would be….so what? So what if it looks like a failure?
It’s a demonstration of effort. It is a celebration of our ability to take advantage of having opposable thumbs. It’s an example of a creative soul attempting something different. That alone makes the attempt worthy and worth doing. Everything else, just as in the example above, is gravy.
RULE 3 – NEVER FORGET RULE 1 & 2
This rule sounds almost flippant, or as something said as a joke or tag line, but is actually the most important rule of the three.
I try every day to remember not to sweat the small stuff. I try every day to remember that it is ALL small stuff.
Am I successful? Sometimes yes…and…sometimes no…and that’s just fine.
Sometimes I forget that it is amazing that I woke up in the morning. Sometimes I forget to wiggle my toes. Sometimes I forget that each day is remarkable simply because I am alive to experience it. It’s natural. It is part of the human experience to live some days with less than monastic meditation and gratitude each and every moment.
However, on those days when I remember rules 1 and 2, I find that I enjoy, even the smallest victory, more vividly. I find that things seem to flow more smoothly. In those times when the inevitable mistakes are made, I try to remember to embrace them, and look for the lesson in them. Or look for the discovery in them. Or look for the creative method to manage, or even fix the mistake. If i’m faithful in this, I nearly always find what I am looking for.
Remembering these rules has absolutely changed the way I experience the world. I would be willing to wager that it may be a game changer for others as well.
I would say this though, take the three rules and make them uniquely your own. Don’t take my word for it. It is through the prism of an individual’s experience that these rules should be applied. Apply them to your own experience in a way that makes the “rules” yours.
I submit them as an example of my own experience, and fodder for contemplation and consideration, not as gospel. It would be presumptuous of me to make the assumption that these three rules are universally applicable. They may very well not be. They are truth in my own experience of life, and it is my hope that they are in someone else’s as well.
John McBride is a professional woodwright, blogger, and writer, living and working joyfully and with abandon in Denver, Colorado.
Digital woodworking comes with a lot of moving parts: new hardware; new software; new methods and skills. But it’s the machinery itself that gets most of the attention. CNCs, Laser Cutters and 3D printers are all impressive machines. Watching them work, and the resulting precision, is the main focus of this new way of woodworking. With all that amazing machinery magically moving around, it’s easy to miss the most important […]
|flushing the tails|
|need two more shims|
|last one to fill|
|sawing the last thin shim|
|won't be too fat for long|
|partial gap to fill|
|new pine lid|
|flattening a new way|
|knot or something funky here|
|I don't know what this is|
|back to the old kitchen cabinet wood|
|planing the rabbets first|
|just noticed this when getting the lid width|
|opposite side entry|
|opposite side exit|
After I planed down to the pencil lines, I squared up the rabbets. I started with the shoulders first and did the flats that go in the grooves when I fitted them.
|bit of a gap|
|starting to bind with a little more than an inch left to close|
|blew out this corner|
|any scrap will do|
|cleaning up the bevel|
|will it work?|
|I had enough room|
|couldn't remove all of it|
|flushing the bottom|
|forgot the thumb grab|
|I like this gap|
|one of the last boxes I made|
|made this the same time as the one above|
|warming up the OBG|
|glued the bottoms in place with the OBG|
|first coat tonight, second and last one tomorrow|
|branded and dated|
A couple of weeks back, I wrapped up a three-presentation series on curved components. The last of the series covered bent laminations. (Other parts of the series discussed brick laying and stacked laminations.) Glue application is key. You have to spread glue on thick.
Bent lamination work is a bit more involved because you have to have a form to bend your thin laminations around or against. Also, you’re working with six to 10 laminations, depending on the thickness of your end part.
From the corner cabinet stud to the first sink stud was 14 1/2" and the next stud was 15". The lone screw into a stud in the last cabinet was 16" OC .
I also had to shim the front of both cabinets up over a 1/2". I thought the floor sloped down into the middle but I was wrong on that. The floor is high on this wall and it slopes down and away straight into the opposite wall. Nothing in this house surprises me anymore.
|typewriter desk has set up|
|the back molding|
|the would be drawer fronts|
|only three small glue blobs|
|flushed the back|
|plowing the lid groove|
|I didn't try|
I did look at placing the tail out of the way when I did the layout but I didn't like the look. This is a situation where I think laying out the tails and pins over rides a groove running through it.
|it is a small hole|
|laying out the center divider|
|sawing off the line and planing to the line|
|first dado done|
|it's taken me a while|
|wee bit short|
|plugged the holes|
|holder for the side rabbet planes|
|switched to plan #2|
|last step - use a coping saw to remove the waste|
|chisel work to clean up the slot|
|don't need it now|
|where they will live|
|found a lid|
Which US state has had the most tornadoes?
answer - Texas, Kansas is second and Oklahoma is third
I got an email from Tara Alan, pointing me towards a crowd-sourcing fundraiser that seems a worth cause. A school group looking to raise money for spoon carving tools! I’m not involved in any way – I don’t know the people, etc… But Tara thought my readers might be willing to help. There’s worse ways to spend a few dollars…
here’s the blurb –Pre-Industrial Spoon Carvers!
I have an amazing group of students! They are curious, hard working, and love hands on projects. We live in a small Vermont town in the Connecticut Valley. My students farm, build race cars, and play basketball so they no strangers to hard work. We study the Industrial Revolution in 8th grade and are fascinated with how people lived prior to the machine age. They made everything! If you needed a chair- you made it, if you needed a spoon- you carved it.
Kids these days get their spoons too easily.
People used to have to carve them by hand! I want to teach my students how to be spoon self-sufficient. I’d like for them to understand and appreciate how much work goes into making things by hand.
Most kids don’t think twice about grabbing a plastic spoon to eat their lunch and then tossing it in the garbage when they’re done. I want to teach my students to appreciate the spoon and how much work used to go into making them.
We often overlook the smallest things that make us human.
We are tool makers and users. I want to teach my students the practical and timeless skill of carving spoons.
They will learn how to select the right wood, practice safe tool use, and come to appreciate the value of doing things by hand, the slow way.
Your donations will pay for spoon carving knives and finger guards to keep them safe. Your donations will also get us a couple of books that will inspire us to create beautiful spoons.
We have an outdoor classroom in the woods near our school that will serve as a source of wood and a place where we can sit and carve together.
Just follow the link if you’d like to help… https://www.donorschoose.org/project/pre-industrial-spoon-carvers/2470192/?givingCartId=5653247
I’ve been wiped out with the flu this week, so it felt nice to find some uplifting item in today’s inbox. Good luck to all involved…
Here is the full slate of activities.
May 23-27 Making a Ripple Molding Cutter – this is less of a workshop than a week long gathering of fellow galoots trying to design and build a machine to allow us to recreate ripple and wave moldings. Material and supplies costs divvied up, no tuition.
June 16-18 Make a Nested Set of Brass Roubo Squares – This is a weekend of metal working, as we fabricate a full set of nested brass squares with ogee tips, as illustrated in Plate 308 of l’art du Menuisier. The emphasis will be entirely on metal fabrication and finishing, including silver soldering with jeweler Lydia Fast, and creating a soldering station for the workbench. Tuition $375, materials cost $50.
July 24-28 Minimalist Woodworking with Vic Tesolin – This week long session with author and woodworking minimalist Vic Tesolin will begin with the fabrication, entirely by hand, of a Japanese tool box. Who knows where we will end up? I am looking forward to having my own work transformed. Tuition $625, materials cost $50.
August 11-13 Historic Finishing – My own long-time favorite, we will spend three days reflecting on, and enacting, my “Six Rules For Perfect Finishing” in the historic tradition of spirit and wax coatings. Each participant should bring a small finishing project with them, and will accompany that project with creating numerous sample boards to keep in your personal collections. Tuition $375.
September 4-8 Build An Heirloom Workbench – I’m repeating the popular and successful week-long event from last year, wherein the participants will fashion a Roubo-style workbench from laminated southern yellow pine. Every participant will leave at the end with a completed bench, ready to be put to work as soon as you get home and find three friends to help you move it into the shop. Tuition and Materials $825 total.
Since some recent research revealed the attention span of Americans to be eight seconds, I’ll re-run this periodically.
If any of these interest you drop me a line here.
Last summer my Dad gave me his old cash register he was storing in his basement for the past thirty years. I was glad to take it, but I had no need for it so, I decided to sell it on Craigslist.
My Dad told me the cash register was handed down from the family as it was used in his uncle’s store. My Grandfather opened up a hardware store back in the ’50’s in Detroit called Flaim Hardware and my Dad would work there as a kid. I originally thought that the register was used in that store, but apparently not. This register is much older than the 1950’s.
I sold it to a guy on Craigslist who restores old cash registers the same way I restore old tools. He asked if I wanted to see pictures of the register as it was being restored and I told him I would love to, so he emailed me them during the process.
He took the entire case apart and cleaned and oiled all the mechanisms so that they would work properly.
Once everything was cleaned and working, he polished the brass case back to original form.
Since he restored many registers before, he had the appropriate parts that were missing off the register. He added the brass bar just above the drawer and a new $.05 key. All the price keys were cleaned inside and shined up nicely.
The entire registered shined back to life and looked better than ever. I’m glad the register found its new home as it’s nice to know there are people out there that can take objects that are just sitting around in people’s homes collecting dust or rotting away and bring them back to life. Much the same way I do with old tools.
|after dinner friday night|
|marked these wrong|
|erased them when I did a 6 sided clean up|
|squared up the ends of the typewriter plywood|
|layout batting next|
|half lap this onto the leg assemblies|
|idea # 4,569|
|shoulders were a bit out of square|
|going with this|
|the back brace will hide 99% of the tear out here|
|gluing it up in steps|
This is where I stopped and got some lunch. After lunch I was 'waiting' for the glue to set up and started playing the nodding game.
|moldings for the desk|
|these will be glued to the plywood hiding the edges|
|flat piece for the back|
|needed some bullnose work|
|on a roll|
|tails laid out|
|getting rid of my training wheels|
|it is working|
|what I normally use|
|it usually slips this way|
|flushed the bottom so I can groove it|
|making a stopped groove|
|missed it on this one|
|only a small chunk missing|
|stopped groove ends|
|first marking gauge|
|2nd marking gauge|
|needed a third gauge|
|chiseled the stops at both ends first|
|made it about 3/8" long|
|it wasn't that difficult to do|
|first one done|
|the plywood fits|
|partial dry fit|
|bottom finally fitted|
|I'll fit this divider tomorrow|
Unless you live in Arizona or some other sensible state, today it spring ahead on the clocks. And the rumor on tuesday's snowfall is 20"
Who was the first ML ballplayer to win a batting title in 3 different decades?
answer - George Brett did it in 1976, 1980, and 1990
If you know me, then you know I don’t do woodworking for a living. I’m actually a sales rep for one of the largest building manufacturers in the country. I sell patio block, mulch, and concrete mix to Lowe’s and Home Depot’s in the Cincinnati, Dayton area. Unfortunately, I got hurt at work.
Part of my job is to get my stores ready for spring by making patio hardscape displays on the shelves of the garden department. While in one of my Home Depot’s, I removed the old display and had to put a shelf in its place. In order to get the beam locked in place, I had to hammer it down so that the little nibs would lock in the hole properly. I got the right side of the beam hammered in place, when I was working on the left side. Being right-handed, I was using my left hand to hold the beam against the rack pushing it forward while swinging a mallet with my right arm. Just as luck would have it, hammering across my body, I barely nicked my pinky finger with the end of the hammer. Had I not been swinging so hard, it would have just caused a blood blister, but because I was wailing at the beam with such force, the blow blew the tip of my pinky open. As soon as I felt it, I knew it wasn’t good, but I didn’t know how bad the cut was until I went to the bathroom to clean it up. Once there, I realized I had to go get stitches as I could I open up the top of my pinky finger.
I traveled to a nearby hospital where they put five stitches in my finger. I also found out through x-rays that I broke my bone as well. I have to wear a splint for the next month. I always thought that if I ever cut one of my fingers open, it would be from a band saw blade, chisel, or a knife. I never thought it would be from the brute force of a 3lb drilling hammer.
The stitches came out last week and I should be fine in about a month. I’ll need to keep the splint on my finger as the bone heals, but it’s not a big deal. The protrusion of the splint from the top of my finger keeps me from hitting my pinky on objects. I take off the bandage everyday and clean the wound. You can see how much my finger has swelled from the blow. I feel stupid for hitting my finger, but it was more of an accident than anything.
For me the great honor at Working Wood in the 18th Century was being asked to serve as the after dinner speaker. Kaare had asked me to work with the topic “sometimes the old ways are the best ways” to which I gladly complied. Of course I provided my own peculiar spin on the topic, but everyone seemed to laugh in all the right places so I guess it went well.
Of course the highlight of the evening was the scrumptious chocolate cheesecake awaiting me at my place on completion of the chat.
I got a lot of very positive feedback on the talk, and was even asked to summarize part of it as an article in next year’s American Period Furniture. That section of greatest interest was a list of ten “assignments” I gave to the audience to stretch their handworking boundaries. For some in the audience, perhaps even most, this was simple encouragement and validation, for others it was a legitimate challenge.
I will blog about each of those assignments individually over the next fortnight or so, but here is the list:
- Restore an old tool to wondrous functionality
- Make a new tool and incorporate it into your bench work
- Learn to sharpen. Really. Everything
- Incorporate one (then all) of these traditional tools into your work — spokeshave, drawknife, scratch stock, toothing plane, froe
- Saw and prepare veneers by hand
- Learn to prepare, modify, and manipulate and use hot hide glue. Then use it.
- Execute a decorative painted surface
- Make from scratch, from stock you prepare yourself, one of the following — parquetry, floral marquetry, Boulle-work, a Federal paterae
- Prepare a surface without the benefit of sandpaper, then apply a finish not using a spray gun, polyurinate, or cellulose nitrate
- Make a piece of furniture entirely without power tools, beginning with a piece of firewood or similar
|it's lumber core|
|long ones are toast|
I put the doors aside and used a couple pieces of 1x4 poplar to get the legs. I am doing most of this work on the tablesaw to whack this out as quickly as I can. At this point I was bit delusional thinking I could get this done to take it to work tomorrow.
|outside cuts done|
|sawing the shoulder|
|last of the shoulder cuts, cheeks next|
|it's the law|
|one frame dry fitted|
|typewriter and mouse desk|
Keeping the legs at 90° to bottom I don't think I'll have problems coming up with something. Attaching the legs to the bottom will take some thinking. This plywood is 3 frog hairs below a 1/2" and that isn't a lot of meat to screw into.
I won't be taking this to work tomorrow so I'll have time to figure something out. Now it's time to get ready to go out for fish 'n chips.
Who was Ray Tomlinson?
answer - he is regarded as the inventor of email
The two better local auction houses each had an 18th century Bible box in the same week’s auctions. As best I can recollect, neither has had a Bible box before. Both of them having one in the same week is really unusual.
The first one up is this:
Eighteenth Century English Bible Box Desk
Description: Mid 18th Century; 10.75 inches height, 23.5 inches width, 16 inches depth; made of old English oak, has fully carved front panel of interlocking scrolls, interior has two upper fitted drawers, has original hand forged butterfly hinges, and locking clasp, constructed with hand forged rose head nails, overall condition is outstanding and original.
This one could be used as a writing desk. The lid is plain and it has a pencil ledge.
And the other auction house had:
English Relief Carved Bible Box
Description: Mid-18th century, oak, top and hinged lid with chip carved edge, wrought iron hinges, the lid is relief carved and dated 1740, open interior with three upper horizontal divisions, front with relief carved stylized dragons.
This one has a carved lid:
Not useful as a writing desk unless you just plan on writing Post-Its.
The first one has two drawers in the gallery:
Oddly, the drawers are not dovetailed:
The second box has a divided gallery:
The first one has a single board back with some interesting bead details:
The second has a single board back without decoration:
Front edge has decoration on the first:
Plain edges on the second:
One of them followed me home.
Actually, I had to go back and get it.
In my hands this morning…
I am not displeased.