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It was my dad who sold his old one to Christopher Schwarz, so I once in a while like to read about all the different places this little bench has been built.
I just random clicked on the hits that looked interesting, and one of them was from a site that offered an instruction in building a copy. I had hoped that they perhaps had found some novel idea to make it even easier or more user friendly to build etc.
Instead it was a copy of the original article as it appeared in Popular Woodworking Magazine a couple of years back. As it happens I have brought that issue with me on board this time, cause I like to read my older issues every now and then, so I checked to make certain that I was not mistaken.
A vague attempt had been made to incorporate a water mark from the site, but it was so poorly done it couldn't fool anyone.
My Friend Brian Eve told me some time ago that he had encountered a similar thing, and he had contacted Megan Fitzpatrick of PWM, to let her know what he had found.
So I thought that I would do the same thing.
Megan replied and thanked for the information which made me glad that I took the "trouble" to write a couple of lines and add a link to where I had found the information.
I don't know what can be done about it, but I guess that FW publications have got some sort of lawyer that might be able to approach the people behind the website.
After all they are the holders of the copyright to the article, so offering it like that is actually a way of stealing from them.
Most people have the courtesy to inform if they try to follow the advice of someone who has made a book or an article about it and this piece of work is being used as a direct source of inspiration during the build.
But is is still interesting to see how that particular person goes about getting the job done.
What I don't like is a downright rip off like what I encountered today, where another persons work was just copied and offered in a shameless manner, like the owner of that site had the right to do so. I am fairly sure that the only reason someone would do that is to get traffic to their site, and that way earn some advertising money.
I am a bit angry with myself because I couldn't spot the bad site while looking at my search hits, and I hate to think of that I might have helped generate 1 more click on some jerks page full of illegal stolen content.
Guess I just had to blow out some steam..
Yesterday I got my first polissoir inventory reload in the lead-up to the upcoming toolapalooza in Amana IA. I’ve asked the broom maker to just keep cranking them out until I say “Stop.” This is the first installment to make sure I have plenty for Handworks, and I intend to have sample boards to play with during demonstrations there. One of the things I want to emphasize there is how to prepare and tune up a polissoir for use.
You can also order them from me here.
The last day to order a handmade copperplate print from “The Anarchist’s Design Book” is April 10. After that, artist Briony Morrow-Cribbs will get to work making the prints one at a time.
The prints are $110 each. The complete boxed set is $1,300. You can place an order and read more about the prints here.
Making these prints is a lot of work, but the result is something unlike any modern printing method. The intaglio process creates an image of astonishing texture and clarity. You can read more about them here and here, which has a movie of Briony making the prints.
— Christopher Schwarz
Filed under: The Anarchist's Design Book
|steel wool dust|
|where to place it?|
|carefully clamped and planed it|
|adding some wooden nails aka toothpicks|
|16th bit is too small|
|wrote the drill bit size on the container for next time|
|one coat of shellac|
|about 5 feet away|
|I think one more coat will do it|
|better pic of the bevel|
|put down a brand new 80 grit belt|
|finally got it|
What country is Agatha Christie's detective Hercule Poirot from ?
answer - Belgium
In Stanley Kubriks “2001: A Space Odyssey,” the opening scene of our primate ancestors contends that the earliest tool was the mallet. It was made from a femur, but a mallet all the same. Woodworkers have since refined that original design. Mallets are our most-used tool because woodworkers hit more things in an afternoon than a mobster does in a lifetime. As such, most woodworkers have a small collection of […]
Are we becoming adjusted to speed? I was talking a few days ago to a factory worker who thinks we are and that men are changing and will go on changing under its influence. “Everybody is working,” he said, referring to husbands and their wives, even children in holiday times. “The pressure is terrific.”
Conversely, so are the tensions. Perhaps these are at the root of the restlessness of some men, who seem to be always on the move, and in the growing number of others who, in their leisure, embark on creative, often very exacting work. With outlets like these, tensions tend to diminish, more so than if a man simply relaxes into complete idleness.
The important difference is that we make our own speed and with this comes the feeling of release. When we want to work quickly, there are the small power tools to take the edge off our impatience. When we want to taste to the full the luxury of unhurried, relaxed work, then we can settle down to a job with all the sober pleasure of an oldworld craftsman, finding perhaps some stray particles of wisdom touch us unaware.
But however we work, the thing of prime importance is to live, really live in the job of the moment so long as it lasts. Once we begin to cast our eyes ahead to the next item on the schedule, away goes peace and back come the tensions. When this happens, reasonable speed looks only an irritant, hands fumble through sheer unmitigated impatience. And that kind of impatience is the very devil in creative work. Unless we are careful, it mars the work, it certainly mars our temper and our enjoyment of the job. For the great thing about craft work when we do it on our own terms, is that it can be so thoroughly enjoyable. It has the power to take a man right out of himself, right into the thing he is doing, an excellent therapy against the stringencies of a busy world.
But the mind, being so much quicker than the hand, can easily betray us, so that a great part of the patience of true craftsmanship comes from keeping the mind reined in, never to be tempted to dream about the following job while we are doing this one, so risking making this one look like an interminable nuisance. “Little by little and bit by bit, that’s the way you does it,” as an old gardener once said to me reprovingly, and it is a good, steadying philosophy when we are getting a bit ahead of ourselves.
As a matter of fact, it is quite remarkable how many men today are learning to take the long view. They may have bought a partly derelict property at a bargain price or have determined to modernise their old-fashioned house, but whatever it is that starts them going the project is often one which has to be carried out over a long period of spare-time work. Some men even put themselves to school first for one or other of the essentials, such as bricklaying, engaging this with some other skill they already have. The result is often first-class. When a man puts his whole mind and will to a job, amateur or part amateur though he be, it is remarkable what excellence he can achieve. The trouble with most of us most of the time is that minds and wills are only half engaged. Put the whole of ourselves into a job and the good thing emerges. What is most noticeable is how readily these men shape down to the steady, progressive, long-term view, neither hurrying, nor unduly worrying, but taking each stage as it comes, dealing with it so thoroughly that care goes a long way towards meeting the demand for expertise. Because their number is now increasing all around, there is almost certain to be a friend or neighbour able to help and advise at difficult moments. And it is not at all unknown for a lecturer at a Technical College, becoming interested in the ambitious projects of his pupils, going out to give them a hand over the tricky bits.
It is a new wave of craftsmanship that has come upon us, born of changed social conditions. Before the war no ordinary householder, however skilled, would have dreamed of attempting single-handed the jobs which his modem counterpart undertakes. It is craft work from quite a different direction, bringing with it an ability and sense of independence which are the best kind of answer to the various pressures which make up the modern world.
It is the ordinary man standing squarely on his own feet, learning to “do” for himself once more and finding quite a bit of enjoyment and an amazing potential in the doing. The general collapse and withdrawal of handicrafts from industry is helping to bring about a revival in our very midst. Truly we are adjusting ourselves to changes of all kinds, not only pace. Pace, indeed, can kill. It can also be exhilarating.
— The Woodworker magazine, September 1964
Filed under: Charles H. Hayward at The Woodworker, Personal Favorites, Uncategorized
Yann Giguere just announced the date for this year’s NYC Kez. It’s on Saturday, August 5, 2017, with a pre-Kez workshop on Friday, August 4. It’s a great event. Hope to see you there.
I was tempted to buy it but I already have one in my collection.
They produced two models, the low angle CT-7 (12 degrees) and the standard angle CT-8 (20 degrees). The standard angle model is the more versatile, being able to handle end grain as well as long grain, sharpened at 30 degrees it provides a 50 degree angle of attack. It has an adjustable mouth as well as adjustable blade and is beautifully made.
The Lost Art Press storefront will be open 10 a.m. to 5 p.m. Saturday, April 8, and we welcome you and your woodworking questions.
This weekend, I’ll probably build another staked stool (I have the parts prepped) and perhaps demonstrate the charring technique I showed in yesterday’s post. Also, we have the press mockup of “Roman Workbenches,” which you are welcome to look through. The book is at the bindery now.
We don’t, however, have any blemished books on hand to sell. The Lie-Nielsen event last month cleaned us out.
Need a list of where to eat and drink during your visit? Here you go.
Need directions to get here? Here’s a map.
— Christopher Schwarz
Filed under: Lost Art Press Storefront, Uncategorized
No Southern-fried Southern boy wants to be called a Yankee, but we share the characteristics of shrewdness and thrift. Thus, each month we include a money-saving tip. It’s OK if you call me “cheap.”
I got this little vacuum attachment, you guessed it, for free.
I’d never used one before, but, when our regular carpet attachment (borrowed from inside the house) wasn’t working, and I needed to clean a rug in the garage, I decided to give it a try on the end of our whole-house vacuum hose.
Man! I had no idea!
There is a similar attachment on our vacuum at work, and I’d noticed it only in passing.
My new “rug routine” is to gather all of them into one place (on top of an old card table) and put the attachment on the end of my Shop-Vac’s Dust Deputy-filtered hose. Then, I can clean the rest of the workshop, floors and all, separately.
Jim Randolph is a veterinarian in Long Beach, Mississippi. His earlier careers as lawn mower, dairy farmer, automobile mechanic, microwave communications electronics instructor and journeyman carpenter all influence his approach to woodworking. His favorite projects are furniture built for his wife, Brenda, and for their children and grandchildren. His and Brenda’s home, nicknamed Sticks-In-The-Mud, is built on pilings (sticks) near the wetlands (mud) on a bayou off Jourdan River. His shop is in the lower level of their home.Questions and comments on woodworking may be written below in the comments section. Questions about pet care should be directed to his blog on pet care, www.MyPetsDoctor.com. We regret that, because of high volume, not all inquiries can be answered personally.
The post Tips from Sticks in the Mud – April 2017 – Tip #2– Workshop Cleaning appeared first on Woodworking Blog.
The workshop is proving to be a pretty good blind for photographing the yard birds. and in between the rainy days, I’ve got a few walks in, to check up on spring arrivals.
Even with all the rain, this robin felt the need for a bath – (if you’re in Europe, think thrush. This is Turdus migratorius.)
This resting red-breasted merganser (Mergus serrator) shows the red breast pretty well. there’s been several around lately, chasing the smelt up the river.
Awake from his nap:
Downy woodpecker, (Picoides pubescens) male. The most common woodpecker around here, smallest too.
Here’s what buffleheads (Bucephala albeola) look like flying away from me:
The common grackle (Quiscalus quiscula) shows great color this time of year.
This male Northern Cardinal (Cardinalis cardinalis) must have been wet, his crest is smooshed down…makes him look funny.
Across the river, two red-tailed hawks (Buteo jamaicensis) sitting side-by-side. Another indication of spring, it’s a nesting/mating sign.
On our walks recently found a few things:
Turkey vulture, (Cathartes aura) a sign of spring around here
This red-tailed hawk is particularly tolerant of people. Probably not a good thing, but I often find him/her around the same area, un-skittish.
Out of range of my camera’s lens, but had to snap one of this coyote. They’re around here a lot, but usually out of sight.
I must have been right behind this raccoon, but didn’t see it anywhere.
There was a bunch of deer, (well, not by Minnesota standards) – looking at this it’s no wonder people think reindeer can fly.
Killdeer (Charadrius vociferus) too – looks like he’s herding that Canada goose.
It’s inevitable that people change positions in the work world – desires change, drive fades or new ideas beckon. And so it is with 360Woodworking.com.
As of April 1, 2017, Chuck Bender, a founding member of the team, has moved on from 360Woodworking. As you may expect, I’m saddened by his departure. I’ll miss – hell, we’ll all miss – his camaraderie and his vast woodworking knowledge. I’m sure that whatever he chooses to do as his next step in life will be special.
Here is the full slate of activities upcoming.
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.
|the cheese curl isn't what is supposed to be in focus|
|a little each night|
|can't delay it any longer|
|happiness in Mudville|
|what I came up with|
|not a top ten choice|
|I didn't sand this|
|big improvement - took 4 swipes|
|the leg that split|
|epoxied the pencil tray to holder|
|while the branding iron heated up, I put on the shellac|
|3 coats of a 1/2 lb cut of shellac|
Who designed the Gateway Arch in St Louis?
answer - Eero Saarinen
From time to time, the views for this blog spike. I would like to think that the brilliance of my writing has finally been discovered by the masses. Then I examine the stats and realize that one of the cool kids with the popular blogs has thrown me a mercy link. As expected, my numbers return to normal within a few days. My brilliance has not swayed them. They abandon me.
I’m OK with this. I have my 47 loyal followers/readers. If you include my family and friends I have 42. (It doesn’t make sense to either but I’ve checked the math. Numbers still don’t lie.) I’m OK with this in that if I had thousands of followers I might feel the pressure to write informed and well-reasoned blogs instead whatever it is I’m writing now.
In this case, it seems to be John Hoffman’s partner, Chris Schwarz of Lost Art Press, etc. what threw me link. I’ve known him for years (You can check out our history HERE.) He doesn’t owe me anything. He’s really just that nice.
I have seen a few minor spikes that come from one Rude Mechanic on Instagram. Odd name.
Defying conventional thinking, I will just write a normal blog and not try some stunt blog to try to snag new readers. Eventually you would just be disappointed and leave.
In the referring blog, mention was made of settles. According to the wildly popular Wikipedia: A settle is a wooden bench, usually with arms and a high back, long enough to accommodate three or four sitters. I don’t always agree with them but in this case I think they are right enough.
I have photographed enough settles to know that there doesn’t seem to be any one predominant type of settle.
There are some really formal ones:
A settle for loners and thinkers.
Settles that followed my wife home.
Click HERE to see album
And do come back.
Jose L. Romanillos, Antonio de Torres, 1995
Many people don't know how much work is involved in constructing a guitar bridge, I know for most classical guitarists it is simply an anchor point for the guitar's strings.
I arch the bottom of the bridge to match the guitar sound board's doming, cut a channel for the saddle to sit in and I make a tie block for the strings.
The tie block gets covered with a piece of mother of pearl, this protects the tie block from string wear and gives the guitar a bit of bling.
Since I am making a fairly close copy of a Hernandez y Aguado bridge, the tie block is sloped towards the saddle slot, this was original done to increase the breaking angle of the strings over the bridge. This helps increase the overtones in the guitar. Compare that with a modern flamenco guitar bridge and you will see the string "breaking angle" is very, very shallow, the string goes almost straight from the tie block to the saddle.
I souped up the blade on my grandfather's Stanley No.192 rabbet plane and it works wonders in cutting out a rabbet for the tie block overlay.
It would be nice to close up the mouth of this plane just a little, but if I do my job of properly sharpening this Sweetheart Era blade it performs with perfect aplomb.
The Rocklite Ebano bridge with its new MOP tie block overlay. I put a bit of hide glue on the tie block, dry it with a heat gun, clamp the MOP onto it and then run some CA glue along the edges.
Tomorrow is the day from drilling the string holes in both bridges, then the final shaping and carefully stowing away the bridges so they will not become damaged.
Please bear with me as I find a new template for my blog, I want the blog to be easy read and search.
Here's a video of a brilliant young guitarist from Australia, Stephanie Jones!
After five prototypes, I’ve completed the first project for the expansion of “The Anarchist’s Design Book,” which should be out in 2018.
I now have to make a SketchUp drawing of the stool, which will take longer than building the stool from wood. After busting out a lot of staked chairs and stools this year, I’m able to build this stool in 3-1/2 hours, which includes finishing time.
The finish on the stool – a combination of “udukuri” and “shou sugi ban” techniques I’ve been experimenting with for more than two years – also allows me to add an appendix to the design book on these processes and the tools involved.
I’m quite happy with this design. It’s simple, comfortable, inexpensive and easy.
I have to take a break from the projects for the expansion of “The Anarchist’s Design Book” to build a commission and write an article for Popular Woodworking Magazine. When I complete those projects, I’ll return to making a staked armchair, a staked settee and two boarded projects for the book.
The boarded projects include a nailed-together version of the Monticello bookcases I built in 2011 and a boarded English settee. This has long been on my list of projects to build. If you aren’t familiar with the form, check out this entry from TheFurnitureRecord.com.
— Christopher Schwarz
Filed under: The Anarchist's Design Book, Uncategorized
While in Tel Aviv last week, I paid a visit to a few of my favorite places – trade stores and friends’ shops that I used to frequent while living in Israel. One of these places was Sahar Finishes store. The owner, Mosha Srebrnik, is the grandson of the man who founded the business almost a hundred years ago. The small corner store looks as if it has hardly changed since then, except […]