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Peter Follansbee, joiner's notes
I took a break from basket making last week to finally build myself a dedicated lathe for turning bowls. Mine is based on the ones we used when I was a student this spring in Robin Wood’s bowl-turning course at North House Folk School in Grand Marais, MN. http://pfollansbee.wordpress.com/2014/06/05/bowl-class-tip-of-the-iceberg/
I think I first saw this style of lathe in the book Wood and Woodworking in Anglo-Scandinavian and Medieval York, by Carole A. Morris (York Archeaological Trust/Council for British Archeaology, 2000), then in the work done by Robin Wood and others…
First off, I jobbed out the long slot cut in the 3″ thick beech plank. I traded Michael Burrey some carving work for his labor – I coulda done it, if I wanted to…
Then came boring the hole for the legs. Legs like these angle out in two directions; to the side, and to the end. I mark out two angled lines off a centerline to help me sight one angle for these legs. Then use an adjustable bevel aligned on this line to get the other. This is based on the ideas I learned from Curtis Buchanan and Drew Langsner in making windsor chairs. (Drew is teaching a session at Woodworking in America that covers in detail this notion – setting the geometry to get these angles right. http://www.woodworkinginamerica.com/ehome/woodworkinginamerica.com/WIA2014/?&& )
In a case like a bench, or this lathe – I’m not too concerned about these being “just exactly perfect.”
This spiral auger is probably a nineteenth century one; it’s about 1 1/4″ or so…some now call it a T-auger, but it’s really just an auger. The ones that fit in braces are auger bits.
A detail showing the bevel to help line things up.
Here’s a bird’s eye view – showing how the auger aligns with the scribed line on the bench. So you sight that, centered on the line, then the bevel takes care of the 2nd angle.
Here’s the two poppets set into the slot. One taller than the other, these could have been longer still, but I worked with what I had. These are oak cutoffs from timber work.
Now wedge from below. I just eyeballed the angled mortise, then made wedges to fit.
The shorter poppet gets a bent pike inserted in the top. Then I slid this over to the taller poppet, to mark where I’ll bore for the straight pike.
Jumped ahead a step or two – here’s the tool rest arrangement. The tool rest support is just wedged into a slot cut in the outside face of the taller poppet. The too rest is pivoted into the top of the smaller poppet. Simple.
a 14′ sapling, lashed at its bottom end to a small tree on the bank above me, then resting in the cruck of two 2x4s – Now, the transition from the relatively still craft of basketmaking, to the aerobic craft of bowl turning. I need some practice.
Business first = I spent part of a recent evening blabbing about me & woodworking to Cory Mickelson http://craftsmansroad.com/ . I understand why it’s a “-cast” but I don’t know what the “pod” part is… I couldn’t get to it from the website; and used Itunes to hear it. Once it started, I shut it off. I can’t listen to me. Cory was very nice – some of you might want to hear it. for some reason.
But finally – birds. Daniel & I have been making some early morning trips to try to get shots of the glossy ibis and Little Blue Heron that our friend Marie told us about over in Marshfield. Today we had great views of 2 of the ibises; the Little Blue Heron – which you will note is white – was not too far, but still far enough that we couldn’t get good photos. The young LB Herons aren’t yet blue/purple like the adults.
To really see these birds; let’s swipe photos from Marie – hers are great…she had a Great Blue Heron one day she was there – Daniel & I saw him there one morning, but not today. then the ibis & the Little Blue Heron.
Basket bottoms. Two of our household baskests; c. 1987-90. The one on the left is a standard item; square bottom, round top. Ash with hickory rims; hickory bark lashing. The one on the right is our colored-pencil basket. Gets lots of use. A rectangular basket, all ash, rims either oak or hickory.
Here’s the bottom of the square one. Typical weave, resulting in openings between the uprights. Probably most splint baskets are like this.
Here’s what I call a “filled” bottom – thin and narrow filler strips woven between the uprights.
The filled bottoms of baskets are made a few different ways. One is to make a round basket, with “spokes” laid out to form the bottom and sides. I do these with 16 uprights; laid out in 2 batches of 8 spokes. Here’s the underside of our laundry basket; showing this spoke bottom from below.
Each upright, or spoke, is cut into an hourglass shape; so its middle section is narrower than its ends. This makes it easier to weave these things all close together. One spoke is cut in 2, down to the middle. This photo shows these first 8 pieces; the one my left hand is on has been cut down the middle to make an odd number of uprights.
I then take a thin, narrow weaver and start to weave these 8 pieces (9 really…) together.
Once the weaver makes a few trips around you get out to the point at which you can add in the next 8 pieces. I add these pieces one at a time, the weaver catches each one in turn and binds it to the section already woven. No need now to split one of these; things are up & running now. Around & around this goes, and you bend things upright after a certain point, to begin to form the basket’s shape.
The other filled bottom is a rectangular (I guess it could be square too, but I always made then rectangles) bottom, with filler strips laid in between the uprights. In this case, there’s 3 different pieces to deal with – the short uprights, the long dittos, and the thinner filler strips. These are just a bit longer than the finished bottom of the basket. So I start with laying the long uprights down, with filler strips between them. Then alternate in the short uprights over & under the previous bits. It gets a little complictated – it’s like when I teach joinery and carving – now for 2 consecutive thoughts, and sometimes 3.
This photo shows the first 3 of each upright, with 2 narrow thin fillers between the long uprights (those that run across this photo horizontally) Then I add in each kind of splint in pairs, the longs/shorts/fillers- as the case might be. I always work out from the center. Easier to keep things even that way. Usually.
I’ve got the polished satin-y finish of the fillers inside the basket – they appear bright white in the photo. Remember, all this stuff is very wet as I weave it.
This is the finished laid-up bottom. Next is to tuck the filler strips in.
I bend them back on themselves, and tuck them under the the 3rd upright -they have to go over the first two because of the weaving pattern. It just is. Then pull it tight, and trim it off just under the upright.
I wove two bottoms like this, then piled up some weaving material; and will re-soak these and weave up the bodies next time I get the basket stuff out. Maybe tomorrow, it’s nice work for a hot day.
Last week was basket week – and today I’ve started some new work, but I’ll show you what I did last week. Basket work will go on, but as a time-filler. I have enough baskets woven, or started, that I can pick them up here & there for an hour or two. Like many woodworking projects; most of the effort in basket-making is preparing the materials. I have written before about pounding the splints from an ash log – here’s links to old posts on the subject. I have some new posts coming up about peeling the splint, but in the meantime…
But right now, this post is about weaving up the basket bodies. Handles and rims are for another time. The basket itself is made up of the uprights and weavers. “Uprights” is something of a misnomer, because although they bend up to be the sides of the basket, they also form the bottom.
Uprights are generally heavier (thicker, and wider most often too) and weavers thinner and narrower. So a big part of the work is sorting and sizing the material.
If the splint is too thin to divide (or peel) then I scrape it smooth. This makes it less fuzzy, and also thins it some. Better for weaving. These pieces are uprights in the basket. To scrape it, I pull the splint across a piece of leather on my knee – then hold the knife in place to scrape it as I pull back…don’t do it w/o the leather! My them braces the knife blade so it stays stationary.
Then you have to trim them to the desired width. The baskets I was working on last week had around 25-30 uprights. Round baskets have 16, another time. those pictures are on a different camera.
Once you have all your uprights and weavers; you lay them out, this basket has long and short weavers; to form a rectangular bottom. I start with 3 going each way, and weave them one under the other, this way & that. Then add pieces side to side, and north & south. Here, I am weaving a single thin weaver around the perimeter of the basket’s bottom. This binds them together, keeps them from shifting around as I begin weaving the body. Some refer to this piece as a “keeper” – it keeps the uprights in place.
Some baskets have independent weavers – each horizontal row is a separate weaver. This is easy to do, but wastes a lot of material. So there’s lots of ways to weave a continuous spiral around the basket. But to do this and keep alternating where the weaver goes under and over the uprights, you need an odd number of uprights. You can split one, or add one. (or do one of several other approaches – but I usually split or add) – Here I added an upright, and tapered it to become the first weaver too. It’s towards the upper right hand corner of the photo – follow that bendy upright, and you see it weaves into the others. Then you just keep adding & overlapping each new weaver as one runs out. I overlap them for 2 uprights.
Then you just keep on weaving. I periodically dunk everything in the water, especially outdoors in summer. I want this stuff damp. Once I’ve gone around a bit, I gently bend things up and then cinch the weaver in tight as I go.
A basket like this has an “open” bottom – there are spaces between the uprights. That’s the most common form I make. but there is one we have around the house that is closed or “filled” in the bottom.
Next time I’ll show you how I lay that up.
Don’t forget – the spoons are posted and ready to go. The spoon rack I had sold, and one reader asked if I would make another – of course I will! Anytime you see something like that – if you missed it, and would like to order one, I’d be happy to oblige. http://pfollansbee.wordpress.com/spoons-more-august-2014/
The spoons, a frame-and-panel and one spoon rack for sale now – the top of the blog, or this link. . http://pfollansbee.wordpress.com/spoons-more-august-2014/ If you’d like to order something, leave a comment. I can send a paypal invoice, or you can send a check. As always, I appreciate everyone’s interest in my work.
Meanwhile, but here’s today’s blog post. I have some stuff underway that I haven’t put on the blog much, because I haven’t made more than a few baskets a year in 2 decades. This is the scene these days. Baskets, and more baskets. I used to make these a lot, before there was joinery. It really is exciting to explore them again; but I’m having to re-learn stuff I used to know pretty well. Today I had to make a slitting tool too, to slice up the narrow horizontal weavers. I’ll shoot it tomorrow when I use it again. I had one once, but it got lost in the shuffle 20 years ago I guess.
I decided to dedicate a whole week, maybe more, to making baskets. It’s been so long since I made more than one or two…and the only way it’s going to come back to me is for me to do it over & over.
Earlier in the week, I was shaving and bending some white oak for handles & rims. I’ll fit those on this weekend. I like the white oak even better than hickory for bending. The King of Woods, Daniel O’Hagan used to say…
back to the week that was…when we attempted to make 10 or 11 joined chests in no time at all. Knuckleheads.
after all the riving and hewing; we hauled some of the stock into town to begin the task of planing it into boards. I’ll just bop the pictures in, then add whatever I can remember about it. Here’s Steven planing just like I showed him…
Roy was astounded at the amount of shavings produced by working green wood
One of our un-named students works in a pointy building on the east coast, and to help him out, Roy put up surveillance cameras throughout the classroom..
A broom wouldn’t do it, so Roy got out a pitchfork…
Elia couldn’t stand the idea of sending those shavings to the landfill, so we piled them in his truck.
We did get further along eventually; chopping mortises, over & over & over again.
Then plowing grooves, cutting tenons, test-fitting.
There was lots of documentation,
until the last couple days, when I lost track of all – I spent 1/2 of the last 2 days with a checklist, “do you have all your muntin stock?” I never did get it all straight. it’s hard to keep track of 250 piece of oak that all look pretty much the same.
Then one day Steven emerged from Ed’s store upstairs and everyone ran to his bench like it was Xmas morning – “whaddja get?” – so we had a show & tell…
Just another week at the Woodwright’s School…
For those keeping track, some spoons and things for sale tomorrow…including this new piece:
This fall I’ll be teaching a class at Heartwood in making one of my carved oak boxes; and this might be the best shot yet at this class. The class size is small, about 6 students. As of right now, we are short of that number – we could use a couple more, so you could sign up and get in on a chance to delve into this subject in greater-than-usual detail. The class is Sept 22-26. The fall is my favorite time of year…
We’ll be riving, carving and assembling boxes such as this:
Maybe this is the class to finally fit a till inside their box!
The setting is out of this world – I often get asked “when are you teaching in Massachusetts?” and this is my one-and-only right now. But it’s not eastern-MA with its congestion, noise, strip-mall mentality; this is bucolic western, far-western Massachusetts. It’s at the Heartwood School for the Homebuilding Crafts in Washington, Massachusetts. Those of us out in eastern MA have to look Washington up, because we’ve never heard of it. It’s that nice. It’s all uphill for me, Washington in in the Berkshires, near the highest point of I-90 east of South Dakota. I live on the Jones River, about 15 feet above sea level.
I was a student in a timber-framing class there in 1984 – Will Beemer dug out a photo to prove it. Bottom center, head down, arms up. skinny, scruffy me.
Here’s more about the school – it’s quite a place.
Here’s the photo tour of the place:
Fall in the Berkshires – I’m bringing my binoculars too. Come join us.
I spend a lot of time thinking about connections and chronologies. If you have read my blog much, you know that most of my woodworking connections came through one place, and in that place one family; Country Workshops, and Drew & Louise Langsner. I have been made to feel a part of their family since the early-to-mid-1980s, when I became a regular student at the workshops there. In 1988, I spent several months living with them and their daughter Naomi, who was then about the age my kids are now, 8-9 years old. We’ve been connected ever since.
A big shock came through last weekend, when Drew & Louise’s new son-in-law, 32-year-old Teo Reha was killed in a logging accident in western North Carolina. It’s heartbreaking news; Naomi & Teo had just moved back to the Langsner farm last fall, and set up the old cabin there as their home. They got married on the farm in June. I saw Naomi last summer for the first time in many, many years, and we chatted about when she was a kid, how much she was looking forward to coming back home – that sort of thing.
Louise sent a couple of notes about the burial – it sounded amazing.
“Hello, Peter. We had a very beautiful burial today, up on our pasture looking out over the mountains. All of our friends have been super supportive and giving. Teo’s friends dug the grave and were here to tell stories and make us laugh. Naomi is surrounded by her women friends. Her [biological] mother Kay has been here with her constantly to give guidance and ceremony. It is an incredible feeling to know we are part of such a strong web of friendship and community. It is a terribly painful time. We all had so many dreams of how we would grow old together. It has been especially wonderful to get to know both Naomi and Teo’s friends better and to know they will continue to be part of our lives. Curtis [Buchanan] came and pulled weeds in the garden and returned to build the coffin. It meant so much to us. ..There are no words.
I have never met Teo, so again I’ll let Louise’s words do the job:
“about Teo. He loved his job and was very good at it. He and his boss Joe had a dream of helping people log sustainably and helping the forest be more healthy. He loved poetry and explosives, hunting and animals. He was dedicated to the land and forests, family, community, and most of all Naomi. We only knew the tip of the iceberg of this young man, and even that was larger than life. Our friends are carrying us through this, but it is unbelievably painful. Love to you and your dear family. Louise”
I asked the Langsners if I could write something here on the blog; and Louise said yes. They have given so much to our woodworking community over the years, if you were ever there, then you know how much of themselves they put into Country Workshops. I’m back here in Massachusetts right now, but my thoughts are with my friends back on that North Carolina mountain.
Beyond that, all of us are in debt to a logger somewhere. Every stick of wood that hits our benches, lathes, shaving horses or laps; a logger, either amatuer or professional, felled the tree. Let’s all keep them in mind, and hope for their safety as they carry out this very dangerous occupation which we all rely on so much. To us, they are all but invisible, but they have names, families and loved ones out there.
Love to Naomi, Drew & Louise, from Peter, Maureen. Rose & Daniel
You’ll recall that I was Schwarz’d not too long ago. Also quit my day job – so I have been (thankfully) deluged with teaching offers for 2015. I’m working on sorting out the schedule now, and will know much of it pretty soon.
One that’s mostly nailed down right now is a carved box class in England – with the New English Workshop folks – Derek Jones and Paul Mayon.
I’m not sure of the exact dates and specifics; but July is the month. They tell me there’s 5 spots taken already. Get a hold of them if you’re inclined. Me, I can’t wait. I haven’t been to England since 2005. Hope to see some oak carvings…
Here’s the details, such as they are.
You might remember Chris Schwarz writing about this new program over there – Derek and Paul are bringing several American woodworkers over there. Chris will be back..among others. Stay tuned for more.
It quickly became apparent that we needed to hustle if we were to get anywhere in this class. Roy found a way to speed things up.
I once had a t-shirt I got at an Arlo Guthrie concert that read “we know it’s stupid, that’s why we’re here.” goodness only knows what it meant, but a similar notion must have run through the minds of these students -a very good-natured group of would-be joiners who came down to Roy Underhill’s school to attempt to make a joined chest in a week. 10 students means 10 chests. each chest with about 25 pieces of riven oak in it. Plus extras in case something goes wrong…
Roy & I dreamed up this idiotic course, “let’s make a joined chest in a week!” And we booked it & it filled up. well, it became a reality (of sorts) and on the first day, these students split, crosscut, & rived out over 200 piece of oak for said chests. That’s a lot of oak. Here’s the beginning of just one small pile of parts:
We tried to sort and count them as we went, but it was doomed.
We need over 70 panels; about 8″ wide by 12-14″ long. SEVENTY!
We scurried back to the woods to get more of this amazingly straight-grained oak. what a tree!
I don’t know who this is, but he was not alone.
Thankfully, we found that with proper supervision, it only took Kat a short while to bust out all the oak. it’s not that hard, really.
Next, they plane all the long rails, layout the joinery, chop mortises, plow grooves & cut tenons.
Museums are full of stuff. objects, art, artifacts, documents – things I don’t even know about. But when you go to work in a museum, it becomes about people. It’s never about money. The people who work in museums are there because of their interest and passion for study, for their collections, history – all that intertwined educational vibe. When you get involved with folks like that, it’s contagious. And memorable. I’ve made connections with people in museums that will stay with me always…
I read the news about Jay Gaynor’s sudden death today. http://anthonyhaycabinetmaker.wordpress.com/2014/08/01/in-memoriam-jay-gaynor/
I have known Jay for over 20 years, and always enjoyed our visits and work together. Jay knew tools, tool history and their relationships, forms, makers – he was a tool history fountain. Like many museum professionals I have known, what always struck me about Jay was even after decades of research and study, he was still passionately excited about the subject – in this case, woodworking tools.
One of my most memorable visits to Colonial Williamsburg, Jay, Jane Rees, Alexander & I, Mark Atchison and maybe Nathanial Krausse all spent a whole Sunday morning poring over the tools in CW’s storage collections. Jay kept pulling more & more tools out, telling us each one’s story, where it was made, by whom – how he got it…great stuff.
I can still see him & Jane Rees, sitting in the front row while I bantered away at Plimoth when EAIA came there not too long ago. All the while, I kept thinking, “what am I doing, lecturing these 2 about tools?” – but they were both encouraging, friendly and engaging. We’ll all miss Jay – even the jokes.
Reggie Shaw, a left-handed blog reader, (he doesn’t read left-handed blogs…but is left-handed…oh, forget it)
sent a note that this right-handed J R Fuchs hatchet is for auction on ebay. I already have 2, and don’t have the money to get in a bidding war…but someone will get the best hatchet going. Lose that godawful red paint, and it looks ready to go.
here’s the link. maybe one of you?
Bob Van Dyke’s Connecticut Valley School of Woodworking is a mecca for period furniture makers. http://www.schoolofwoodworking.com/ Great classes, great instructors – it really is a first-rate place to learn the ins & outs of period style furniture in depth.
But Bob himself doesn’t know which end is up – to some of my carvings, I mean. He sent me this picture, asking “where’s the top again?” He’s notoriously freaked out by the images he thinks he sees. I see a vase of flowers and leaves – he sees faces, faces & more faces. But in his twisted mind, he thinks the above photo is right-side up. What torment!
Oh, well. He doesn’t have to know how it goes – but I’ll show the students when we get together there for a 3-day class in early October to make an oak frame & panel. This course was designed to be a crash course in the basic elements of 17th-century joinery. We’ll use a combination of riven and sawn oak, plane the stock, cut the mortise and tenon joints, and carve designs on the panel (and frame perhaps, if you are inclined). Plowing grooves, beveling the panel, fitting the whole thing together with drawboring and tapered wooden pins. it’s the whole show, compressed into 5 pieces of wood.
Sign up with Bob. Tell him you’ll help him to understand. http://www.schoolofwoodworking.com/woodworking-classes.html#Speciality_Weekend_Classes
Today I posted a page with a couple of hewn bowls, and what spoons I have ready to go. I have several spoons nearly ready; but those I’ll take with me to Roy’s place, & finish them down there. So what I have now is on the blog, then there’ll be more in mid-August. As usual, leave a comment if you’d like to order something. Any questions, send an email to Peter.Follansbee@verizon.net
Meanwhile, here’s some of what I did yesterday.
A day like this:
But I persevered and roughed out one of the last bowls from the stash of birch I have around here. Most of the ones I’ve been doing are upside-down. I start like this:
hew the broad inner face of the split bolt flat. This becomes the bottom of the bowl.
Then mark out the saddle-shaped interior of the bowl. Now the bowl is held down to a low bench with three pegs and a wedge. (well, take my word for it that there’s 3. You can only see 2 in this shot) Simple, but it works pretty well. If I end up doing these bowls regularly, then it might be time to look closely at Dave Fisher’s bowl horse…
I then make a few saw kerfs to help break stuff up when the next hewing begins.
I just begin chopping into the midst of these kerfs to remove the excess material. Now it’s a double-bevel hatchet, not the joiner’s hatchet I used to flatten the bottom.
Then comes adze work. Just like the hatchet, you want to keep the tool’s edge out of your leg.
I do some standing, then some seated. All in all, about 15-20 minutes of hewing ought to get me there.
Then it’s on to gouge & mallet work, then more hewing.
then it rained.
I keep plugging away. Yesterday I got to use some planes!
What a blast - the spoons and bowls are great fun, challenging, etc…but no planes. I need to make a molding to run around my most recent frame & panel – it’s one like this, all I have left is to make the molding & cut & glue it in.
I keep a stash of riven Atlantic White Cedar, just for this purpose. First, I planed the stock to the proper thickness, in this case 1/2″
Then I dig out one of those special wheelie gauges to mark out the rabbets, a la Matt Bickford. You already know I’m a fan; his book & video show you how to tackle this work easily. http://lostartpress.com/collections/books/products/mouldings-in-practice & http://www.lie-nielsen.com/dvds/moldings-in-practice/
The gauge I got from the Alexander collection – thanks once again JA.
and bevels, then hollows and rounds.
Then it was time to pack it away & off to the Cape Cod League Baseball – we went to Wareham to see the Gatemen take on the Falmouth Commodores. We were there early, so Daniel watched batting practice – I carved spoons. Then we watched the game. Gatemen blew the lead in the ninth – took it on the chin.
One of many great things about working at home is that I get to see stuff I only used to hear about. Here’s a marble game from yesterday:
That then turned into a painting by Daniel, who was learning about shadows and light sources this week.
This one’s just thrown in there – it’s part of an ongoing series of raking light shots.
I got home from Maine trip #2 on Sunday night. Monday kinda floundered, then on Tues it was off to a small island off the coast of America to see Heather & Pat. Heather’s show was outstanding as usual. Here’s one of my favorites, but the web doesn’t do it justice by half. The light in it is amazing.
(go to Heather’s blog and click on the paintings to see ‘em larger, then click the quill/feather in the teacup to read the notes) http://heatherneill.com/studio-blog/
here’s the gallery’s page of Heather’s work http://www.granarygallery.com/searchresults.php?page=1&artistId=11674&artist=Heather+Neill&start=1
we had a great, whirlwind one-day trip. Then back home to attempt to develop some routine or the semblance of one. Wednesday I mostly worked on hewn bowls; then Thursday spoons. today some of each.
The great part about spoon day is I can take it outside, and have the kids with me. The river, the birds – what could be better?
I have used ring-porous woods like oak, ash and hickory all my working days. I rarely have made spoons or bowls from ring porous woods because they split so easily. But sometimes I throw the rules out the window & see what happens. Catalpa is a very light-weight hardwood. I have made a couple of bowls from it before, and I had one small one kicking around ready to be finished.
Here’s the one from way back when; and the post it came from. One of the horrible things about keeping this blog is all my unfinished stuff is still there, taunting me: http://pfollansbee.wordpress.com/?s=catalpa
I remember southern visitors to the museum telling me about the fishermen who loved catalpa trees for the worms that ate the foliage – great bait. some said the best. They called it “catawba” – but it’s the same tree. http://en.wikipedia.org/wiki/Catalpa I am lately reading To Kill a Mockingbird, and it’s in there, “…the class was wriggling like a bucketful of catawba worms…” Turns out that Catawba is a name of both the tree and a group of Native people in the Carolinas, and someone made a mistake with the tree’s name, and we ended up with catalpa. I always knew it as the cigar tree, because of the long seed pods. we used to whip them around when we were kids.
The other ring-porous wood I have to sample lately is really rare – American Chestnut. Or so I’m told. It was a tree planted about 15 years ago; and got some trimming done recently. It’s healthy now…but time will tell. Chances are it will succumb to the blight that all but wiped out the American Chestnut. http://www.acf.org/
It’s not a great wood for spoons, quite the opposite I would expect, but I have some small limbs and will see what happens. It’s high in tannic acid, turned my tools black as quick as you please.
The first birch bowl I was making sold before I could really get it here on the blog…but now I have finished the next 2 birch bowls, just applied flax oil to them today. I’ll post them for sale in the next day or 2. The first one is the most common orientation of the bowl in the split blank – the rim of the bowl is the inner wide surface of the halved log. Then I carved some gouge-cut decoration along the upper edge of each side.
The next one is what I call “upside-down” – you hew the split face of the log and make that the bottom of the bowl. I learned this from Drew Langsner, who learned it from his Swedish friends. Smaller bowl, but lots of fun with the shapes.
There’s still a few spoons left on the etsy site – don’t be daunted by Etsy. it’s easy to sign up, free too. https://www.etsy.com/shop/PeterFollansbee
Just back from Maine – the class was great. Lie-Nielsen is right up there as one of my favorite places to be. here’s a bunch 0′ carvers hunched down at work.
I’m home now til Roy’s in 2 weeks. Lots to report, but first I must un-pack, then get to work on spoons & bowls & more. In the meantime, I posted most of what spoons I have left on the etsy site – and Maureen posted more felted stuff on hers as well. the whole house is a little crafty rabbit warren…I think I have the Is crossed, and the Ts dotted, or something like that. If you have a problem with the etsy stuff, let me know. it’s all new to me.
For 20 years, I talked for a living. All day, every day. Spent two weeks working by myself; then went up to the Lie-Nielsen Open House. Someone stuck a camera in my face & I wouldn’t shut up. (the youtube video done by Harry Kavouksorian, posted on Lie-Nielsen’s website) :
Here’s some photo views of the open house. it was a great one. See their facebook photos here: https://www.facebook.com/media/set/?set=a.10152214121253016.1073741897.100708343015&type=1
I was looking for one thing & found another. Last week when I wrote about the wood carrier that I learned from Daniel O’Hagan, I knew I had a shot that I took very quickly one of the last times I was down there. Couldn’t find it so I gave up. Today I found it while looking for some other photograph that is now more pressing.
Glad I didn’t see Daniel’s when I made mine – that way we get 2 interpretations of one form. 3 if we count the published one. Daniel’s versions worked for many many years.
Here’s mine from last week. I have more of this sort of thing to make in late August/early September.
For review, here’s the one from China at Work