There are three fundamental rules in designing furniture: Rhythm, Balance and Harmony, according to Fred D. Crawshaw who has based his theory on E. A. Batchelder’s book “The principles of design.
Here is an excerpt from a book I’m reading dated 1912 for teachers of woodworking, I feel that many of you may find this beneficial in understanding the fundamental laws of furniture design which you may consider when drawing up your own furniture designs. Even if you don’t design one yourselves you will at the very least have a better understanding of furniture design concepts and be able to differentiate between a good design and a bad one.
Steps to take in designing a piece of furniture
- In response to a need for a piece of furniture consider carefully it’s detailed use.
- Determine the material to be used in construction. In general, close grained and fine textured woods are most suitable for furniture which has a limited use such as parlour and bedroom pieces. The courser grained woods have their principle use in living and dining room furniture. Again, the close grained and hardwoods are best suited to pieces of furniture having many curved lines formed either by modelling or turning. The courser grained woods should be used principally in furniture of severe design.
- Determine, if possible, the place a piece of furniture will occupy in a room. This will fix some of the definite dimensions and will enable one to make a wise selection of the kind of lines to be used that the piece may be harmoniously associated with its companion pieces.
- “Block in” the design so as to make the piece of furniture harmonise with the general “makeup” of the room. Secure the harmony by having a re-echo of the line.
- Consider now the indefinite or detailed dimensions to make all parts of the piece members of one family. This will result in unity. All details such as the modelling of top and bottom rails, the use of curves in stiles and legs, the modelling of feet and top of legs or posts, and the making of metal fittings, etc., will affect this element – an all important one – in the design.
- Make good constructions and proportion serve as an important factor in the decoration of the piece.
- Before considering the design complete, give careful attention to the three fundamental elements of design: viz.: rhythm, balance and harmony. If the several parts are so arranged and formed that there is movement as the eye passes from one part to another in the design, then rhythm has been secured. If, by having the whole arranged symmetrically with respect to an axis or by a judicious arrangement of parts, the whole seems to stand or hang truly, there is balance. If the design as a whole does not “jar” upon one; if all parts seem to belong together, then there is harmony. The design is a unit.
Correlation in Design
It is believed that no better line of work can be introduced in conjunction with woodwork than that commonly called “Decorative Metal.” Many woodwork constructions are enriched by the addition of some escutcheon – a strap, a hinge, a pull or a corner plate. The making of these metal fittings may be considered a legitimate part of a course of study in woodwork, especially one in which emphasis is laid upon the design and construction of furniture. It is believed there is no line of work which offers a greater opportunity for the teachings of the principles of design and for their application than this. There is, too, not only an opportunity but a demand for close and natural correlation between furniture making and its associate, decorative metalwork.
General lines and Proportions
The general character of the lines will be largely dependent upon the lines in the pieces of furniture with which the one you are designing is to be associated; there should be a general harmony of line, a re-echo of line, in the room as well as in the single piece of furniture. The general proportions will be determined by the space your piece of furniture is to fill and its use. In case it has no particular place in the home or there is not a decided need for it, a design is not called for. It is believed that much of the furniture of either poor or mediocre design is the result of a misdirected effort due to a misconceived or purely mercenary demand.
The shape of the piece of furniture will generally determine its construction. One will hardly make a mistake in the selection of joints to be used, but there are many forms of some of the principle joints, such as the tenon and mortise joint, from which to select. Here, again, one must be governed by that fundamental law of design, viz., there must by harmony.
If the general design is a severe one, then the protruding form of joint will be appropriate, such as, for example, the open or pinned tenon and mortise joint instead of the closed one or the screwed construction instead of the nailed butt joint, etc.
Construction is no less an important factor in the ultimate beauty of a piece of furniture than is its design. The best designed article may be ruined by poor constructions. Makeshifts such as glued on parts to represent protruding tenons and pins are deprecated. The butt joint fastened by means of screws or lag bolts may be an appropriate form of construction and decoration, but it should not be used as a general substitute for the tenon and mortise.
It is a false interpretation of honest construction and is one of the many things in manual training which helps to swell the number of those who condemn the subject for its insufficiency and impractical methods.
Simple carving, upholstering or textile or leather panelling is often the thing needed to give a piece completeness in appearance, but, ordinarily, good lines, good proportions and good finish are quite sufficient to fulfil all aesthetic requirements. The simple modelling of the top or bottom of a post and the introduction of broken or curved lines in some of the rails and stiles is sufficient decoration.
In addition to these three considerations, it is desired to call attention to two others dependent upon one or all of these three:
- There will constantly arise as one works over a design the question of widths and lengths of certain parts. Some of these will be definite because of the use to which the piece of furniture will be put, but many may be determined with some degree of accuracy if one will carefully consider the three following laws governing arrangement.
- Uniform spacing of similar parts is usually unsatisfactory.
- Wide masses and narrow openings should be made near the bottom of a piece instead of near the top to give the feeling of stability.
- The centre of weight in a design should be directly below the centre of gravity.
- The satisfactory of filling of space areas is often difficult. This is largely a problem in decoration although it may be one in construction when the strength of the piece of furniture is an important factor in the design. As an aid toward a satisfactory of arrangement of parts in a given area the designer should become familiar with the term “measure” and the principles in design affecting it, viz., rhythm, balance and harmony, as set forth in E.A. Batchelder’s book, “The Principles of Design.”
I haven't forgotten about my workbench build. I still have to clean up the face vise and buy all the wood and I'll start to do that next month. I'll make a road trip up to Highlands to buy the wood for the base. I'll build that first and then I'll start in on the bench top. That is in the sequence of events as of now. I'm hoping that I'll be done with it and using it by the end of summer.
|flattened with 80 grit|
|the diamond lapping plate was next|
|I used all 4 of my diamond stones|
|I inherited this shiny bevel|
|iron is done|
|right and left shavings - both the same size and thickness|
|shavings from the center of the iron|
|15 secs work on the 80 grit|
I'll continue to use my diamond stones for all of my tool steel and O1 tools. With the A2 irons I may go back to using water stones just for them. That depends upon what Richard presents in chapters 4-7. I don't have time to watch them on weekday nights and I can't watch them at work on my lunch time(they are blocked). The weekend is the only time I'll be able to catch up on them.
The way I'm sharpening now is working for me. I like the results I get. I can do anything I want with these methods. Now that I know I have to raise that damn burr first, I think I'm heading in the right direction.
|the new project parts|
|these were the back slats|
|getting an eyeball guess-ta-mate|
|my last pine one|
|it's a year old|
|my latest rehabbed #3 plane|
|first side is twist free|
|second one has a slight amount to remove|
|I'm keeping the sapwood|
|the inside faces|
|the shelf is twist free|
|the sides are almost as thick as the feet|
|I want a 1/8" reveal on both sides|
The thing that has been giving me headaches is how to attach the sides to the feet? I have a biscuit joiner and I could use that. Another option is making floating tenons by hand somehow. The last option I thought of was a tenon on the bottom of the sides fitted into a mortise on the feet.
Who was the first president to receive a salary of $100,000 a year?
answer - Harry S Truman (current salary is $400,000 a year)
It is impossible to spend any significant time in Barcelona without feeling the influence of Antoni Gaudí. Being easily influence, I couldn’t get enough of his work and am truly fascinated by him and his works.
For those not so influenced (or aware), I offer the following paragraph copied and pasted from a Wikipedia article:
Antoni Gaudí i Cornet; (25 June 1852 – 10 June 1926) was a Spanish Catalan architect from Reus and the best known practitioner of Catalan Modernism. Gaudí’s works reflect an individualized and distinctive style. Most are located in Barcelona, including his magnum opus, the Sagrada Família.
Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO.
As an introduction to Mr. Gaudí, we will explore some of his furniture then. In time, several of his buildingswill be explored.
Much of this furniture was designed for specific buildings. It is firmly in the Art Nouveau style with its organic fluid lines with direct references to nature.
Reproductions of these and other Gaudi pieces are still available.
I am not sure if the following furniture is designed by Gaudi but it does exist within Casa Milà, popularly known as La Pedrera. This was the last civil work designed by Antoni Gaudí and was built from 1906 to 1912.
The furniture may not be Gaudi but it is era and style appropriate and in Barcelona.
Shortly, we will examine some of Gaudi’s s iconic buildings.
When reinforcing mitres place the splines as close as possible to the inside surface. If they are too close to the outside surfaces, the mitered ends of the adjoining surfaces will be weak. It’s not the splines that make it weak but the grooves made for the splines that make it weak.
Btw I haven’t given up on the moulding planes, I’m just a little busy designing a small router plane that will help in the build of the moulding planes.
Don’t we all start at the beginning? Even bringing the wealth of experience or talent or skills that one might have from another field to the bench, we still take our first steps in complete, utter, and blissful ignorance.
Then when we start to make our mistakes on a project, we learn about the process, the materials, and the tools. We learn how to hold ourselves at the bench, how to hang onto things, and we discover how much there is still to learn.
Join us at the Studio for The Compleat Novice class starting March 29th. It’s sure to be a fine beginning.
It won’t come as much of a surprise that woodworkers are frequently good at more than one thing. Sometimes it’s necessary, other times it’s just for fun. I was in Hillsborough, N.C., last week working with Elia Bizzarri on two new videos and we started talking about what music to use. He asked if we’d like him and a few of his friends to play something. “Yes!” was the easy […]
Amy Herschleb attend Jim Dillon’s Hand Tool Sharpening class at Highland and came away with a new appreciation of working with sharp tools. In this series she will go into thoughtful detail on the 3 methods of sharpening Jim Dillon taught. Today she covers Method 3, The Tormek System.
The final technique covered in class was the Tormek system, specifically we used the T-8. The slow speed wet grinder put a new edge on a worn-out tool while the leather wheel, with abrasive paste added, polished the tool. It can be fitted with a wide array of jigs for different shapes of blades from knives to scissors to chisels to axes. A plastic gauge that rests against the grinding stone sets the angle at which you are removing material. In class I watched the principles of the operation, then put them to good use while in Florida, putting a new edge on my kitchen knives (a couple of them older than me) that had probably never been sharpened in their entire culinary careers.
Even with a jig, the process demands a great deal of attention, especially with long knives or those that end in a curve. In this instance, the use of a Sharpie is vital. By coloring the cutting bevel black, you may see where and where you are not wasting material. Often areas near the heel or the tip are ground away unevenly, because so much depends on consistent movement of the blade across the stone. By paying attention to the markings, the sharpener may check for inconsistency along the edge.
The Tormek system allows you to grind either toward or away from the bevel, toward for most knives and away for small knives. I ground the knives toward the bevel with the universal tool rest set up horizontally, keeping one hand on the jig and the other on the handle, floating the blades back and forth, keeping the jig resting on the tool rest bar.
Due to the shape of the wheel, sharpening on a this surface creates a concave bevel, that is, a slightly hollow shape. This makes for a narrower sharpening edge, and faster sharpening times. Over time, the sharpening bevel gets bigger as the blade gets shorter from sharpening. When sharpening takes too long, it’s time to regrind.
Beyond a couple false starts involving a flying carving knife (no one was hurt) and a gouge I tried to put into the leather stropping wheel and the part where I ignored Jim’s advice to test a blade on the arm hairs instead of a thumb tip (I wasn’t sure I’d done that good a job. Spoiler–I had) this went off without a hitch. For once, my kitchen is equipped with a selection of sharp and useful knives, and vegetables and meat may be cut down efficiently without gratuitous sawing and strong-arming.
After experimenting (in a supervised environment and then free range) with a variety of methods, I am most satisfied with the Tormek system. Sandpaper, though easy to come by and easy to replace, is absolutely repulsive to me in a tactile sense and will destroy a manicure. Knowing where there are two Tormeks at my disposal certainly helps things, as I can re-grind worn down tools, then keep them sharp at home with a 1000/6000 wet stone.
Amy received her MFA in Creative Writing from San Francisco State University. She is the staff writer at Highland Woodworking. In 2015 she and her dad co-founded Coywolf Woodworks, their hobby shop in North Florida.
The post Tool Sharpening for a Beginner, Part 4: The Tormek System appeared first on Woodworking Blog.
Hi Wilbur: When it comes to making chairs, what is the japanese equivalent tool for a TRAVISHER? Thanks
I’m not sure there’s a true equivalent, since traditional Japanese woodworking didn’t involve making chairs with sculpted seats. Having said that, there are Japanese planes with convex soles that can be used for that sort of task. They are sometimes referred to as “spoon planes”.
They are made in various sizes ranging from large block plane size to finger planes. Here’s one that I have that’s on the finger plane of the spectrum.
If I was to try to make a chair seat with Japanese tools, I’d probably start by using a gouge to get rid of most of the wood, and then use an appropriately sized version of one of these planes for the finishing steps. If you want to see how someone who actually knows what he’s doing did this, Brian Holcombe has a great article on how he made a chair using Japanese tools.
I got through the first 3 chapters of Richard Maguire's sharpening video.There are 3 more chapters available now with the 7th one due on the 22nd(?). I was reluctant to buy this because I didn't want to muddle my head up with another person showing their way of sharpening. The 3 chapters I've seen so far have been an eye opener. I have watched them each two times so that I could digest and not miss anything that Richard put out.
Like the other videos outputted by Richard and Helen, this one is outstanding. He explains each step in a way that I can easily grasp what it is. I would recommend this to anyone interested in understanding and upping their sharpening game. And this is based on just watching half of it. He also makes sharpening look like it is as easy to do as breathing air. I'm hoping that I'll be able to do it 10% as well as he does. And I'll be happy with that too.
|the real time is 1545|
After the first day I switched from the Westminster chimes to the bim-bam and I was disappointed with them at first. I could barely hear the first hour count when they sounded. Instead of being a 'gong' bim-bam, they have a bell sound which I don't like as much. But as time passed, they seem to get louder and I could hear them and count the hour as they bim-bam'ed..
The first problem is the hands. They don't fit properly on the time shaft and I think they are slipping. I can move the minute hand 5 minutes in either direction before I feel resistance from the time shaft. It has been running now for two days and the chimes are working correctly but the indicated time is off.
The second problem is the paper dial. Where my finger is has a hump. It is humped in a few other places too but not as high as it is here. The minute rubs on it as it passes by and it looks like the hour hand barely clears it too. I will have to fix these two problems before I try to set the time again.
I will have to take the movement out to fix the dial. Fingers crossed on getting it off without ripping it.
|adhesive dot holding the dial in place|
|double sided adhesive dots|
|more than 4|
|first use of my veneer roller|
Went looking for my plastic hands but I couldn't find them. Searched the shop and then I searched upstairs. I looked there because I set up the clock while watching the Perry Mason marathon. After searching for a while I gave up without finding them.
|fixed the problem|
What time is it when 7 bells rings onboard a ship?
answer - 0330, 0730, 1130, 1530, 1930, and 2330
When translating Andre Roubo’s “l’Art du menuisier,” we debated converting all of his dimensions to U.S. Customary Units or metric. After some discussion, we decided to leave them as-is for the same reason that we tried to maintain Roubo’s writing voice. This is a work of the 18th century, and so we sought to keep it there.
Translating French inches from that period isn’t difficult. Roubo uses the units of “thumbs” and “lines.” A thumb is just slightly more than our modern inch — 1.066″. The thumb is further divided into 12 “lines.” Each line is equivalent to .088″ today. The French foot is 12.792″.
If you wish to complete your “period rush” when reading “With all the Precision Possible: Roubo on Furniture,” you might like to have a ruler at hand that is marked in French inches and lines.
Brendan Bernhardt Gaffney of burnHeart has put his “Pied du Roi” rulers on sale today, and they are gorgeous and useful when reading Roubo.
If you have ever wanted one, don’t wait. Brendan says it will be awhile before he makes more.
— Christopher Schwarz
Filed under: Roubo Translation, To Make as Perfectly as Possible, To Make as Perfectly as Possible, Roubo Translation
I’m working on a contemporary project that uses aluminum angle as its legs. I decided to taper the legs, along with another embellishment. The metal then has to be smoothed with files and sanded for a cleaner look and better feel.
Because I’m using multipurpose 6061 aluminum, I knew cutting it would be more easy than difficult. But what would be the best method to make the cuts? My first thought was to purchase a metal-cutting blade for my jigsaw.
It is no secret that I prefer a hand-rubbed oil finish. It is my go-to finish of choice. I don’t think that I am alone in this fondness. Judging by the blog posts and articles that I read, several others feel the same way.
Oil has a lot of things going for it. It is easy to apply, easy to renew and easy to repair. It can also be better for your health, depending on your product of choice. An oil and wax finish does have some shortcomings though. It’s not the most durable finish and if your after a high gloss, forget it, it is not going to happen. Also, an oil and wax finish requires some maintenance. It will need an occasional buffing and reapplication once in a while.
Yes, an oil and wax finish is easy to apply. Your don’t need any special training or skill, but don’t mistake easy application for quick or less work. The finishing process can span several days. Possibly even a week or more, depending on the size of the project and surface quality that you are after. If you want a hand-rubbed finish…yep, your actually going to have to rub it by hand…a lot.
Since I’m just completed two large tables, I thought I would discuss the steps that I go through when applying an oil and wax finish. I’m no expert, so this is not holy writ, just the steps that I have found to work best for me. Please feel free to question or contradict any of all that follows.
Note: time on task in the following is based upon one face of a 30″x77″ table top.
First and foremost I want all surfaces to be from an edge tool. I use sandpaper when I need to, but those areas are given more attention with oooo steel wool or burnished with shavings. Why? I want the surfaces to be burnished and that is what a cut surface from an edge tool is. A burnished surface is basically a head start on an even luster from the finish. I prefer to use Japanese planes, but any well tuned finishing plane will get the job done. Push, pull, iron body, wooden body doesn’t matter. It just needs to be sharp and finely set.
If I can’t get the burnished finish from an edge tool, I’ll use the alternatives that I mentioned earlier. Rubbing a handful of shavings on the surface of the work piece is quite effective. 0000 steel wool will get the job done too. Alternatively, I will use the uzukuri technique to both texture and burnish the surface. This is what I did with the table top.
First using the rough and then the medium uzukuri brush, I went over every square inch of the table top. I also employed a couple of different size gouges for areas that had deep tearout or that I simply wanted to have a more pronounced texture effect. In all it took between seven and eight hours to complete the uzukuri treatment and bring this table top to the point of being ready for the oil.
Step two is an application of linseed oil only, no wax. This is a penetrating coat of oil and for this I use Tried & True brand Danish oil. Which is a polymerised linseed oil and contains no heavy metal driers and is completely food safe. Also I have tinted the oil with “Raw Sienna” artist’s oil paint, which imparts a warm amber tone to light-colored woods such as pine, poplar and oak. To apply this first coat of oil I use a soft cotton cloth and vigorously rub the oil into the wood. The friction induced heat helps to drive the oil into the wood. This application took between thirty to forty-five minutes. I then let the oil “soak” in for five to ten minutes.
Below are side-by-side comparisons. With tinted oil on the left, without on the right.
Once the oil has been allowed to dwell, I begin buffing the surface and removing any oil that remains on the surface. I’ll continue this until the surface has NO remaining wet areas. This step took about fifteen minutes. After a couple of hours I go over the surface once more to remove any oil that seeps back to the surface.
Then I wait for twenty-four hours. Technically the directions on the can say eight hours, but I almost always let it dry for twenty-four hours.
Step three begins with buffing the surface once again with a cotton cloth. I repeat if necessary. What I’m looking for is no color or oil coming up on the cloth. Then I buff the surface yet again. This time with 0000 steel wool. This further burnishes and seals the surface of the wood. All this buffing takes about thirty minutes. Now I’m ready for the second coat of oil.
For the second coat of oil I use Tried & True Original finish. This is a mixture of polymerised linseed oil and beeswax. Again, it is food safe and contains no heavy metal driers. Just like the first coat of oil, this is vigorously applied. This took another half hour to forty-five minutes. The product needs to “soak” in for an hour before buffing off, which took an additional fifteen to twenty minutes.
Then I wait for another twenty-four hours. Buffing once more along the way.
Coat number three follows the same exact steps as the second coat. Buff, burnish with steel wool, apply the oil and wax mixture, wait, buff, wait, buff again and wait.
Generally three coats will do. One coat of the tinted linseed oil and two coats of the linseed oil/beeswax mixture. After the third coat has been allowed to dry, forty-eight hours this time, a final buffing with a cotton cloth completes the finish. I’ll typically add one more coat after a few months have passed. From then on out, a periodic buffing is all that is needed to keep the piece looking fresh.
So there you have it. An oil and wax finish doesn’t require any great skill, but easy is a relative term. This type of finish does require some hard work and time. Sure, you could skip some of the buffing and burnishing steps, but the end result will suffer…trust me on this.
On my first visit to the Metropolitan Museum of Art (Met) in New York I saw, among the monumental and famous pieces, a small item that captured my eye. It was so impressive that I even decided to buy a postcard with a picture of it. This was a spherical shaped miniature wooden box that, once opened, displayed an intricate biblical scene that shocked me with its complexity and level […]
Amy Herschleb attend Jim Dillon’s Hand Tool Sharpening class at Highland and came away with a new appreciation of working with sharp tools. In this series she will go into thoughtful detail on the 3 methods of sharpening Jim Dillon taught. Today she covers Method 2, Using Waterstones.
The next technique we practiced was with Japanese waterstones. Jim recommends Ian Kirby’s book Sharpening With Waterstones, which covers far more material than the title suggests. We began with 800 grit and worked up to 8000. A simple setup for waterstones Jim suggested was to make a wooden rack for the stone that will sit atop a 5-gallon bucket, so that the stone may be rinsed efficiently and the mess contained. In lieu of this in the classroom setting, after the initial soak, we wet ours constantly with a plastic squirt bottle and kept the stones on plastic sheeting.
The Japanese stone (specifically the 1000/6000 combination stone) is a great tool for touching up blades after using them, such as in the kitchen, before they can wear down far enough to warrant grinding a new edge.
Several weeks later, when I had the chance to visit the shop in Florida, I tried Dad’s DMT Duo-Sharp diamond stone. This one also had a plastic base and was reversible, with a grinding grit on one side and a polishing grit on the other (Dad’s is Fine/Extra-Fine). This I simply kept on the counter near the sink to rinse, then thoroughly dried the stone and base after use to protect the nickel from corrosion.
I found this technique to work very well, when I had the angle set by a guide. Without it, I managed to dull a kitchen knife significantly, simply by sharpening at the incorrect–or even an inconsistent–angle. This episode in the kitchen particularly emphasized the importance of careful setup and attention to detail in what risks being considered (by the uninitiated) the least vital of tasks. Meticulous preparation does indeed save you time down the road, as our buddy Young Thomas learned 178 years ago.
Check back tomorrow to read Amy’s thoughts about the last of the three basic systems of sharpening she learned.
Amy received her MFA in Creative Writing from San Francisco State University. She is the staff writer at Highland Woodworking. In 2015 she and her dad co-founded Coywolf Woodworks, their hobby shop in North Florida.
The post Tool Sharpening for a Beginner, Part 3: Waterstones appeared first on Woodworking Blog.
My next step in the Great Kerfing Plane Saga was to go where I think kerfing plane evangelist Tom Fidgen started – kerfing planes with a fixed fence to produce a set width to the cut. My most typical use of resawing by hand is making hand-sawn veneers, so I decided to make my first kerfing plane part of that equation. Since I am not yet as skilled at veneer sawing as the craftsmen in the 18th century Parisian ateliers, who routinely harvested twelve sheets of veneer per inch of stock, I struck a more realistic task of cutting eight per inch. Thus, my need was for a dedicated kerfing plane set to 1/8″.
Falling back on my old habits and routine, I made the body of my plane from 13mm baltic birch plywood. I had first made a pattern for the tool, one I could use repeatedly. I derived the pattern template from a backsaw, which I traced onto 3mm plywood and cut out. The template now hangs overhead off a joist in the shop, awaiting for new kerfsaw-making urges to strike.
I traced the new kerf saw pattern on the thicker plywood, and drilled out holes where they would make the sawing the most amenable. I accomplished this with my coping saw in a couple minutes. Once I was done with the sawing I worked on the profiles of the handle with rasps and files so that it was comfortable in my hand.
I made a 3mm rectangle to be glued to the heavier plywood to provide for the cutting spacing.
The assembling continued apace with another scrap of bowsaw blade and a piece of scrap brass barstock to serve the retaining element to hold it all together.
The completed tool is a delightful amalgam of lightness with robustness for vigorous use, combined with comfort and precision for repeated cutting of veneer.
The test drive was perfect!
I followed up on this kerfing plane with one for some teaching I had upcoming, where the ultimate objective was to derive prepared oak boards of 1/4″ thickness from 5/4 stock. In this case I made the fixed cutting distance 3/8″ since this was the closest scrap I had handy, and in recognition that the folks I would be teaching had no woodworking experience and a bit extra waste would be advantageous. I will soon recount that tale, confirming the tool removed a huge potential hurdle to them completing their assignment and future task.
Thanks again Tom Fidgen for leading me down this path of simplicity for the sake of precision and efficiency.
|I can't fix this|
|outlined the scratch area still to be done|
|lots of ugly looking scratches|
|5 more minutes of work|
|compared to the first pic, it is finally getting smaller|
|switched to my 80 grit runway|
|5 strokes on 80 grit and I got a consistent scratch pattern|
|10 strokes on the coarse diamond stone|
|stepped down to the coarsest diamond stone|
|consistent scratch pattern - not as coarse looking as the 80 grit|
|back to the coarse diamond stone|
|what my bevel looks like|
|couldn't get rid of all of the scratches|
|going to road test it as is|
|thin and wispy|
|smooth as a baby's butt|
|other end smoothed|
|flattening the back|
|ten strokes on the 80 grit|
|after 80 grit back to the coarse stone|
|still have a hump to flatten|
|highlighted the problem spots|
|my last run on 80 grit|
|still needs more work|
|20 minutes later|
|pits are gone|
|before I road test the iron|
|took another break|
|not quite 5" to the center of the screw|
|the iron from the plane with paint on the sole|
If everything is set up the same way and I'm using a honing guide for repeatability, why can't I raise a burr now? Did the iron somehow get out of sharp in use - the back of the iron wasn't meeting the toe of the bevel at nothing anymore? Or did I sharpen this before this and not get a burr and just went with a shiny bevel? If I had done that I can see me not being able to raise a burr here and now.
I will have to take this from this point forward. I will raise a burr on this and sharpen and hone it. The next time I have to touch it up we'll see if I can get a burr off of the stones.
|no detectable burr off of the coarsest diamond stone neither|
|got my burr off of the 80 grit runway|
I still have a ways to go on my sharpening. I would like it to be a 1-2-3 event and then back to woodworking. I think I have a ways to go before that happens.
What was Perry Mason's win loss record on his first 7 cases?
answer - 7 straight losses - from Perry himself in the TV Movie 'The Case of the Musical Murder'
After the worst Thursday on record, I awoke the next morning and resolved to sort out this stool. I needed more maple, so I headed to Frank Paxton Hardwoods and found the perfect board waiting for me. Straight. Clear. Flat. Reasonably priced. So I assumed I’d get into a car accident on the way home. (No collisions.) I milled the new seat, assuming it would be case hardened and twist […]
My daughter Katy made another monster batch of soft wax for the Lie-Nielsen Hand Tool event last weekend and had 45 tins left over to sell in her etsy store. Check it out here.
Remember: It’s for furniture. We had some people visit the store last Saturday who seemed intent on using it on their lips, beards and what-not. It will sting, and not in a good way.
Also, don’t use it on your dog, though it would be great to have a dog that smelled like soft wax. Gerbils are right out. Parrots? Verboten. Argh. Just furniture.
— Christopher Schwarz
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