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Editor’s note: This article was excerpted from Bob Flexner’s article “How to Remove Watermarks“ Photo: Jon Chase (The Wirecutter) Light marks are milky-white and are caused by moisture getting into the finish and creating voids that interfere with the finish’s transparency. To remove milky-white watermarks, you need either to consolidate the finish (eliminate the voids) to the point that the transparency is reestablished or cut the film back to below […]
The post How to Remove and Fix White Rings from the Apple HomePod appeared first on Popular Woodworking Magazine.
I’ll get back to my recounting of WW18thC 2018 tomorrow, but for today I wanted to pick up the thread of the project to interpret an early 19th century mahogany writing desk.
With the full-size prototype built in southern yellow pine from my pile of bench-building stock it was time to move on to the real thing in mahogany.
But first I had to break my hip and lose more than half a year of shop time. One of my favorite jokes of all time involves a Calvinist who trips and breaks his ankle. “Finally,” he says, “I am glad to get that over with.” There’s nothing like some predestination humor to get the day started right.
As I wrote many moons ago I wanted to not only build the early-19th century desk with period appropriate technology, using power equipment only for “apprentice work,” I also wanted to use the best vintage lumber I could find. Casting my net as widely as possible among my circle of woodworking friends I was able to acquire small amounts of spectacular sweitenia from more than a half dozen sources. No single source was enough to accomplish the project, but en toto I obtained enough to build several desks, which I eventually will in hopes there are clients out there who want one.
The most difficult piece to find was the single slab of 30″x 20″ 5/4 mahogany for the desk top. Three stalwart friends responded and soon I was getting quizzical looks from Rich the UPS driver as he pulled up with securely swathed slabs of wood. You can get a sense of the scale as I believe that is my #8 in the frame.
Perhaps the most surprising source for lumber was the orthopedic surgeon who repaired my hip. As we were meeting for my final “turn me loose” appointment he asked me what I was working on, and I told him about this desk project. Although I knew he was a decorative turner I had not known he was an enthusiastic furniture maker in years past, and he told me he had a storage unit filled with vintage lumber he had acquired over the years. A couple months later we got our calendars to intersect and I went to meet him there, and wound up buying all the mahogany he had. He told me that this stash could be traced back to pre-WWI sources and based on the quality of the lumber I believe it. Similar stories accompanied the rest of the acquisitions as the lineage of mahogany inventories lives on in perpetuity, it seems.
Since the writing box of the desk was veneered, having just the right board for for making those veneers was crucial. Fortunately that was one piece I had in-hand already, having acquired it perhaps forty years earlier at an estate sale for a woodworker who had no end of fabulous lumber. Alas I did not have the money to buy more than a few pieces, and this was one of them. I was saving it for just the right project, and this was it. This dense, hard, and spectacular Cuban mahogany was nothing but delightful to work with.
Ditto the flame veneers needed for the outside surfaces of the legs. I cannot even recall when I bought four slabs of crotch lumber, but they too were waiting for just the right project.
The structure of the desk was simple enough and I soon had all the pieces cut and ready for fitting assembling. But before final assembly could happen I needed to address all the hand-cut curvilinear moldings on the edges of the legs.
In part one we introduced tools for standardization. These are the measuring tools that you also use to verify and quality your other tools. Every woodworker should have a high-quality combination square at the very least. In part two, I covered basic measuring tools: rules, tapes, and squares. Certainly, these are the tools that get the biggest work out in woodworkers’ shops. And, now it’s time to dial it up a […]
The post Precision Instruments for Woodworkers – Part Three: Tools for Precision appeared first on Popular Woodworking Magazine.
The text and images below are excerpted from Christian Becksvoort’s forthcoming book…for which we don’t yet have a title. So for now, I’m thinking of it as “Becksvoort’s Builds, Business & Inspiration” – until something catchier comes to mind. Consider this an amuse-bouche; the main meal will arrive probably in the late spring/early summer.
— Megan Fitzpatrick
There are several options when it comes to stopping drawers. If you’re making lipped drawers, your problem is solved. The lips (usually only on three sides – the bottom will have the moulding profile, but no lip) not only stop the drawer, but also cover the small gap on the sides and the somewhat larger gap on top.
Flush drawers, sans lips, are another story. My favorite method is the front underside stop. It keeps the drawer front flush with the cabinet, no matter how the cabinet side moves. In order for the drawer bottom not to get hung up on any part of the web frame, there is usually about 1/4″ to 5/16″ (6.4 to 7.9 mm) clearance below the underside of the drawer bottom. Obviously, that wood under the groove is what supports the drawer bottom. That space allows for 1/4″ (6.4 mm) stops to be routed and glued into the divider (one for small drawers and two stops for wider drawers). I usually rout a groove into the divider, close to both sides, but with enough clearance to allow the drawer side to pass. The groove is a bit more than the thickness of the drawer front away from the front of the divider. Once the stop is glued into the groove, I like to add a finishing touch. On all my flush drawers and doors, I add a leather bumper to quiet the sound of the drawer or door closing. That’s the sound of quality.
If, instead of using web frames, you’re making side-hung drawers, the slot on which the drawer rides acts as a stop. Here, too, you can add a bit of leather or even a self-adhesive rubber or silicone bumper.
Another, more traditional, method is to let the drawer bottom protrude beyond the drawer back. This works best if your primary and secondary wood is of the same species. Because solid-wood drawer bottoms have the grain running side to side, the drawer bottom will move in conjunction with the cabinet side. The drawer stays close to flush year-round. Obviously this doesn’t work with a plywood bottom.
What about drawers in a frame-and-panel cabinet? Because those cabinets don’t change in depth, that’s pretty easy and straightforward. The drawer can butt right up against the back. However, when I make frame-and-panel cabinets, I like to make the drawers a bit shorter than the inside front-to-back opening. That allows me to add a small block or a thick bumper to the back of the drawer for a perfectly flush front, as well as a quiet closing drawer.
On a few antiques, I’ve seen flathead screws driven into the drawer back as adjustable stops. Not all that classy, but it works.
— Christian Becksvoort
Machine guards are supposed to protect us from harm, but there are times when they can turn against you. The worst injury I’ve ever received from a machine was cutting my hands on the anti-kickback pawls while installing my table saw’s guard. Yesterday I ran into trouble on my jointer with disastrous results. The collar that controls the height of the guard vibrated loose. The tip of the guard contacted […]
Here’s a tip on how to cut curves on the bandsaw. When cutting a circle or an odd shape from a square piece of lumber on a bandsaw, you’ve probably dealt with the annoying corners that try to pull the material out of your hands as they catch on the bandsaw’s table. Then there’s the additional annoyance of the blade binding in a weird curve. A few extra cuts on […]
The post Tricks of the Trade: How to Cut Curves on the Bandsaw appeared first on Popular Woodworking Magazine.
Here is a classic cabinet makers work bench made a few years but in 'as new' condition, you can still see the factory planer marks on the top. This is not the lightweight 3' 6" version but their full sized model . The top (excluding vices) is 1500 mm long x 435 wide (655 at the vice end). In my view this is a much better bench than their current Elite model and offered at a fraction of the price, offers on £450.
The E Bay listing is poor with pictures upside down and very little detail on the description, I gained this info from corresponding with the seller, who seemed very genuine. It's located in SW London.
If you need a bench of this size it's one not to be missed!
|the following morning at oh dark thirty five|
|curve rasped and the end cap sanded smooth|
|front of the curve|
|inside sanded smooth|
|angled the two end 'nails' and the middle one went in at 90°|
|drilling pilot holes for a #6 screw|
|I can use the driver to open and close the drawer|
|I will have to rehab this now (back from the hospital)|
|this part was easy|
|I'll need a spanner wrench|
|had to search for the top pin|
|installing the drawer slides|
|left side slide going in|
|it was the anesthesia that made me do this|
|the anesthesia is still playing with my head|
|why it is proud|
|got my 1/4" clearance at the top of the drawer|
|it is working both ways|
The drawers only come with 8 screws. That means only two screws for each part of the drawer slides. I will be adding at least 2 more for each slide part. If I don't have any screws I think Lowes sells them.
|I think I got it right this time|
|drawer closed and it is flush|
|one of the hardest spots to clean and degrease|
|the back of the frog is another spot|
|using Zep on the front and Krud Kutter at the back|
|the Zep is filthy|
|Krudd Kutter did better at the back|
|Krud Kutter gets the brass ring|
|got some new toys|
Did you know that a UK Duke or Duchess is addressed as "your grace"?
Editor’s note: Blade Magazine is published by F+W Media, our parent company and my cubical is next to the organizer of Blade Show. I thought our west coast readers would be interested in hearing about this event! If knives aren’t your thing, disregard! – David Lyell Join Us Oct. 5-7 in Portland, Oregon BLADE®, the world’s No. 1 knife media brand, announces the all-new BLADE Show West in Portland, Oregon—the Knifemaking Capital […]
I really liked the idea of using a wood screw, partly because I liked Scott Meek’s and partly because of my love affair with wood. But the Benchcrafted system comes highly recommended. I decided to combine the two systems, using the Crisscross mechanism in conjunction with the Lake Erie screw.
The post Installing the Lake Erie Toolworks Wood Vise Screw (With a Twist) appeared first on Woodworking Blog.
Renowned furniture maker Peter Follansbee presented two sessions at WW18thC, the first concentrating on the making of 17th century carved frame-and-panel chests, the second on making chairs. Peter looks like someone who planned on attending a Dead concert and found out he wandered into a woodworking shindig.
His comfort in front of an audience and well-deserved confidence in his ability is heartening. And his artistry with carving flows from his hands naturally, seemingly effortless.
His second session was an ambitious attempt to make a green-wood chair in 90 minutes. He got close.
…I mean, how can they get it so wrong? There I was, prepping a chisel, brand new, straight from the box, about to tell people you won’t go far wrong with a set of Faithfull (UK), blue plastic-handled bevel-edged chisels. I don’t vouch for all of their tools because they tend to be more an […]
|can we guess what this is?|
|holder set up|
|it is nose heavy|
|why it is nose heavy|
|flushed the back brace|
|piece of cardboard|
|should have done this before I glued them on|
|I had to use very short strokes|
|flushed the drawer slips|
|epoxy and sawdust to the rescue|
|packed it with epoxy/sawdust mixture|
Did you know in liquid beer measures that a firkin equals 9.8 gallons?
Thanks/no thanks to the turmoil in the world of woodworking publishing, we have acquired another editor to work on our books, blogs, videos and other projects.
This announcement should be no surprise.
All of you know Megan Fitzpatrick, the former editor of Popular Woodworking Magazine. During the last 11 years, she’s always been happy to help Lost Art Press with editing, which she did on the side whenever she could spare the time.
Today, Megan joins Lost Art Press as a managing editor. Like Kara Gebhart Uhl, Megan will work on all of our titles on a daily basis. This addition to our staff will have profound implications for you, the reader.
Here’s why. Kara and Megan can already read my mind, and they were both an important part of creating the ethos that guides Lost Art Press: 1) Treat everyone with the same respect. 2) Give away as much content as possible.
With both of them on board, I can step away from doing every single task involved with publishing our books. Kara and Megan will manage the day-to-day tasks of book publishing. This frees me to research and write more books for Lost Art Press. This has always been my greatest (and perhaps only) strength.
Please don’t think that this means that I am stepping away from Lost Art Press. I work seven days a week (by choice and by joy), and Lost Art Press is my baby. Bringing Megan on as a regular ensures that I can continue to explore the unknown, while she and Kara ensure our books are of the highest editorial quality.
Don’t believe me? Just wait.
— Christopher Schwarz
It took until the first weekend in February for us to get any decent snowfall, and it did look lovely here in Shangri-La. It closed everything down for a couple days, but we were snug as a bug in a rug. We’ve had plenty of frigid weather (coldest temp this winter thus far was about -15F, wind chills to about -40F) but only a few light snow falls up to now.
Jögge Sundqvist’s “Slöjd in Wood” is in the final editing/design stages, and will be off to Suzanne Ellison in the next day or two for the index, and to Kara Uhl for a copy edit. In other words, it’s just a couple weeks away from going to the printer. (Look for another post when it does.)
As I was editing the translation, I was charmed by almost every project – but what I find most intriguing about slöjd is its bedrock foundation in self-sufficiency and using the materials at hand.
But Jogge says it much better than can I, so I’ve shared part of his introduction below. The images at the top and bottom here are the end papers of the sumptuously photographed and illustrated book, and show the tools and supplies he uses throughout.
There are many different ways of working and joining wood. In this book I will tell you how to work wood using hand tools. I’m dedicated to slöjd because of the tool marks and carved bevels, the worn colors, the idiosyncratic design and the self-confidence of the unschooled folk art expression.
Slöjd is part of the self-sufficient household, how people survived before industrialization. Slöjd is the work method farmers used when they made tools for house building, farming and fishing, and objects for their household needs. For thousands of years, the knowledge of the material has deepened, and the use of the tools has evolved along with the understanding of how function, composition and form combine to make objects strong and useful.
The word slöjd derives from the word stem slog, which dates to the 9th century. Slög means ingenious, clever and artful. It reflects the farmers’ struggle for survival and how it made them skilled in using the natural materials surrounding the farm: wood, flax, hide, fur, horn and metal. I have picked up a dialect expression from my home county, Västerbotten, that has become a personal motto. We say Int’ oslög, “not uncrafty,” about a person who is handy and practical.
In slöjd, choice of material and work methods are deeply connected to quality and expression. To get strong, durable objects, the material must be carefully chosen so the fiber direction follows the form. This traditional knowledge makes it easy to split and work the wood with edge tools. Slöjd also gives you the satisfaction of making functional objects with simple tools. When a wooden spoon you made yourself feels smooth in your mouth, you have completed the circle of being both producer and consumer.
My intention with this book is to give an inspiring and instructive introduction to working with wood the slöjd way: using a simple set of tools without electricity. There are many advantages to this. You can make the most wonderful slöjd in the kitchen, on the train or in your summer cottage. Simple hand tools make you flexible, free and versatile. And the financial investment compared to power tools is very low!
Traditional slöjd knowledge is vast, and requires many years of experience before you can easily make your ideas come to life. It also takes time to master the knife grips, essentials of sharpening and specific working knowledge of individual wood species.
As you work with slöjd, the learning enters your body. Through repetition, you will gain muscle memory for different tool grips. The ergonomic relationship between your body and the power needed for efficient use emerges over time. “Making is thinking,” said Richard Sennet, professor of sociology. In slöjd, the process never ends.
Because slöjd is inherently sustainable, it feels genuine and authentic. In an increasingly complex and global society, it is important for an individual to experience an integrated work process from raw material to finished product.
People from all walks of life benefit from the interaction between mind and hand. Slöjd affects us by satisfying the body and in turn, the soul. There is a kind of practical contemplation where there is time for thought – a certain focused calm, which is an antidote to today’s media-centered society.
I think we can use the knowledge of slöjd to find that brilliant combination of a small-scale approach to a sustainable society that doesn’t exclude the necessities of modern technology. Traditional slöjd is a survival kit for the future.
— Jögge Sundqvist, August 2017
Curious as to what it could be I opened it and found a letter from Saint Ralph. Ralph explained that he and Ken had collaborated on sending me a Bailey No 3 hand plane.
The plane was securely wrapped in cardboard and bubble wrap, and was disassembled.
When I started unwrapping the plane my heart sank. Ralph had mentioned in the letter that he had rehabbed the plane, and upon seeing the individual parts I became painfully aware how far from my own pitiful rehabbing efforts the job that Ralph had done was!
Ralph's rehabbing is nothing short of immaculate.
Ken had sharpened the blade, so all I had to do was to assemble the plane, and what a joy it was, to assemble a plane that was already rehabbed.
Right now the kids have a winter vacation, so I plan on giving Asger some instructions in how to adjust the plane, and then I will let him bring the plane with him to school, so he can show his teacher what a sharp plane looks like and feels like.
Thank you very much, Ralph and Ken for this very thoughtful present. It is deeply appreciated, and I am certain that the plane will see a lot of work in the future.
New Features on the Powermatic 3520C Lathe – Movable Digital Control, Integrated Riser Feet and More Mass
I recently received a press release that Powermatic brought a new version of their popular 3520 lathe to market. The new version, “C”, is the 4th generation of the 3520 lathe family. The new features really grabbed my eye, so I gave the product manager for this new lathe, Michael D’Onofri, a call to hear first hand about them. The movable control box allows the user to place the most important controls […]
I’ve been to several of Colonial Williamsburg’s annual confab Working Wood in the 18th Century (WW18thC), a gathering that always has a central theme of some sort. This year’s organizing topic was “Workmanship of Risk: Exploring Period Tools and Shops,” and it was my favorite of these conferences (although previous topics of “Surface Decoration” and “Oriental Influences” come in a close second tie). And not just because I was a speaker; that actually makes the experience less for me because of all the preparation work that consumes crazy amount of time and energy for me.
The presenters for this year included the crew from the Anthony Hay Shop, and their interpretation of a decorated tool chest; the Colonial Williamsburg joiners, demonstrating the consruction of monumental/architectural moldings; Jane Rees, the scholar behind the magnificent decorated lid of said tool chest; Peter Follansbee, recounting the processes of his work in carved 17th century oak furniture; Patrick Edwards, demonstrating classical marquetry techniques; and the inestimable Roy Underhill, with his keynote lecture and moderation of a panel discussion on historical primary sources; and me (more about that in subsequent posts).
There is no way to summarize the richness of the conference content without re-living it with verisimilitude, which could be accomplished only with a literal transcript and live video feed. But the next few posts will encompass my compressed take on the event.
As is the norm for this event, which normally sells every seat within the first few hours of opening the registration, every seat in the house was filled plus perhaps a few more. I know that often the deciding factor of whether or not some guest may attend a particular presentation is the occupancy limit established by the Fire Marshall. All the presentations are in the front of the auditorium on a small theatrical stage, making it difficult if not impossible for anyone beyond the front few rows to see the details of the proceedings. To alleviate that hurdle and enhance the learning experience for the attendees the entire performance is projected onto a giant screen behind the stage. It sometimes sets up the weird dynamic of us performing for the cameras, turning away from the audience.
Our start on the first evening was RoyUnderhill, undertaking the unenviable task of decoding philosopher/craftsman David Pye’s influential book The Art and Nature of Workmanship, a book, which Roy avers, has been read by few if any artisans (I think he is correct in this; I ground my way through it some 40+ years ago and never felt the desire to return to it. It’s on my shelf if the impulse ever emerges).
As always Roy was an engaging speaker even given the difficulty of the topic, and demonstrated some of the concepts contained within the risk vs. certainty discussion. Beginning with a mallet and froe to rive out some lumber workpieces, moving then to a hatchet, and finally to a sabot’s shave, he began the steps of workmanship that might not be “risky” in the hands of a skilled craftsman but certainly have a component of “uncertainty” to them, that uncertainly diminishing with each incremental step.
Roy ended up with an inventory of a complete tool box from ages past, using it and its contents as focal points for the soliloquy.