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Do you have a copy of “I Can Do That! Woodworking Projects?” It’s a great book for beginning woodworkers, but also for anyone looking for quick weekend woodworking projects. We recently updated it for a 3rd edition, adding 10 new projects – so now’s a great time to check it out if you haven’t already. While accessible to newcomers, the projects in this book use solid basic techniques and yield some quality […]
The post Book Giveaway: I Can Do That! Weekend Woodworking Projects appeared first on Popular Woodworking Magazine.
My thoughts on the slight rabbet/shoulder the side bead planes make is this. After you have planed the bead, you plane that rabbet/shoulder off flush with the edge. The only thing I could find on the two planes on line is that the name was used interchangeably. Even though the side bead 'bead' is slightly angled the bead it makes is the same as a beading plane. Mystery solved for me, at least for the time being.
|first batter again|
|tannic acid applied|
|back flattening first|
|backs done to a little ways past the top of the round|
|free hand sharpened the bevels|
|sharpening and honing the round part is next|
|pitted or a rust spot|
|sanded up to 1200 grit|
|stropping finishes this|
|3/8" beading iron done - repeated for the 1/2" one|
|1/2" beading iron|
|mostly grudge with a little rust|
|made my blood offering to the Woodworking gods|
|removing the burr|
|stropped the bevels and the backs|
|round over layout for the plate rail|
What part of the body is the axilla?
answer - the armpit
Driving back from our research trip to Virginia’s Eastern Shore, we stopped in Norfolk for lunch and our first visit to the Chrysler Museum of Art. Our lunch was good, only sandwiches but well prepared with fresh ingredients. The museum was nice, too.
There was furniture scattered around and a nice exhibit of Art Nouveaux. All this will be covered in the near future.
I quickly documented all the furniture there and was ready to move on but my wife had other ideas. It was still raining hard and she was not ready to leave. We hadn’t yet seen the glass, the European and American paintings and sculpture, ancient and non-western art or photography. And what is the difference between modern and contemporary art?
There were two paintings in the European gallery of particular interest to me, they were period domestic scenes with furniture. Most of the furniture I see is in auction gallery or antiques shops. There is no context for the furniture. Historic mansions and museums like Winterthur and MESDA do show entire period rooms but these are all curated and idealized representations of the past.
Painted period rooms might be closer to the way things actually were. The artist was living there and then. These might not be 100% accurate but, like Wikipedia articles, close may be good enough.
The first is The Surgeon by David Teniers the Younger, Flemish, 1610 – 1690:
David Teniers the Younger Flemish, 1610–1690 The Surgeon, 1670s Oil on canvas Is there a doctor in the house? Not in this one. The medic in this picture is a lowly barber surgeon, a quack who preyed on the ignorant and poor. Surrounded by his potions and aided by two dimwitted assistants, he operates on a patient’s back, ignoring his painful yelp. The monkey crouching nearby is an age-old symbol of foolishness. He “apes” the patient’s pose, suggesting that the man is chained to the ignorant belief that the barber surgeon will cure him. Gift of Walter P. Chrysler, Jr. 71.480
The other painting of interest is Home by Sir Joseph Noel Paton, Scottish, 1821-1901.
Sir Joseph Noel Paton Scottish, 1821–1901 Home, ca. 1855–56 Oil on panel Noel Paton’s scene brims with details that bring its story of military valor and family strength to life. The Scottish soldier seated at center has just returned from the Crimean War. Slumped in a chair, his wife and mother fold over him. He has suffered serious wounds—his head is heavily bandaged and he has lost an arm in battle. But despite the sacrifices the family has made for home and country, the open Bible proclaims its spiritual strength in the face of uncertainty. The promise of a better future is embodied by the child sleeping peacefully in the cradle behind them. Museum purchase and gift of Walter P. Chrysler, Jr.
Woodworking is largely an exercise in subtraction. For much of what we do that subtraction is obvious – we can see the kerf left from a saw, we can watch the shavings fall out of our handplane and we brush shavings away from the work surface when we sand or scrape. In these instances, we can quickly assess how the process is going. Is my blade dull? Is my blade canted […]
Having trouble storing all of your clamps? In this 2-part video, Steve Johnson, aka the Down to Earth Woodworker, shares his plan for an adjustable, re-configurable, stacked Clamp Rack that is 5S compliant for his workshop. Turns out this new design allows for 2x the amount of clamps in the same space!
Take a look and see if Steve’s ideas can help improve the clamp storage in YOUR shop!
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.
|sink J clip|
|one of the better J clips|
|the J part|
|plates for the plate rail|
|this determines the plate rail groove|
|what I came up with|
|I think I'll go with 3 grooves|
|the before pic|
|new book came in|
|new tool catalog|
|I bought two more side bead planes from Josh too|
|4 beading planes|
|my three side bead planes|
|debating on getting the 5/16" size|
|my wife bought this for me|
What is a coutelier?
answer - a knife maker
We have a wonderful companion to the previous print in my inventory of First Edition prints from L’Art du Menuisier, this one being “Diagrams and Illustrations of a table and a camp bed with their Developments.” Again this page is in near-excellent condition with just the teensiest bit of staining along the top and bottom edges (this would be completely hidden by the mat when you get it framed.
The plate was drawn and engraved by Roubo himself.
If you have ever wanted to own a genuine piece of Rouboiana, this is your chance. I will be selling this print at Handworks on a first-come basis, with terms being cash, check, or Paypal if you have a smart phone and can do that at the time of the transaction.
I assembled the frame of the wainscot chair the other day. First, I had a few tenons to fine-tune. This step includes beveling the ends with a large framing chisel.
Then inserting each tenon, marking it for drawboring, removing it & boring the hole. 18 joints, 2 pins each, I get 36 holes.
Here’s an old look at drawboring – it looks like some of that is from the book I did with Jennie Alexander, Make a Joint Stool from a Tree. https://pfollansbee.wordpress.com/2009/01/25/drawbored-mortise-and-tenon/
This picture is a little hard to read, but it’s a step called “kerfing” the joint. In this case, the rear shoulder was in the way, keeping the front shoulder from pulling up tight. So you go in there with a backsaw, and re-saw the rear shoulder. Sometimes it takes a single pass, sometimes more.
Then you knock it all together again, I have already pinned the front section and rear section separately. I was looking to get a general overall photo…but this wasn’t it.
I went to the other end of the shop, and that’s the angle. Better anyway.
Then I went higher.
Here’s the frame. This one gets a crest, two applied figures one on each side of the rear posts, then seat, then arms.
Here’s the crest, with conjectural attachment. It gets nails through the ends, down into the integral crest rail. But I never felt like those were enough to hold it in place. So I added a loose tenon between the two crests. I chopped one mortise in the wrong spot, so you see it runs wide/long.
This is as far as I got yesterday.
In part two of this series, several techniques and tools were shown for accurately setting origin points. You can use line-of-sight, feel, extrapolation from a known diameter, edge finders, wigglers, 3D sensors and more. Accuracy is critical and although all these tools and processes work well, setting origins can be time-consuming. So, in my own shop, I often use other methods and tools to locate and set my origin points. As a […]
The post CNC Skills: Origin Points – Part Three: New Techniques appeared first on Popular Woodworking Magazine.
Many of us woodworkers experience low humidity in Winter – ever listen to your furniture pop and snap as the wood gives in to the dryness? As we move into Spring, the air again gains in moisture and often you can hear your furniture swell back toward fullness. These are drying times.
The same thing happens in the shop. Although because most shops are not as airtight as our living spaces, the trip from overly dry to moisture-laden can be more dramatic.
These past few weeks have been totally crazy. In the front of our shop, we're busy building three workbenches and their accoutrements for Handworks in Amana next month. In the back of the shop we're busy making saws and other stock for the show. This coming Saturday is the massive Festool Roadshow (free food, drink, gift bags, etc. - check it out) and that requires tons of legwork too. We also started a new blog of videos we found on various woodworking topics that we think others might find interesting too.
While all of this is happening, I was seriously concerned I would miss the "Small Wonders" show at the Cloisters.
I have been going to the Metropolitan Museum since my youth I grew up a few blocks away in a small tenement that is now the parking garage for a fancy building. Im also a big fan of The Cloisters, the Mets affiliated museum near the northern tip of Manhattan. The Cloisters is made up of cloisters excavated from French monasteries, indoor chapels and contemplation gardens filled with plantings of fruit trees and medicinal herbs that would have been used in medieval Europe. I like to visit the Cloisters every year or so and take in the ambiance of the gorgeous architecture, tapestries and other art.
The first and still favorite book of carving I ever owned (when I was about 8) Whittling and Woodcarving by E. J. Tangerman, which had a picture of a miniature boxwood carving from the late 15th/early 16th century from the Met's collection. It's about 2" in diameter. When I visited the Met regularly as a kid, I made it a point to search out the carving. As an adult I would regularly stop by to see it at and I'd always be filled with wonder. So I was determined to catch the show about these boxwood carvings,"Small Wonders: Gothic Boxwood Miniatures." The show is a joint project organized by the Met, Torontos Art Gallery of Ontario and the Rijksmuseum in Amsterdam and will be held in all three museums (and maybe others). The micro-carvings include prayer beads, altarpieces, coffins, skulls and other tiny creations. They are shockingly intricate and shockingly tiny. Some open up to reveal intricate tableaux. The next time I see a walnut shell, Ill be disappointed if I dont see an elaborate carved crucifixion within.
The carvings were both popular and mysterious in their own time. Henry VIII was a fan, as were many other rich and royal collectors. But the artists, and their techniques, were largely unknown. As a Dutch collector in the 17th century complained, It is regrettable that the maker of this ingenious piece has not made himself known with any sign. More recently, conservators and historians used CT scans and other scientific tests to analyze over 100 of the micro-carvings, and learned some interesting things about the carvers techniques. The most complex carvings were made in layers, with a given layer containing different figures of the tableau. The layers were then installed with tiny pegs and glued, but made to seem as if everything were carved from a single block of wood. If the carver needed access to a hard-to-reach area, he incorporated slits through which he could pole a tool through, then artfully concealed the slit in the artwork. Conservators discovered less careful, even somewhat shoddy work such as multiple holes, in some of the carvings undersides.. But peeking behind the curtain is possible only to those who dismantle the carvings, leaving the rest of us to marvel at the illusion of perfection.
According to a New York Times article about the exhibit, The original woodcarvers used foot-powered lathes, magnifying glasses made of quartz, and miniature chisels, hooks, saws and drills. The works were so detailed that individual feathers are visible on angel wings, and dragon skins are textured with thick scales. Crumbling shacks are shown with shingles missing from their gabled roofs. Crenelated spires have scalloped molding tucked along their doorways, and there are deep grout lines between bricks. Saints robes and soldiers uniforms are trimmed with buttons and embroidery, and there are nearly microscopic representations of jewelry and rosary beads.
For me, aside from my longstanding interest in one of the beads - in fact the the very one that the curators disassembled for the show - the amazing realism of the miniatures is one of the most exciting aspects of the carvings. There are also many other thrilling aspects. They have remarkable grace and fluidity. And although everything is off limits to grubby hands, some of the components within the dioramas, such as doves displayed in birdcages, can move around.
This coming Sunday (the day after the Festool Roadshow) I am going back to the Cloisters to hear a talk on these carvings by David Esterly, a scholar and master carver. I am looking forward to his insights on these miniatures. In part two of this blog I expect to have something interesting to report back.
|these two suck|
This is the 4th application going on these and so far only the walnut is showing promise for matching the cell phone holder color.
|1600 the same day|
|the ash piece is already better than the last attempt on the right side|
|I don't know about this one|
|out of sequence pic|
|about 6 minutes after the iron went on|
|53 inches long|
I've been trying to find out what the difference is between a side bead and a 'regular' beading plane. They both make the same profile and the only thing I can see is the side bead plane has the bead at a slight angle. The regular beading plane has the bead straight up and down. There must be a reason why the side bead is tilted and why it has the name side bead.
What is a curricle?
answer - a small open carriage pulled by two horses side by side
Growing up I thought everyone had a Bridgeport in their garage – or at least had access to a vertical mill at their dad’s shop across town. Little did I know at the time that growing up in a machine shop wasn’t necessarily normal. My father instilled in me at a young age a belief that there’s nothing that can’t be fixed – even if you threw away the […]
If you have a Rikon 10-324 or 10-325 14″ Bandsaw, and are sick of all of those hex wrenches, you need the Tool-less Blade Guide Upgrade Kit. Install this kit on your bandsaw in minutes and enjoy the simplicity of tool-less spring-loaded guides.
Find out more about the Tool-less Blade Guide Upgrade Kit in this 12 minute video.
The post Product Video: Tool-less Blade Guide Upgrade Kit for Rikon Bandsaws appeared first on Woodworking Blog.
I did a couple of presentations last weekend at Fine Woodworking Live; a seminar put on by the magazine. It was a sold-out affair, and seems like everyone had a good time. With the magazine staff, the presenters and the attendees there were close to 300 people there. All trying to consume as much information about woodworking and furniture-making as possible.
My talks were 90 minutes, and it’s hard to cram everything I know into that time slot. Because my work is so closely based on studying period pieces, I tried to show some examples prior to my demonstrations. This blog post will flesh out some of what I was talking about.
Al Breed came to one of my sessions, and asked about the insides of the mortises; is there any indication that the joiners bored them first? My reading of the evidence is that these narrow mortises, typically about 5/16″, are just chopped. No need to bore them first. These shots (scanned from slides, thus not as sharp as they might be) show the inside of the top front rail of a chest from the Smithsonian. The chest was made c. 1640-1670. Oak. The joint is broken open near where the till parts fit. One of the nice things about oak is how well it splits, but that’s a drawback too.inner front rail, smithsonian chest
Here’s a detail of that joint, showing the chopped bottom of the mortise, in the first photo you can also see the angle of the mortise’s end grain cuts, and the trimming of the tenon’s edges.
This chest has a joined front fixed to board sides and back. So a blending of a board-chest and a joined chest. Two pieces built this way survive from this shop.
To me it’s not a surprise that this joint blew apart, the surprising part is that more didn’t. I have written before about how much wood is cut away right were all these parts converge – the mortises for the top rails, the grooves for panels on front & side, the notches for the till side and till bottom, and the mortise bored for the till lid. It’s like a game of connect-the-dots.
here is part of that earlier post:
First, the two mortises, for the front and side upper rails. These are 5/16″ wide by about 3 3/4″ high. The one for the front rail is about 1 1/2″ deep, the other about 1 1/4″ deep.
Each has two 1/4″ holes bored in them, those for the front rail go all the way through the stile.
There is a groove running along each edge, into these mortises, for the beveled panels.
Additionally there is a notch cut across the inner face of the stile for the till bottom. this notch is about 3/8″ wide and about the same depth. It is positioned so that the till bottom is flush with the bottom edge of the upper rails.
What is missing from this photo is one more assault on this piece of wood – the hole bored into the stile for the hinged end of the till lid. This hole is usually about 3/8″ in diameter and about 1/2″ deep, and right near what will be the top end of the stile, after the extra wood is trimmed off the top. It will be about 3/8″ away from the mortise for the side rail.
Another thing we discussed (I think this was a breakfast discussion…) was the backs of pieces. Chris Becksvoort was telling us about Shaker work, Al Breed about Newport 18th-century work – I chimed in with a group of chests and cupboards from Plymouth Colony from the 2nd half of the 17th century. Here’s the surviving section of a chest with four drawers; in “as found” condition.
Look inside, the inner face of the rear section is a bit firewood-like. (the strap hinges are replacements) Narrow oak panels, with muntins that have large torn-out sections from riving them:
And a knot in one, and panels with riven texture – not planed smooth.
Sometimes the insides have fully-formed moldings on the framing parts. These get covered up as soon as the chest is filled with textiles. Some Boston joiners did the same thing.
All the chests and cupboards from this large body of work use employ chamfers on the framing parts on the side elevations; usually stopped chamfers. You see it below on the lower edge of the horizontal rail:stopped chamfers
But they did it too on the rear elevation. Sometimes smooth transitions, sometimes stopped chamfers. This is the part of the cupboard or chest that gets shoved against the wall! Hard to understand the outside being so neat when sometimes the inside is just this side of firewood.
My very talented friend, Jack Mauch, just completed a great looking door made of many segments of veneer quilted together to create a clever geometric pattern (aka parquetry). Each of the segments received a dip in a bath of fire hot sand to shade it accordingly. The project is marvelous and the video that depicts it, by Jesse Beecher, is a treat to watch. To learn more about the project […]
It was a different story by the time I got home from work. I had dull, throbbing ache in my lower back that no matter what I did, it wouldn't go away. It's not as bad as it was on sunday, but still bad enough to be annoying. This is also the first time my back has hurt going into a second day. I'll putting the heating pad on it tonight.
So because of that and not wanting to aggravate it anymore, I skipped woodworking in the shop tonight. I still went there but I didn't use any tools or make shavings. I picked up on the ebonizing that I stopped a week or so ago. Can't hurt the back stirring powder in water or slathering liquids on a few pieces of scrap wood.
|lost about 3/4" of inch|
|fresh tannic acid|
|first batter is NZ pine from Lowes|
|tannic acid and iron applied to NZ pine|
|walnut turned black|
|white pine dipped in tannic acid first|
|the white pine after being dipped in the iron|
|the ash test piece|
|iron didn't turn it as black as I had hoped it would|
|my test piece from the last outing|
|this is not very encouraging|
|about ten minutes later|
|both pines are getting darker|
|this is disappointing|
|the sink clip from hell|
|strange way of clipping on the sink bottom|
What is a fugio cent?
answer - the first official one cent coin minted by the United States in 1787