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The Woodworking Blogs Aggregator
This "aggregator" collects all of the woodworking blogs I read every day - or try to anyway! Enjoy!
Thank you to everyone who contributed towards Walt Quadrato's battle against cancer! Their fundraising goal was met. Our prayers are with you, Walt!
A couple very nice plane I just posted featuring Hock High Carbon Steel (O1) Blade and Cap Iron Sets
- Completely tuned and sharpened.
- Custom Cocobolo knob and tote.
- New Hock High Carbon Steel (O1) Blade and Cap Iron Set. (A $70 add on)
- Original japanning about 95%+ with a few paint spec’s.
- Final honing on the Hock cutter done.
Stanley #3 type 15/16
- Completely tuned and sharpened.
- Custom Honduras Rosewood knob and tote.
- New Hock High Carbon Steel (O1) Blade and Cap Iron Set. (A $70 add on)
- Original japanning about 95%+ with a few paint spec’s
- The frog has remnants of the original orange paint.
- Final honing on the Hock cutter done.
…Hollows, Blind Curves and Pits
After the recent posts on sharpening, the first one really, I received comments and emails from people stating that the reason the stones were concave was because they were used for knife sharpening and not sharpening planes and chisels and such. That’s occasionally the case but the ones I am showing and referring to are sharpening stones used by woodworking craftsmen. I have seen and used stones just like these so my answer to this is short enough. It’s simple to tell the difference because of sawdust in the gaps and cracks and mixed with oil it’s pretty conclusive, but beyond that there are pressures and wear areas on the stones and the boxes that determine the reality too. Rest assured, across past millennia, honing stones have been eroded into concaved surfaces along their length by woodworkers of every kind. Most of them remained concave and were never ever flattened. Craftsmen kept them concaved and matched to their personal body movement merely as a matter of course. Why? Because flat stones are not so essential as people now believe.
Concave and hollow —
Are we discussing two different conditions or one and the same?
My quest to fill in the gaps of time between accountable hardware stores on main streets selling domestically made goods on a local level and catalog companies with delivery to the door I think may fall on stoney deaf ears, be subject to criticism or worse still be subjected to opinions that are little more than that, but I am hoping mostly not. You see, sharpening became intrinsic to me in my work and I ‘feel’ for the actual edges I want for each tool, which means I sharpen the edges to task and they are therefore not always the same edge. That’s the benefit of mastering freeform sharpening — freedom of choice. Where honing guides do create the same edge every time, I require differences for my work and one day you too may want a few differences to your cutting bevels and edges too. An example of this is steeper bevels with a convex that is more a blunter elliptical shape, or a shallower paring angle for hand pressure only. Instead of a rigidly fixed bevel for say a bevel-up plane iron I might want two extra swipes to increase the bevel 5 or 10 degrees for a particular grain or even a single stroke on the large flat face of a bevel-down plane to create a poor man’s ‘York’ pitch to deal with a patch of wild and awkward grain using either plane type. Mostly it’s all about a ‘flex’ I don’t get without freehand sharpening and it’s what we craftsmen do but don’t write about ‘cos we’re working and making and doing without necessarily trying to teach or even ask ourselves, “Now why did I just do that?”, so we can indeed pass it on. You see, as I’m working I ask myself these questions and then I investigate something I just do and take for granted so I can make sure what I’ve learned gets to other people, woodworkers, so it doesn’t die with me.
The stone’s shape need not be flat but it can be too.
Is that dissidence in today’s age of advanced technical knowledge and superiority and the ever-advancing age of “The Opinion” or worse still “IMHO”? Looking back through the last half a century and more in which I lived it does seem to me that a development occurred in the 1980’s that really didn’t exist before and that development just about affected the whole world of woodworking sharpening unquestioningly. One, everyone and their dog began buying Japanese water stones rather than oilstones and two, everyone became obsessive about spending gobs of time flattening them and I do mean obsessively beyond question. A third dimension quickly happened unquestioningly and that was the abrasive giants saw that they could no longer live on their past complacencies. Western abrasive companies were indeed losing ground fast and could no longer sell their ‘old fashioned’ sharpening stones even though they actually worked just fine. The woodworking populace, and I mean the new home woodworker who worked wood for leisure and pleasure and not for profit, having little to base their experience on since the demise of men working with their hands was all but gone, was looking for answers to sharpening they could not garner from experienced workmen as they might in times past. It seemed that every magazine started featuring articles every few weeks on the newer Japanese water stones and suddenly the giant abraders of the industrial world had to break through with ever newer versions by creating their own versions of the Japanese stones. Hence the presence of friable stones that surface fracture so rapidly they need constant flattening and, get this, getting people to spend more time flattening than sharpening and more time doing both than they do actually working wood. You see water stones do indeed cut steel fast but they also wear super fast too. It’s a perfect symbiosis between manufacturer and seller. First create a perceived need and then come up with an answer. Consumerism perfected. Wear is wanted and so too is flattening and flattening stones and metal flattening blocks and additional equipment not the least of which is water baths and rotating stone carriers and so on. Try explaining all of this in a sharpening class and all of a sudden you, the teacher, are as confused as those trying to learn from you. Simply put, all you need is some kind of sharpening stone coarse enough to establish, restore or maintain a bevel, a medium stone to refine the coarser abrasions and then a finer stone to polish out the bevel. After that a strop of leather and some buffing compound and your on your way to arm shaving hairs.
Back to the question do stones need to be flat?
Generally no, but there are conditions here not the least of which is the fact that the condition of stones often varies quite drastically and even hollow stones that look the same are most often different. the stones are incidentally and shaped by the man to the man actually using the stones. In other words the arm/hand/upper body action coordinates differently with every person and this depends on many things including experience of the user, height in relation to bench, hand positioning and many more issues. How irons are presented to stones, that is presentation angles and such, creates a shape over time to the surface of the stone and almost always creates a hollow or concave. That is unless you are indeed experienced. These hollows and concaved surfaces then are a like a fingerprint to the worker using his and her sharpening stones. The hollows are all different and never quite the same. That’s why, unless you use diamond plates or dead flat surfaces, most non-casual woodworkers feel awkward suing someone else’s concaved sharpening stone.
Hollows, concaves or merely curves
Whereas we often see sharpening stones as merely more curved than hollow in reality, most whetstones are in fact dished with a formed hollow concave. We do indeed tend to use the terms hollow and concave interchangeably and though these are indeed generally the same condition, that is ‘dished’, the terms tend to describe something curved in two directions rather than curved in one direction only. The reality is that sharpening stones (as distinct from diamond plates that stay flat) naturally crumble throughout the process of sharpening.
This hollowed stone shows the oil gathered in the hollow after sharpening freehand
The results of such eroding is an uneven hollow in that a deep curve occurs along the length of the stone and then also a slighter curve across the narrower width though this is generally less detectable by eye but still present. I have generally found dished stones that dish in varying degrees and the comparisons show that no two stones are indeed alike.
In the case of this stone the long hollow is 1/4” and 1/32” across the width. Sharpening on this particular stone creates a curved and cambered shape to the bevel of the cutting iron; the kind you might prefer for a gentler scrub plane iron. At the bench we might generally prefer a single directional curve along the length only and to avoid dishing as such. This is what I learned as a young man from the men I worked with. This has always been achievable intuitively and that’s how I managed to maintain the single curve in my stone surface for three decades. You see everyone selling stones and those having sharpened for only say a few years and periodically at that, see only one perspective and fail to consider the developed skill of the craftsman using the stones and the tools. Remember that I sharpen my tools throughout the day many times and have done so for the past 50 years. When we sharpen on honing stones we do not simply shove the irons and chisels back and forth in a machine-like movement but we flex the tool edges, the hands, the wrist the arms and the upper body to manipulate the tool’s edge to achieve specific results in forming a cutting edge. In the same long motions, instead of purely long mechanical strokes back and forth and parallel to the sides of the stone we often use elongated oval motions where the iron of wider blades like wide chisels and plane irons actually overhang the long edges. (Please remember that sharpening stones, especially natural ones, were rarely wider than 2” and irons were almost always wider, 2 – 2 1/2” wide,) so the irons were always skewed to the stones, never held in a honing guide and still hung over the edges of the stone even then. It’s by using long oval motions that we manage to keep to a single curve along the surface rather than actually ‘dishing’ the stone and creating a concaved hollow. How to pass this on is difficult, but I know at least for all of the stones I’ve worn through over the years they have always been flat across and curved evenly along the length. I survived with curved stone surfaces for three decades that way and never flattened the stones throughout those many years.
The jury is indeed still out though
The fact is that you really do not have to have flat stones or maintain flat stones and I hope to get to more detail on this in my next sharpening blog, which I think will show what really matters.
Some of our bloggers are still working on their 2014 Holiday Woodworking Tool Wish Lists. Just in case you are still working on yours (or haven’t even started yet!), here are some ideas to get you going. And don’t forget to create your own woodworking wish list on our website by CLICKING HERE.
Today we’ve got Highland Woodturner contributor, Curtis Turner’s wish list:
Why We Make Things and Why It Matters by Peter Korn
A woodworking friend suggested that I should read this book. It’s not a typical woodworking book it is more inspirational than instructional.
I already use Spax screws. So, I guess I don’t need 1,300 screws but this is a great selection of sizes and lengths packaged in a useful way. I really “want” this!
This looks like it would be helpful in some situations. I have always wanted to try this out. It will make a great stocking suffer!
I have a similar sized Hirsch bent gouge that is fantastic. So, I know the straight gouge would also be helpful. This is similar to the one Paul Seller used for spoon carving in this video.
I have the smaller version of this saw and it is just awesome. I had a chance to check out this “Bigboy” saw the last time I was in the store, and it went straight on my wish list.
Join Robert W. Lang in an in depth examination of the Byrdcliffe Iris desk, an iconic piece of Arts & Crafts furniture. You’ll learn the history of this piece and you’ll see numerous detailed photos. You’ll also discover a hidden flaw that might derail plans to build a reproduction.
This article is the first release of our first issue, and is available for free.
This is the type of in depth content that will be available to our subscribers in 2015.
Sign up for our newsletter and come back tomorrow for our next free article.
Japanese planes can be used for a variety of tasks.
Those of you who follow my posts know that during the last few years I have dealt with some boring health issues. Slowly but surely I’m returning to being a dulcimer builder on a regular basis. As I am able to do more I have to remind my self not to do too much more; […]
I’ve noticed lately that quite a few of the blogs I follow on WordPress(both woodworking and other topics), as well as other blog sites, have sidebars that contain what I consider meaningless little factoids about themselves. Normally, I would say “who f@#king cares?” but lately an odd sense of tranquility has befallen me, so I’ll bite and present a few of my own take on these “interesting facts”.
Currently Reading: The stuff I’m typing on the computer screen. My eyes both point straight ahead, so I can only read one thing at a time. If ‘currently reading’ means ‘book’, then, would anybody really care? Though I’m pleasantly surprised that so many people have decided to follow my blog and apparently enjoy reading my thoughts, I find it really hard to believe that somebody would care what book I happen to be reading in my spare time. If I do happen to be reading a book, I will mention it if I think it’s relative to the topic. Otherwise, I think it’s pretty self-important and arrogant to even mention it.
Currently Drinking: Nothing. I had some iced tea not too long ago. I usually drink a cup of coffee in the morning when I get to work. If this refers to ‘alcoholic beverage’, then nothing, either. I’m not a lush and don’t drink while I enter blog posts. In fact, I don’t drink much at all because I’m an adult. Every now and then I drink a little wine, or a mixed drink if I’m at a wedding or similar type event. I’ll admit that I’m somewhat vain, in a healthy sort of way. I go to the gym and lift weights on a regular basis, I try to eat healthy, I do a lot of walking. I want to keep a flat stomach, and in my opinion drinking a lot of beer doesn’t help matters. I don’t know too many middle aged guys who drink a lot of beer that are also not flabby and weak, and even more importantly, look flabby and weak.
I did all the drinking I needed to by the time I was 25. After that I put on my big boy pants and became a full-fledged grown-up.
Currently Listening to: Once again, nothing. On the way home from work I listened to the area station that plays Christmas music 24 hours per day until the season ends. In my opinion this is another piece of information that is completely useless. What music I am listening to, or what any other person is listening to for that matter, bears no relevance. If I were listening to Led Zepplin would that make a difference? Would you say, “I really didn’t like this guy at first, but now that I know he’s a Zep fan I think he’s alright!” Or how about Chopin? Does it really matter? Will my choice in background music drastically change your opinion about me? If so, you’re a lot shallower than I thought. And if you want to listen to what I am listening to just because I’m listening to it…well that’s pretty creepy. When I was 15 it was probably pretty important for me to know which type of music the people I came in contact with happened to like. Now, I really couldn’t care less.
I’ve come across many other blogs with “vanity” sidebars, but at the least most of them had some bearing on the type of blog they were on, for example: current project, or latest tool purchase. Those are two topics I consider relevant if they happen to be on a woodworking blog. Otherwise, the rest is a lot of fluff. Why does it bother me? It actually doesn’t. I came home from work in a bad mood and I feel like complaining about something. Because my contact with the professional woodworking world has been virtually non-existent over the past few months, I have very little to complain about when it comes to woodworking. This is all I could come up with. I know, it’s pretty lame, but does anybody really care?
Today we received the wood components for the La Forge Royale Miter Jack Kits from Nick Dombrowski of Lake Erie Toolworks, who machined the hard maple screws and nuts to machinist tolerances.
We're again floored by Nick's work. It is simply flawless. Nick nailed the fitment of our machined metal parts with the screw's tenon. We didn't check every screw, but on the first one we grabbed, the ferrule slid on with no play and snugged up at the last 1/4", dead flush with the end of the ferrule. Sweet. The garter pin slid into place perfectly. The fresh brass, steel, and maple are going to make a gorgeous vise.
We sourced the stock for the kits from our good friend Pete Terbovich of Horizon Wood Products and boy did he deliver. The nut blocks are cut from prime quartersawn 10/4 hard maple.
Tomorrow morning we hit the road to pick up the last couple bits for the kits, and then we'll get busy packing these for shipment. We're still fiddling with branding for these, so Christmas delivery is quite likely not going to happen (sorry!) We expect to have these ready to ship very soon though.
To remind, we're only making 100 of these. Actually, 99, since we'll use one kit to do a series of blog posts on making the miter jack start to finish. If you're planning to build one, you should source your maple now and get it roughed down so you can start building when the parts arrive. Get the Sketchup drawing here.
We still have a few kits available. If you'd like to order, click here.
We all know about curly maple, but how about curly oak? I didn’t know it existed until I started salvaging wood down here in Alabama. One day I found that some brush had been cleared across the street from my house, and I picked up the bole of a small water oak tree
The water oaks, sometimes called swamp oak, are common around here, and they often go down in storms because of their shallow root systems. The wood is much more close-grained than your usual oaks, so it’s about the only oak that I’ve found suitable for woodenware.
I split the log open, only to find that the whole tree was a knotty corkscrew. The grain spiraled around the whole trunk, so it wouldn’t split straight. There were a number of other defects, so I only managed to get a few usable pieces, one of which you see here. I wasn’t sure how to handle the twisty grain, so I sealed the ends and set them aside to dry. This piece sat around for years until I dug it out last week.
The natural twist, I decided, would make great stir-fry spatulas. Following the grain, I could make a wide spatula with a natural scoop without any grain running out. The resulting utensil would be both light and strong. So I drew out two spatulas on the blank and sawed them out with my bow saw.
The wood worked easily, though the curly figure resulted in much tear-out. I spent more time than usual scraping and sanding. As with other curly woods, I found that sometimes cutting perpendicular to the grain was the best approach to avoiding tear-out.
The results were well worth the effort.
These spatulas were some of the first things to sell at last week’s craft show.
Tagged: bow saw, curly oak, stir-fry spatula, swamp oak, tear-out, water oak
As you may recall, this past July I attended the annual Martin J. Donnelly toolapalooza warehouse cleanout auction, when more than three thousand lots of tools in less than twenty hours of auctioneering. My old friend Jon was there with me, it was his first time there and it blew his mind. At his strong suggestion I bid on and won a superb vintage Lamson machinist’s lathe, to bring back to the barn and add to my inventory. To sweeten the deal, Jon offered to tune up the headstock and outfit the unit with a new drive mechanism.
Recently Jon dropped by the barn on his way home from a vacation of vintage motorcycling with his pal Mike from the Pickers television show (I believe Jon was one of the brains who came up with the show’s idea) and brought with him the refurbished headstock and the attached new drive motor. He had done some bearing work and scavenged a DC motor and control from a treadmill, his favorite source for machine motors.
We spent a few hours assembling the lathe and getting it running, which was very exciting. Watching the first hot curling chips come off was quite a thrill.
Jon will return in a month or so to finish the tune-up, as only someone with almost two dozen lathes can.
Together we will try to decode the thread cutting chart on the lathe.
After the obligatory portrait of a fashionable man with his retro-fashionable lathe, we bid each other farewell as he raced for home to beat the coming snowstorm.
Jon’s account in the Bank of Don is full to overflowing.
We've still got a few holdfasts available from the last batch. If you order now, you'll likely get it in time to put it under the tree.
These are not available on our website, but only via email.
More info here: http://benchcrafted.blogspot.com/2014/06/the-benchcrafted-hand-forged-holdfast.html
Lately, I’ve had my nickers in a twist. That’s English for having a hissy fit. And fit I had, when I resawed some quarter-sawn oak—lovely rays and all—only to “flatten” it. But not really, because it had some wicked twist. Crap. Guess I’m going to have to make some winding sticks. Oh yeah. And learn how to use them.
It’s not that I haven’t wanted to make a pair. But Jim Tolpin’s New Traditional Woodworker design calls for 5/4 stock, and I didn’t have any lying around. One night, while enjoying the warm embrace of a Paulaner Hefe-Weizen, I queried aloud, “Why not just use ¾ stock?”
“Well, because they’ll tip over,” came the reply. But, then again, the sticks’ pyramid cross-section mitigates this possibility. So after rummaging through my lumber stores I pulled out some ¾ maple and walnut. Then, I thumbed to page 107 of Tolpin’s book to bone up on the build process and techniques.
As for dimensions, I went with a short stick. Thirteen inches long is plenty of stickage for my winding. That’s because I flatten boards around 6” wide. The abbreviated length also means that the sticks fit neatly into one of the drawers under my workbench.
I enjoyed building a tool to be used on other projects. It was particularly fun to plane a pyramid cross-section.
And to laminate maple to walnut.
Then to add a center-dot detail in the form of a dowel.
Here are the finished sticks.
And now that they’re done, I can focus on fixing the twist in my boards rather than in my nickers.
© 2014, Brad Chittim, all rights reserved.
Suzanne Ellison prepared this montage of swimming ducks from A.-J. Roubo’s “The Book of Plates” (plates 98, 294, 319 and 349) to remind you that you have only a day or so to order “The Book of Plates” and have any hope of it being delivered before Christmas.
Also worth noting: We are shipping this book (and all of our books) via Priority mail until the end of 2014. After that, we will be switching to another system of mailing books. It will be more reliable, likely a little faster than Media Mail and definitely more expensive.
So take advantage of us while you can. Shipping will be more expensive in 2015 (can you hear us, California?).
— Christopher Schwarz
Filed under: To Make as Perfectly as Possible, Roubo Translation
Vi har skrive tidlegare om seminaret vi hadde i Trondheim 15-18. november 2014. Som eg skreiv var vi delt inn i 4 grupper som kvar hadde sine oppgåver å arbeide med. På kvar gruppe var det ein av deltakarane, ein student på Teknisk bygningsvern og restaurering på HiST, som hadde i oppgåve å samordne og presentere dokumentasjon av arbeidet på gruppa. Dette vil vi presentere her på bloggen. Først ut er Ellev Steinsli som var dokumentasjonsansvarlig på gruppa som arbeidde med høvling av dør- og vindusomramming. Elles var Atle Østrem, Oddmund Aarø, Trond Eide og Roald Renmælmo på gruppa. Under føljer tekst og bilete av Ellev Steinsli.
I samla tropp ble det gjort en befaring i noen av bygningene på Sverresborg for å få inntrykk av lister og detaljer fra tiden det her er snakk om. Runden gav også alle deltagerne en god anledning til å diskuter lister, antatte måter å få disse fremstilt og få se hvor viktig det var med vakre og forseggjorte bygningsdetaljer.
Vi starta i verkstedet med klargjøring av arbeidsstasjon og diskusjon om hva og hvilke lister/produkter det skal fokuseres på. Atle hadde med en profilhøvel som det ble enighet om å fokusere på. Det ble diskutert hvor nøyaktig materialene må være ang. dimensjoner og kvalitet? Vi kom fram til at emnene er best å arbeide med når de er tilnærmet ferdig dimensjonert lik dimensjonen på ferdig listverk.Materialvalg og dimensjonering
Valget av material ble gjort ut fra lite kvist, lite tennar og riktig dimensjon er noen kriteriene. I hovedsak ønskes det en dimensjon som er så nærme ferdig emne og med så lite kvist som mulig for enklest mulig bearbeiding før profilhøvlingen. Vi snakket litt om dette med kvist i materialene, og dette er man ønsker seg tilnærmet kvistfri materialer er ett noe moderne fenomen og det er helt klart hvis man ser på gamle lister, dører og vinduer kan man konkludere med at snekkeren sjelden var redd for en kvist eller to, også relativt stor kvist. Arbeidet blir likevel enklere uten de store kvistene. Man kan nok med sikkerhet si at verktøyet som ble brukt var godt og skarpt, når man ser på hvor fint det kan være høvla over stor kvist. Materialene ble vurdert og klargjort for dimensjonering med forskjellige typer av verktøy på vanlig måte for å dimensjonere materialer til lister, vinduer, dører og annet.
Det som er mest effektivt er nok grindsaga og en god oppstilling i arbeidsbenken. Det gir ei god arbeidsstilling for klyving av materialene. Vi tok utgangspunkt i ukanta bord som var 5/4″ tjukke og så breie at vi fikk 2 bredder med list av hver. Materialen var levert av Oddmund Aarø på NDR som har handplukka furu til snekkermaterial i Klæbu, saga og lufttørka denne. Det var veldig fin material å arbeide med. Når emnet er kanta ned til bredde som er litt på overmål er det klart for å rette flasken av bordet.
Dimensjonering av emnene går raskt og greit i skottbenken med gode og egnede høvler. Materialene ble høvlet til riktig tykkelse på benken før bredden dimensjoneres i skottbenken. Her ble det diskutert hvordan man raskt og effektivt kunne spenne opp emnene i benken for så å høvle ned til riktig dimensjon (bredde) med skottokse med meier som lander på skottbenken når dimensjonen er riktig. Det ble forsøkt forskjellige innretninger for å teste dette. Vi landet på å lage to jigger for å holde emnet i rett høgde i benken under montering.Jigg for å feste emne i skottbenken. Skisse: Ellev Steinsli
Det varierer noe hvor nøye dimensjoneringen må være, men de fleste profilene er lettere å få jevne og rette, og ikke minst like, hvis man er nøyaktig i dimensjoneringen. Flaskhøvling, kanthøvling og dimensjonering er en stor del av arbeidet med listene så vi brukte mye tid på å finne fram til gode arbeidsmåter for dette arbeidet. Det som er utfordringen i arbeidet er å sitte igjen med rette flater og riktig dimensjon etter høvling.
Høvling av fals
Tre av listeprofilene vi høvla hadde utgangspunkt i en brei fals som tjente som referanse for profilhøvling. Fals kan høvles med en spesiell falshøvel som har fast land og dybdestopp. Slike falshøvler med stor nok bredde til våre profiler er sjeldne. VI prøvde derfor ut alternative metodar for høvling av fals. Den som fungerte best var å merke falsdybde med ripmot på kanten for å ha kontroll på den endelige dimensjonen. Videre ble det høvla ei not i det som blir kanten av falsen. Der ble det brukt en ploghøvel med ei list som fungerte som dybdestopp.
Videre i arbeidet ble overflødig material i falsen høvla bort. Etter en del prøving og instruksjon ble gjort både effektivt og nøyaktig med okshøvel ved å justere høveltanna skjevt i høvelen for å få den til å ta grovere i kanten. For å ikke høvle for djupt ble høveltanna justert tilbake mot slutten av høvlinga. Denne operasjonen gir også muligheten til å definere proporsjonen og utseende på listen siden vi står fritt til å variere dybde og bredde på falsen. I diskusjonen om hvilke lister som man ønsket å prøvehøvle ble det gjort en del refleksjoner om hvilke profiler og dimensjoner som skulle velges, både Roald og Atle hadde referanser og høvler til listprofiler fra Målselv og Bergen.Skisse over framgangsmåten på den eine lista. Øverst er det bare høvla not, så er falsen ferdig. På tredje skisse er det høvla profil på kanten av falsen og sist er det høvla en liten staff på innerkant av lista. Denne profillista finnes det ulike varianter av i Bergen. Denne listeprofilen er senere omtalt som list nr. 2. Skisse: Ellev Steinsli
Det ble klargjort materialer for 4 forskjellige lister med noe forskjellige profiler. To av listene har i utgangspunktet nesten lik utforming og utgangspunkt, men med noen forskjeller i hvordan man la opp til referansepunkter og anleggsflater for de forskjellige profilhøvlene. Det ble også brukt ulike profilhøvler på disse to. Ellers var det samme rekkefølge i arbeidet på disse to listene.Trond høvler profilen med profilhøvelen. Denne profilhøvelen har dybdestopp når heile profilen er høvla. Høvelen har et land som styrer etter kanten på falsen. Denne lista var den første vi prøvde å høvle og er omtalt som list nr. 1. Foto: Roald Renmælmo
I arbeidet med å høvle disse ble det klart at det ikke er store forskjeller på hvordan man legger opp rekkefølgen eller anleggene for de forskjellige profilhøvlene. List nr. 1 og 2. er dimensjonert likt og klargjort til profilhøvlingen men det som da fremsto som ett problem etterhvert var at den ene profilhøvelen til profil på list nr. 2. tydelig ikke styrte spesielt godt og krevde en tilpasning. Det ble prøvd med ett par småjusteringer i treverket i sålen på høvelen for å få denne til å gå godt, men det ble ganske raskt klart at det måtte til justeringer i høvelstålet. Etter justeringen høvlet denne høvelen en utmerket hovedprofil i list nr. 2. Forskjellen på å høvle profilen på disse listene er i hovedsak hvordan man starter å høvle. Det ble diskutert hva som er den beste metoden. Erfaring og prøving viste at på list nr. 1 er det å høvle med høvelen liggende på anleggsflaten og høvle rett ned mot den ferdige flaten fungerte best. På list nr. 2 ser det ut for at å bruke den samme anleggsflaten er en god måte å starte på, men det som ble best med en del prøver var å la høvelen arbeide seg ned i emnet mer på skrå for å til slutt lage ferdig profil med naturlig stopp i høvelen. Høvlingen av kvartstaffen på kantene er en operasjon som er mye enklere og som ikke ble diskutert nevneverdig, høvelen bruker kanten på listen som anlegg og stopper selv når hele profilen er høvlet.List nr. 3 i skjematisk framgangsmåte fra ferdig dimensjonert emne og til ferdig list. Skisse: Ellev Steinsli
List nr. 3 har en oppbygging som krever stor nøyaktighet for å ikke få halve profileringer på midtfeltet. List nr. 3 har en litt annen oppbygging med en karniss på begge kantene og ett ¨rille¨ felt på midten som gjør at dimensjonen helt styres av dette rillefeltet for å få riktig antall hele riller. På denne lista ble det klart at man måtte høvle karnissprofilen med kanten som anlegg og stoppen i høvelen fra begge kantene først for å bruke ryggen på karnissprofilen for å ha anlegg og start for rillehøvelen.
Hva er hensikten med ett slikt seminar og hvordan kan det bidra til å ta vare på tradisjonshåndverk? Det som er helt klart er at å jobbe på denne måten er det ikke mange i dag som kan. Det gjør det viktig å bruke kompetansen deltagerne har for å samle bitene og dele med hverandre. Det er en god måte å undersøke hvordan handverket kan ha vært gjort, diskusjoner i gruppen og mellom gruppene, muligheten med å kunne prøve å teste problemstillinger eller meninger i praksis er bra for å forstå lettare. Tilnærmingen til å forstå prosessen starter med å se på og undersøke tidligere arbeider. Verktøyspor, spor i veden etter høvelrettninger kan gi en pekepinn på rekkefølgen i høvlingen av de forskjellige profilene. Gruppen brukte mye tid på å diskutere og prøve ut hvordan man klargjorde emnene til profilhøvling. Det som var den store utfordringen ble hvordan lage nødvendige anleggsflater til de forskjellige profilhøvlene og samtidig få fjernet mye treverk på en enkel og rasjonell måte.
Det ble utprøvd en del teknikker, dybdestopp og anlegg på de forskjellige høvlene. Utfordringen viser seg ofte å ikke være høvlingen av profilene, (den gjør seg til dels ¨selv¨, misforstå rett) men å komme så langt at man kan gjøre denne operasjonen. Hvordan man dimensjonerer emnene, fjerner riktig og nok materiale til at det fremdeles er anlegg for profilen, og at dimensjonen består, er en mye større utfordring som krever at man tester og prøver ut dette i praksis etter hvordan listen skal se ut og hvilke høvler man ønsker å bruke. Her er mottoet ¨Øvelse gjør mester¨ og lære av egen og andres erfaring er det som skaper kunnskap og kompetanse som hver enkelt handverker kan benytte i daglig arbeide. For den som ikke har mye erfaring i høvling av listverk på denne måten er det meget viktig å kunne samle seg erfaring fra slike grupper og samlinger for å kunne tilegne seg kunnskapen som kreves. Ferdige produkter er ikke det sentrale, det viktige er å komme frem til kunnskap og få erfaring. Hvilke arbeidsmåter er sannsynlige? Listene som ble produsert, 3 komplette sett av dørlister med forskjellig profil gir en pekepinn på måten å jobbe seg frem til trolig metode og ferdig resultat er både rett og sannsynlig nærme det som er gjort i førindustriell tid.
Tekst av Ellev Steinsli, snekker og student på Teknisk bygningsvern og restaurering på HiST i Trondheim. Bilder av Ellev Steinsli og Roald Renmælmo.
Arkivert under:Bruk av høvelbenk, Handverksseminar, Listverkshøvling, Uncategorized
We’ve just released our December issue of The Highland Woodturner.
This month we’ve got some oldies but goodies including a popular tip from Phil Colson on how he is able to find FREE wood for his woodturning projects! We also included Aaron Cooley’s Wood News article on his organization, We Ride to Provide, which turns wooden urns for fallen K-9 teams.
Curtis Turner discusses Safety While Woodturning, including the important use of Face Shields and how they can help protect you from a looming accident. He also gets a start to the New Year by suggesting some helpful New Years Resolutions for your woodturning practice.
Rick Morris is back with an article on Creating a Turned Bandsaw Table Insert after he accidentally busted his old insert when he didn’t use a clamp on his bandsaw. He goes through the steps of turning your own insert and in the end you’ll have a suitable replacement!
We’ve also got the beautiful wood turnings of John Perrella who turns bowls made entirely out of Eastern hardwood trees.
And for all you last minute holiday shoppers, we’ve got our updated 2014 Woodturner’s Holiday Gift Guide!
All of this and more in our December 2014 issue of The Highland Woodturner!
Hilla Shamia’s work is among the most arresting marriages of wood and metal I’ve seen. Her pieces are made using a casting process Shamia developed while working toward a bachelor’s degree in industrial design at the Holon Institute of Technology in Holon, Israel. (She now has her own studio.) She calls it Wood Casting, and has trademarked the process. Shamia uses whole trunks of mostly local trees; they are cut […]
When Glen, Chuck and I decided to start 360 WoodWorking we went back to basics so that we could create great woodworking content in a format that made sense in the digital age. Paper, ink, newsstand sales and an issue arriving every other month in your mailbox were no longer constraints. You can read more on the topic at our “About Us” page.
Starting tomorrow, we’ll be rolling out the first “article” of our first “issue”, and you’ll see a new article every day until the entire issue is available. This premier release will be free, and will continue to be available for free as our way of introducing our content to the woodworking world. It’s a good representation of what our subscribers can expect to see.
After January 1, 2015 this type of content will only be available to subscribers. Next year, we will release six “issues”, about every 8 weeks. But we aren’t going to make you wait two months and then dump everything in your lap. Our subscribers will enjoy a fresh presentation (we don’t mind if you call it an article), video or online class every week. When we reach the end of the cycle, subscribers will see a “major release” of several project articles. In each issue cycle, there will be loads of content; articles on techniques, visits to interesting places, information from experienced and entertaining woodworkers and great project builds.
Our first “free issue” contains eight articles and more than 100 pages of advertising free content. Plus, we thought releasing it this way would make the point that there will be a constant stream of content for our subscribers. What you’ll see each day in the next week is typical of what you’ll see each week next year.
If you’re asking yourself “Okay, how do I subscribe?” CLICK HERE
If you’re not quite ready to sign up, that’s why we’re giving away an entire issue for free. We think you’ll enjoy what we (and our contributors) produce and the format in which we present it. If you’ve enjoyed our work in print magazines, books, videos, online and in classes you’ll find our unique combination of presenting solid woodworking information in a variety of formats a refreshing change and an excellent value.
All of our articles will be presented as as online versions that you can read anywhere you have an internet connection and as PDF files you can download (most have embedded video). You’ll have to check back to see exactly what’s coming, and the best way to make sure you don’t miss anything is to sign up for our newsletter, or become a paid subscriber. The following pictures will give you some clues.
Check back tomorrow, sign up for our newsletter and subscribe today.
It’s always exciting to see friends get featured and recognized for their woodworking projects, but it’s even more exciting when it’s something you they asked you for a little help with when they were first building it.
If you’re a subscriber to the Highland Woodworking Newsletter you probably already saw Dan’s Hockey Stick Bench, but if not, it’s a fun project to take a look at.
Dan originally sent a question into Wood Talk back in August 2013 asking for a little advice on attaching the goalie sticks (which were being used as the stretchers) to the sides of the bench. I can’t remember if we gave him the answer he was looking for, but regardless, the benches were so amazing that someone took notice and hired him to make quite a few more.
So congrats Dan! You did a great job and the benches look amazing. What’s next, one made from broken curling brooms?
I have written a few blogs about bodging and being bodged. My most favorite were My Mother was a Soviet Bodger and Teenaged Mutant Ninja Bodgers. Bodging as I use it means doing what must be done to make things work the best you can. Often modifying hardware to make it work.
The last blog was mostly about using bail or pull escutcheons for keyhole escutcheons. Like this:
Last week, I saw a chest that had escutcheons that seem to be designed to work either way. This is an escutcheon used with a bail.
And the keyhole version:
It works. Keeps down your escutcheon inventory.
And it looks better than just banging in a hole.