Journeyman's Journal

Glue extractors at Young & Co., Bermondsey, England, circa 1905

Short answer upfront. 250 bloom became the everyday shop standard because it was a practical, widely produced and widely stocked grade that balanced working time, tack and speed of set. 192 bloom was and is favoured for veneering and fine work because it stays workable longer and dries to a slightly more forgiving film. Gram strength measures gel strength not adhesive ultimate strength. If two joints contain the same amount of dry glue the final bond strength is largely similar. What changes most is handling, pot behaviour and how the cured glue film behaves mechanically.

Gram strength is the result of the Bloom gel test. The test measures how firm a standard gel of glue is by recording how many grams of force it takes to depress a standard plunger. That figure correlates with the average molecular weight of the collagen chains in the glue and with how the glue behaves in the pot.

Higher bloom numbers mean the gel is firmer and the glue tends to set faster and feel “stiffer” when it is gelled. Lower bloom numbers mean a softer gel, longer open time and a film that is a little more flexible once fully dry.

It is very natural to assume that a higher gram number equals a stronger glue but that assumption confuses gel strength with adhesive bond strength. Gel strength is about how the glue behaves in the pot and in its undisturbed gel form. It does not directly tell you the strength of a well executed joint when the same amount of dry glue is present.

Practical tests and the experience of makers show that when joints are prepared and clamped correctly and when the dry glue content is roughly equal, the ultimate bond strength does not scale directly with bloom. The differences makers notice are working time, tack and cured film behaviour rather than a clear superiority in tensile or shear strength.

The dominance of a midrange grade such as 250 bloom came from supply and shop practice rather than from a formal demonstration that it was stronger. Industrial and regional glue mills made a small set of grades and merchants stocked what was available. A versatile, midrange product sold in volume and became the default everyday glue for joinery, cabinetmaking and general shop use.

Veneering and marquetry are specialist tasks. They need longer open time, gentler tack and a less brittle cured film. Softer glues were therefore preferred by veneer fitters. That practical division of labour and supply is why you see 192 bloom repeatedly recommended for veneer work while a midrange grade was the general shop staple.

Bloom gelometer patent drawing, 1925, showing apparatus to measure gel strength of glue

You will not find many 19th century adverts or catalogue entries that use numbers such as 192 or 250. The Bloom gelometer test and the numerical bloom scale were developed in the 20th century. In the 19th century makers spoke in different terms. They named glues by their raw material, by trade names, by intended use or by how a glue behaved in the pot.

Large glue works were already in place in the 19th century and they supplied tanneries, bookbinders, cabinet shops and other trades. Those works produced a limited palette of grades. Shops therefore used whatever general purpose stock their local mills supplied. Over time one of those midrange grades acted as the practical standard even if it was not labelled with a bloom number.

The Bloom gel strength test and the Bloom machine were introduced in the early 20th century and the numerical labels we use today start appearing reliably after that. Once the test existed suppliers and technical writers began to express those midrange and softer grades in numbers such as 250 and 192.

Manufacturers and trade literature of the mid century show the same pattern we see in modern writing. The midrange bloom was treated as the general purpose product while lower bloom grades were recommended for veneering, marquetry and other tasks that benefit from longer open time and a less brittle cured film.

A typical industry narrative in the early 20th century explains how standardisation emerged, and later supplier catalogues and technical bulletins use the bloom numbers to recommend which grade to use for a given task.

What I recommend

If you need one glue for everyday joinery choose a midrange bloom around 250. It is a practical compromise that historically served as the shop standard because it works for many tasks.

If you veneer, do marquetry or work on instrument tops choose a softer grade such as 192. You will get longer open time and a slightly more forgiving cured film.

Laying veneer with glue in place before clamping — longer open time helps you adjust and seat the veneer fully before the glue begins to stiffen.

If ultimate joint strength in an ideal test is your only concern the bloom number is not the decisive factor. Control the amount of dry glue left in the joint, prepare and fit the joint well, and clamp correctly.

Remember that both low and high bloom hide glues are brittle compared to many modern synthetic adhesives. Use hide glue when you need the specific advantages it offers for restoration, reversibility and working practice.

Luthiers and restorers choose bloom numbers for handling reasons. For example a luthier might pick a lower bloom for a top joint and a higher bloom for quick tacking of small parts.

Luthier’s workshop showing workbench, partially-built guitars and tools — a glimpse of where glue strength, handling and fit really matter

YouTube is a fantastic place to learn woodworking. Free lessons, tool reviews and clever tips have helped thousands of people pick up a saw or plane for the first time. Beginner friendly content matters because no one is born knowing how to square a board or sharpen a chisel.

But there is a catch. More and more creators are chasing the same audience of newcomers. Their channels are filled with “Five Easy Projects for Starters” and “Essential Tools for Day One.” It makes sense from a business perspective because videos aimed at beginners draw the widest net, bring in more clicks and keep the ad revenue flowing.

The problem is that woodworking does not end after you learn to cut a straight line. It is a craft that can take a lifetime to master. When channels focus only on first steps content they stop challenging viewers and themselves. Viewers who are ready to tackle complex joinery, hand tool mastery or fine furniture construction have fewer resources to grow. Experienced woodworkers either tune out or keep rewatching the same introductory advice packaged with a different thumbnail.

This race for easy traffic also shapes the projects shown on camera. Instead of exploring bold designs or traditional techniques many creators repeat simple builds that can be filmed and monetised quickly. The craft risks being treated as a trend rather than an art.

Beginner content will always have its place. Everyone needs a starting point. But a healthy woodworking community thrives on depth. We need videos that shows the thinking behind a complex cabinet. How to construct a high boy entirely by hand without using machinery. How to carve the ornamental details that adorn the cabinet. How to interpret complex, fully detailed plans instead of relying on simplified beginner drawings. Learn to read and understand every component of a plan. How to prepare your own varnish from scratch. How to craft the specific tools required for a project rather than simply buying them.These projects inspire newcomers to keep learning and give seasoned makers something to strive toward.

If you create woodworking videos consider mixing it up. Teach a skill that took you years to perfect. Share the mistakes and the slow victories. Your audience might be smaller at first but you will be feeding the craft rather than the algorithm and that is what keeps woodworking alive.

I built this ramped shooting board by hand using hardwood offcuts. In this video, I go over the build, why I made it ramped, and what planes it’s made for. Simple, practical, and made using only hand tools.

The title is not click bait, it’s real. I stumbled on it last night. It’s a total game changer for me and anyone else who wants to give it a go. I am talking about A2 steel razor sharp as if it has come off the strop in under 30 seconds flat. Watch the video to see how.

I made a quick video on sawing to the line without the need of having a knife wall. If your sawing abilities are right up there, then making a knife wall is just a waste of time.

If you haven’t seen the first part of this build yet, watch it here:

https://www.youtube.com/watch?v=bKP-WY1Aoy8 That’s where I cover the basics and show the setup — this video is all about the important tips and things to watch out for so your shooting board works perfectly from the start.

I made a new shooting boards for primarily for shooting edges of boards. There ‘s no specific length, they can be as long or as short as your work dictates. I go over some important on how to make it and how it’s supposed to be used.

This is probably the piece I’m most proud of.
Everything about it is honest and natural. The black comes from milk paint. The finish is nothing more than natural oils and beeswax, rubbed in by hand.
Every part of it was shaped by a real person, not a machine.
Even the camera couldn’t capture its true beauty.

In today’s world, how often do you come across something made slowly, by hand, with love?

This isn’t just an object. It’s a piece of my time, my care, my soul.
It’s priceless. The kind of thing you give to someone you love, someone priceless to you.

Because that’s what gives it meaning.
Love. Without that, it’s just wood.

If you’re into hand tool woodworking like I am, this next build is right up your alley. I’m making a custom book rack for a customer, packed with advanced joinery and thoughtful design. Watch along as I tackle the tricky bits and aim to keep everything looking clean and seamless.