Hand Tool Headlines
The Woodworking Blogs Aggregator
This "aggregator" collects all of the woodworking blogs I read every day - or try to anyway! Enjoy!
Hello (^-^)/ I mentioned your name in my last article about a Japanese toolbox that I'm currently building. I hope that is okay for you (^-^;) If it is not I will take it out of this article :) Thank you very much for sharing your knowledge and...
No problem at all. I’m honored to be mentioned, and glad to be of some help.
For everyone else, here’s the post.
|moment of truth|
|a little sanding|
|I'll be using the cherry flower|
|got my DMT wave sharpening half cones - 600 and 1200 grit|
|each one has a no slip pad|
|rocking and rolling|
|two hollows on this gouge|
|one big hollow on this gouge|
|back to two hollows on the last gouge|
This no slip mat wasn't working 100% for me. Initially I was rocking the cones and instead of using two hands to control the gouge, I had to use one to steady the cone. The pad was keeping it from moving back and forth but did nothing to stop the annoying side to side movement.
|tried it a different way|
|made a quick holder|
|yes it is angled|
|this worked much better|
|in cannel across the grain|
|different story with the grain|
|out cannel gouge|
|made this for stropping|
|made the channel deeper|
|it looks like it is touching all around|
|better coverage this time|
|somewhat shiny look|
I don't know if I'll be able to get on line tomorrow. The worse is supposed to be going on around the time I usually post. I haven't had the 'schedule' feature on this blog work for me ever. I've tried it several times in the past and I have given up on it. I'll give it one more try.
What was the only southern town to remain in Union hands throughout the Civil War?
answer - Key West, Florida
Regelmäßige Leser wissen, dass ich zwei Schwächen habe:
Sägen von Moises Eadon und Freilichtmuseen. Heute also zur Abwechslung Bilder eus einem Freilichtmuseum. Den Gamble By in Aarhus, Dänemark
I recently added the fifth and final episode of Carving a Cartouche for a Philadelphia Highboy to my Online Carving School. This has been one of the longest lessons I have made (only to be out-done by the Dragon and Acanthus Lesson) and totals around 4 hours. Here is a brief introduction video that shows some of what is included in this lesson.
The lesson covers every part of the carving:
• lowering the area outside the “Philadelphia Peanut”
• re-drawing the design onto the lowered surface
• dividing up all the large elements in the carving
• carving all the details -c-scrolls, leaves and abstract shell design (sometimes called rocaille)
• releasing the design from backer board
• carving the back-side of the cartouche
• finishing up the top curled leaf and the lower rope design
You can see my blog post with photos on the carving process here.
This lesson (along with most other lessons in my online school) is also available in downloadable form for individual purchase for $34.99. This is an option for those who are not members of my online carving school.
There is also a resin casting available for sale. This lesson in particular is important to have something to view while your are carving it. This casting helps a lot in showing the subtle shapes in this complex design.
Now you just need to build a Philadelphia Highboy so you have a place to put your cartouche!
|Granules and Salt|
|Right click and select "Open in New Tab" for printing|
I present to you, lower right of photo, my latest work. I call it:
“Frustration in Pine Bound in Cotton“
One of the barriers to making a Windsor chair are all the specialty tools, including the adze, scorp and travisher to scoop out the seat. Though I own all these tools and have used them for more than a decade, I sometimes wonder if they are all necessary. How would you make a comfortable and sturdy chair if you didn’t own specialty tools? This week I’m building a primitive three-legged […]
For the past couple of years as I have been struggling to move into and assemble the new workshop in the barn, I have been plagued by one corner, right inside the entrance to my studio. I am not by nature a neatnik, and the corner wound up being the repository for odds and ends that I didn’t know what to do with. It wasn’t situated well, nor was it large enough for a “real” workbench as the total space was about five feet square. About the only good feature of the corner is that it was a natural home for a large trash can.
Thanks in part to the inspiration of Jonas Jensen, whose blog is one of my favorites and often features immensely ingenious and impressive projects he makes from scrap materials in his spare time in the mechanical workroom of the ships on which he works in the North Sea, I realized there was no excuse for this state of affairs. Combining Jonas’ creativity with both a very limited improvised space and salvaged materials, along the impetus resulting from a recent visit to my friend Bob’s cozy gunsmithing shop, I was spurred on to action so that this very valuable real estate was reclaimed from being consigned to be nothing more than a junk-catching corner.
This new initiative, combined with a little salvaged Sjobergs workbench, resulted in a work space that is destined to become a favorite. I had originally deposited the tiny workbench in the barn’s classroom because even though it was wholly inadequate for full-scale furniture making, I had worked it over enough that it was now a pretty good little bench (after my rescuing it from the trash many years ago). Guess what? I measured it and it fit into the corner as if it had been made for it.
After finding new homes for the stuff in the corner, and acquiring a new rectangular trash can to fit in with the newly positioned workbench, I now have a delightful work station for doing my “fussy” work that is so frequently part of my projects, including carving, jewelry-type fabrication, filing, sawing and the like. My two bowling-ball-and-toilet-flange vises used for carving, engraving, and checkering are now there, along with my stereomicroscope, myriad dental tools, die maker’s files and rifflers, checkering tools and carving chisels. There was even space for a few books overhead, and a permanent (read: rememberable) location for the First Aid kit.
Congratulations to “amvolk” (a.k.a. Andrew Volk). He’s the winner of a print copy of the second edition of “Popular Woodworking’s Arts & Crafts Furniture Projects,” now with 17 new projects (42 in all). The new edition is available now to order in both paperback (the book is expected to be in house and shipping in three weeks) and as a PDF download (“shipping” right away) at shopwoodworking.com. — Megan Fitzpatrick
It’s funny seeing how manufacturers change the art of what we crafting artisans are looking for by taking what exists and then manufacturing their translation of it rather than trying to understand the essence of something we really need. In the demise of British makers producing true quality goods, a void existed and an opportunity too. I say that because yet another venerated manufacturer I once recommended reduced its standards and chose a different maker to make its square awl. The new awls were shabby replicas that started snapping under even mild pressure in softwoods let alone the more resilient hardwood like oak. The end result is that yet another British-made product bites the dust and another interpretation comes in to fill the void from Asia. People that relied on C.K. for a quality product will disappointingly find that C.K awls are now ranked amongst the junkers.
That said, I took a second look at the imported Silverline square awl (above). It was really a mistake on the part of the manufacturer and of course the importer (known for cheap imports rather than a quality product) too misunderstand the key issues. They must have thought that the point of the original square awl was flawed and in need of finessing. I suppose they decided then to correct the mistake, thinking they were doing us a favour, and rounded the point like a round-pointed awl and never realised we wanted square edges not conical. To add insult to injury, they then took off the corners to the stem of the awl with a chamber to each corner when we wanted sharp, angular corners. You see we rely on the sharp corners of the point and length of the stem because the work as a reamer to actually ream out a conical hole for screws or to make a hole all the way through. All this awl will do is split wood rather than cut the hole, which is what the original was designed for as a bird-cage awl.
With the flawed perspectives dealt with I took the awl and started filing the steel blade square with a flat, single-cut file. The steel was hard enough so that was good. The wood is an Asian hardwood, stained and nicely shaped. I confess feeling glad that someone in Asian was earning a living making them but I’m not under any illusion that he or she is getting near to nothing for the work. I reckon that if I were to start a business just making square awls to a good quality I could turn the handle by hand, fit the brass ferrule and cut and shape the steel awl part from O1 in under five minutes or so. Materials for the whole would be about 15-20 pence sterling max. This awl cost me £4.96 with free shipping and handling. so at that rate, after costs and shipping, I would be earning about £48 an hour and that’s for true hand work, which is not what’s taken place here. All I have to do now is sell them. Oh, and that would be with a nicely made figured maple handle to boot.
OK, the brass ferrule was thick-walled and nice quality. Better than most ferrules on high-dollar awls. But somewhere in the production run someone was sloppy and left the ferrule looking ugly with finish badly applied. I polished this out and worked on the ferrule to polish it out on a mop in 8 seconds flat. The difference to the appearance and feel is staggering. I lightly buffed out the existing finish on the wood and applied an extra coat of shellac. Tell me someone can’t start a business in today’s economy and I’ll show you how she can. You should see the photographs someone sent me as a result of the walking cane blogs and videos we did last year. Just stunning work.
I wanted to see how the awl fitted into the handle. Simple and effective really.
Refining and strengthening the tip of the awl with a pyramid point is all that remained and the awl motored through wood like a torpedo. You may want to experiment with shapes like triangles and diamonds, but square is really fine and very strong.
Before and after side by side. This is how the awl should have looked.
I've taken some time away from nose to the grindstone tool production lately to set up a small blacksmith shop that can wheel in and out of my workshop. While a dedicated space for metal work would be ideal, this mobile arrangement beats the pants off of hitting the road every time I need to heat up and pound some steel.
|My parking lot smithy.|
The forge and anvil live in a corner of my workshop and I hand truck them down a small flight of stairs into the parking lot as needed. At the end of the day, after everything cools down, they roll back up the steps and into the workshop until the next time their services are required.
|Adze blade coming up to critical temperature.|
I opted for a vertical tube forge design with a blown burner. Blown burners use a fan to supply the air to mix with the gas. The gas and air mixture come in on the bottom of the forge and the doors are at the top. This arrangement gives a nice, even heat with no hot spots which makes heat treatment a breeze.
There are a storm of new tool ideas on the horizon that this forge makes possible. Expect to see some of them soon and some of them much later. It also means that the adze production, while slightly dependent on the weather, will flow a little faster now.
If French Marquetry stands at the pinnacle of labor intensive and complex woodworking techniques, this shop cabinet surely occupies the opposite position.
For a while I’ve had a collection of corded tools that didn’t have a home. My router, D/A sander, finish nailer, and others that clustered in a “pile” next to the jointer. With the marquetry I’ve acquired a few more interesting accessories. Two hot plates, a frying pan of sand, hot water kettle, and more.None of these tools had a “forever home”, so I decided to do something about it.
I dragged a couple of sheets of Home Depot Birch plywood back to the shop. I don’t like this stuff. It warps as you cut it, has lots voids and is only 5 layers of material. Next time I’ll get the real stuff. But me and my tablesaw cut it down to size quickly, and with the aid of my Kreg jig I had pocket holes drilled the the outsides clamped up in no time. These clamps are the best thing ever.
I’m pretty lukewarm on pocket hole joinery. At least with home center plywood. It’s really easy to overdrive the screws and either strip them out or have the tip tear through the side while the end of the adjoining piece splits while the head wedges it apart. It’s certainly a fast way to assemble something though.
No dados, no glue, just pocket hole screws for the outer shell and Spax screws through the outer face into the edges to affix the back and shelves. The back is just overlapped. Yeah, cheesy construction, but I was curious if it would be strong enough. I hate not having the shelves in dados, and not having the back clued into a groove. But this went together so quickly, maybe two hours from when I started to cut the plywood until I had the cabinet built.
I added a french cleat to the back, and loaded my spray gun with Amber Shellac. Three coats with the shellac reduced 100% out of the can, and the cabinet was ready to hang on the wall.
The shelves seem strong enough to support the tools, although I wouldn’t want to overload them with (say) 10 years of Fine Woodworking back issues. That would be wrong on several levels. I was able to put all of my homeless tool away, with room for the few that I’m actively using left over.
I’ve got a couple of additional organizational projects that I want to do, but this has made a big improvement in shop clutter.
Peter Follansbee, one of the authors of “Make a Joint Stool from a Tree,” dug up some photos of historical examples of chairs that Randle Holme drew in the 17th century.
Also, since Peter left Plimoth last year he now has even more items that he sells on his blog – spoons, beautiful bowls and even some carved panels. If you like Peter’s stuff, this is a direct way to support his pioneering work. His current batch of items for sale is here.
— Christopher Schwarz
Filed under: Furniture of Necessity, Make a Joint Stool from a Tree
To try and inspire you to give wooden planes a try I have endeavored to keep things within this post as simple as possible, but before we get started a bit of preamble. I’m going to avoid waxing lyrical about these planes and try to let history give you a nudge. Although wooden planes across the board may look different than many of the excellent metal offerings of today, this […]
- Eddie Huang, producer of the new sitcom Fresh Off the Boat at the ABC TCAs, fielding this unbelievable question from a reporter: “I love the Asian culture. And I was just talking about the chopsticks, and I just love all that. Will I get to see that, or will it be more Americanized?”