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Next Saturday, Sept. 9, is our regularly scheduled open day for Lost Art Press. We’ll have our complete line of books plus a good number of slightly damaged books at 50 percent of retail (cash only). And T-shirts. Coffee. Stickers.
I also have been informed that we will have a handful of Crucible dividers there that are cosmetic seconds (100 percent fully bang-on functional). Those also will be 50 percent of retail (cash only).
To reinforce the “Sharpen This” series of blog posts, I will offer free sharpening lessons all day. If you want to learn basic sharpening or get into more advanced topics, come on down. I don’t know everything about sharpening, but I’ll be happy to share what I do know.
(Note: Let’s not make this day about me rehabbing your old or damaged tools. If you’d like to bring in a tool to discuss, great. I’ll show you how to sharpen it, but you will do the grinding and honing. One guy brought in a box of old planes for me to fix for him once – that service is $60/hour plus materials.)
If you struggle with any aspect of sharpening, put your ego aside and come ask for guidance. If you don’t know how to sharpen curved blades (travishers or scorps), we can cover that. Scrapers? Yup. Grinding V-tools? Nope (those drive me nuts).
Our storefront is at 837 Willard St. in Covington, Ky., 41011. The hours on Saturday are 10 a.m. to 5 p.m.
— Christopher Schwarz, christophermschwarz.com
Filed under: Lost Art Press Storefront, Sharpen This, Uncategorized
This video from the Victoria and Albert Museum shows lacquer craftsman Lee Kwang-Woong using traditional Korean techniques to create a lacquer box with an inlaid shell decoration. There are many parallels between the techniques used in this video and the western traditions of marquetry and animal glues, not to mention the fine abrasives used for the final result. One thing that is underplayed in this video is the perfect surface needed on the box itself prior to the application of the lacquer. Any imperfection in the box surface will telegraph through the lacquer.
The other thing that strikes me is that the work area looks more like a laboratory than a workshop. I can see why, however, as the smallest stray bit of dust would telegraph through the lacquer finish on the box as well.
(Thanks to the Sturdy Butterfly for the link.)
In this episode of 360 with 360WoodWorking as the Labor Day Weekend holiday approaches and we plan time with our families, I decided to revisit an “Around the Shop” podcast that discussed backboards. It’s solid woodworking information with an eye toward historically accurate work.
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.
|both have cathedral grain I will use|
|sawn to rough length but not the width|
|I want to center the width on the point of the cathedral between the sides of the box|
|the haste, waste, and mistake part|
|repeated the cathedral thing with the second lid|
|labeled the front so I won't get it mixed up(on both faces)|
|left the front long|
|planing the rabbets|
|a teeny bit of a slope on the entry end|
|none on the exit end|
|pretty even on the gauge line too|
|I'll plane to this gauge line after I fit the rabbets|
|about 80% on the second try|
|right front - loose on the side and at the top|
|left front - loose on the side and tight at the top|
|the back right|
|the left side is a close repeat of the right|
|I could probably close it but I' wasn't sure that I could open it again|
|finally got it|
|marked the lid and planed it to the line - left it a frog hair proud|
|planing a chamfer on the front end|
|1/2" astragal batted next|
|grain reversed on this end|
|layout for the thumb catch|
|don't know what I want here|
|it's 1700 and quitting time|
What is an anglophone?
answer - someone who speaks english
I laid out the shape of my my dugout chair in chalk. Then it rained. The next day I laid out the shape of my dugout chair in lumber crayon. Referring to my CAD drawing (below), I drew in the seat at 17” from the ground. Then decided to put the arms 8” above the seat and have them slope back about 1/2” or so. The depth of the seat […]
Over the last year, we have featured a wide variety shops in Wood News. We recently collected a few from the archives, including Scott Wilson’s spacious home shop, Tony Rumball’s shop options (he has access to 3 different woodworking shops!) and more.
Take a look at these workshops for ideas and inspiration, or just for fun.
And to read about even more shops, click to check out our Shops Gallery.
If you would like to submit your shop, just SEND US PHOTOS of your woodworking shop along with captions and a brief history and description of your woodworking. (Email photos at 800 x 600 resolution.) Receive a $50 store credit redeemable towards merchandise if we show your shop in a future issue.
The post Show Us Your Shop: Peek Inside These Woodworkers’ Shops! appeared first on Woodworking Blog.
I just finished carving the 8th & final panel for the bedstead I have underway. There’s 4 patterns I used, each one repeats twice. most of them are patterns I made up, but drawn from a large body of work I have covered here a few times. The carvings that are the inspiration come from Devon, England and Ipswich, Massachusetts. I love these designs because they are so lively, and have so much variety.
Lately I’ve been trying to draw the designs – to try to learn how to talk about them – the parts, components and how they get combined. When I first saw these panels, I thought they must be the most involved carvings – but really they’re just busy…there’s very little background removed. Most of the impact is from the “horror vacuui” effect of covering every blessed surface with something. (This next one was a mistake – the board was 10″ wide, too narrow for the bedstead.)Narrow panel
These patterns have a few common elements/motifs – most have an arch across the top of the panel. there are a few exceptions, but generally I carve the arch-top versions. All of these have an urn/vase/flowerpot just above the bottom/center of the panel. Then some leafy bits/leaves/flowers coming up and spreading out from this urn. I tend to think of the designs being broken into thirds – though not necessarily even thirds.
Some wind up from the urn through the middle of the panel, then wind outward and reverse direction into the arch. Mostly these also bend downward, looping back toward the middle of the panel. In this case, there’s 3 tulip shapes inside this arc, then the big leafy bit that fills the bottom corner:
This pattern is easiest on wide stock, at least 10″ of carving space-width. This one, a chest I have copied a few times, the panel is 12 3/4″ wide x 15″ tall. Compare it to the narrow version above – I think it works better on the wide stock.
On this panel from the bedstead a single flower replaces the 3 tulips, same leaf at the bottom though:
Sometimes from the urn you get large shapes flowing almost horizontally out from the middle. these often have double-volute-ish scrolls where they hit the edges of the panel The one heading down then flows into a leaf shape that bends right against the bottom of the urn. This one is from the extra-wide muntin of the same chest –
Here’s the front of that chest – I copied the proportions and all the vertical bits from 2 examples I’ve seen in person, one other I know from a photograph. All were initialed & dated on the muntin; 1666, 1669 & 1682 for the dates. I substituted different (related) designs on the horizontal rails; and in this case added brackets underneath the bottom rail.
These carving often employ a three-part leaf, which is standard in the related S-scrolls – (seen here on a period box from Ipswich)
and on the panels this form is used again & again, inside spaces, between elements – it can be like this:
Or along the side of the panel:
Hard to see it upside down, here it is from a period piece, the shape I’m thinking of is between the bottom of the arch and blends into the margin just above the large bottom leaves:
The bits flowing up from the urn that then turn down to the bottom corners can take several forms as well. The one I used at the top of this post is simple, big fat leafy shapes bending up then down. They split into three parts at the bottom – one to the corner, one to the feet/urn junction, and one between. Fill the spaces with gouge-cuts, and call it done.
as a drawing:
I could go on forever, but this post has taken long enough. A few more panels of my work:
This one hangs in our kitchen, done in Alaska yellow cedar:
This oak panel was an experiment, I mostly like it, but rejected it for the bedstead:
This one took its place:
A couple weeks ago I ventured into the barbarous climes of Mordor to deliver the workbench to the Library of Congress Book Conservation group. If the traffic and multitude of high-dollar construction projects are any indication, the travails of the provinces are not being felt in the capital city. In fact it looks like a boom town that has four trillion of our dollars at its disposal every year. And since we apparently are not motivated enough to demand that they stop spending those four trillion dollars every year on us, that trend line will remain unchanged.
The logistics of getting into a secured facility (and in Mordor virtually every facility is secured) is a challenge. It turned out that the most efficient way to get the workbench into LC was for me to drop it off at the curb in front, with LC staff taking delivery of it there. Once I parked and rejoined them we were able to get through the security checkpoint and proceed to the conservation lab. Admittedly, I felt under dressed with my Victorinox Spirit muti-tool sitting in the van outside.
The path to the final home for the workbench was uneventful, and the crew there was delighted to get their new tool. Particularly pleased were the petite members of the staff, many of whom wrote me a “Thank You” note for taking their physiques into consideration when fabricating the variable height configuration of the bench.
The bench fit perfectly into the tiny Tool Room space they have, and after I spent a little time explaining its features it was given some tryouts almost immediately.
And then I escaped before the Dark Eye poisoned my heart any more.
Woodworking projects from the kids at the Hole In The Wall Gang Camp. I think these are terrific examples of the finest of woodworking.
|cut the bottom to width on the tablesaw|
|sawed the length by hand and squared it up|
|set my rabbet plane for the width|
|practice groove from yesterday|
|I'm going to sweeten the fit with the tenon plane|
|self supporting on all four sides|
|self supporting with the box too|
|Houston, we had a brain fart somehow|
|get this width right on the money|
|the first one fits on the length|
|sawed and squared the new bottom|
|ran my gauge lines|
|new bottom done|
|a look at the bottom - rabbet is 3/8 wide to minimize how much shows|
|getting ready to glue it up|
|used the ready made stuff|
|had it square|
|has to be square|
|gaps on the dovetails on the interior|
|I can't complain about this fit|
|the difference in 6 years|
What is a hesperidium?
answer - the fruit of a citrus tree (lemon,oranges,limes....)
Why do you have to remove so much material? A slab like this will almost inevitably twist and cup. Across its width you have vertical grain changing to flat sawn and back to vertical grain. It basically has to cup. The wild grain pattern associated with the huge knots almost guarantees that the slab will be "wonky." That is its beauty. During the course of this project I came to understand that there is an entirely different aesthetic at work here. The cracks and knots are part of the tree's story.
I elected to use Arm-R-Seal to finish the slab, brushing it on the bark and using a cloth on the top. I didn't want the "plasticky" look that you often see, the result of a thick hard finish. Here is the result:
I am very pleased with the result. It is unique and has character. This is about as rustic as you can get short of just using the rough sawn slab as is. It's certainly not for everyone. Welcoming cracks, pitch pockets and knots is kinda weird I admit.
I got the ultimate compliment from the cable guy as I was applying the finish. He admired it and said, "It looks like it belongs in a brewpub." As it happens, I am a big fan of brewpubs and knew exactly what he meant. Douglas-fir is our state tree, it played a central role in our history, it is fundamental to the beauty of our landscape and we like to keep it close. Same with draft beer. You can travel the world but you won't find a beer better than an Oregon IPA made with our own Cascade hops. This table is going to see a lot of it.
In the August 2017 issue of The Highland Woodturner, Curtis addresses a regular topic of discussion among his woodturning students: What kind of finish should they use?
As a new woodturner, I gravitated to products marketed to turners. These were generally shellac and wax based products blended with other chemicals to aid with application and drying. These were very easy to apply with almost instant results. The sheen or polish was dazzling to my eye. I soon learned these were not the best finishes for everything.
Click to read more of Curtis’s thoughts on finishing options for woodturners.
The newest PopWood arrived int he mail recently and it contains my latest article for them. If the topic interests you, I hope you will join me at the Marc Adams School of Woodworking where my workshop on parquetry will revolve around making and using these jigs.
I still have that box and every so often I take it out to look at and compare it to my latest one. I did that tonight. The joints on my first one look like the ones I did tonight. My confidence in myself to whack out a set of dovetails is way higher than then. I saw faster without hesitating and I chop the pin/tail waste out almost nonchalantly now. I'm comfortable doing dovetails whether they are through or half blinds. I still get that feeling now everytime I put a box together off the saw.
|prepping my chisels|
|quick check on the contents fitting|
|one block doing triple duty|
|this is getting better too|
|3 flush and 1 shy on the bottom|
|there was a tiny bit of twist|
|set my distance from the edge and the depth|
|plowed my grooves|
|length for the bottom stick|
|repeat for the short dimension|
What is the country once known as Burma now called?
answer - Myanmar
A few blog posts ago I mentioned Thomas Walker’s wedge design for the moulding plane and that was a slip of tongue as I was writing the first issue of the magazine and I was doing an article on Thomas Walker. Thomas was a clock maker and not a plane maker.
What I meant to say is Thomas Mooney design, so I’ve adding this design in case you prefer to be more period of appropriate.
Please note for Metric users that all my drawings are imperial. My tools are imperial and therefore I match my drawings to the tools I use. I know metric is as simple as counting 1,2,3 but it is what it is. If you really wanted too you could convert all the measurements yourselves. In the machine world I guess it would matter and you may need to redraw everything in metric but in the hand tool we only use measurements as a guide and every other piece is measured against each other if that makes any sense.
I wrote ‘woodworking‘ in the square, right after maths, Eng, Geog and P.E. I wasn’t sure what it meant to me, meant for me, I couldn’t see at all, but the first day in that bench-filled, wood-filled, tool-filled classroom was about to change the course of my school life. I felt it, smelt it, touched …
I'm clearing out a few more bargain planes.
Above a nice Spiers smoother which has been cleaned up well by a previous owner.
An old Spiers plane with original stamped iron in reasonable condition
A bargain Matheison smoothing plane that needs a bit of TLC
And below a nice Spiers No 23 smoother, a great user with a tight mouth.
As we run-up this week to nuptials for Younger Daughter we were blessed with a visit from her last weekend. Much of the time she spent with Mrs. Barn doing wedding-y stuff, but she spent a few hours in the shop with me turning a bowl. The wood for this bowl came from a plum tree in the Maryland house yard that died of natural causes some years ago (she remembers climbing the tree as a tyke), and I harvested the wood and set it aside for something special. This definitely fits the description.
I had in recent months found the faceplate for the lathe and ordered a threaded insert from Woodcraft so it could be put to work. Before she arrived I mounted the piece on the faceplate and roughed it round (she is not yet experienced enough to bring a really rough piece to round comfortably). The lathe is a bit high for her, so in the early stages she was most comfortable with the scraper tucked in the armpit. I will be building a lower base in the coming weeks.
I gave her only a few pointers as she developed the outer shape she wanted.
Before long she had the outer surface defined and embarked on an initial sanding and polishing.
With the base established and the shape determined it was time to remove the faceplate in favor of the small bowl chuck and get started excavating the interior.
Soon she was in pretty deep.
We stopped for the night, but on returning the next day she refined the shape and surface.
To be sure the watchful papa bear was never far from the action. The working height was just plain awkward for her but she hung in there without complaint.
After the final shaping she moved to sanding and then polishing with beeswax melted into the surface, buffed with a linen rag while turning. She particularly liked my method of placing a dry sponge between the hand and the sandpaper, it allows greater vigor with less heat.
And here it is, an heirloom with a priceless memory attached. In all likelihood it was our final private time together with her as Miss Barndaughter until those moments just before I walk her down the aisle, and it was a precious treasure.
Doggone, something must’ve flown into my eye…