Hand Tool Headlines

The Woodworking Blogs Aggregator

 

Search

Headlines

The New M&T Logo

The Mortise & Tenon Magazine Blog - Sun, 09/10/2017 - 3:36pm

Mike and I have finally settled on a logo for M&T. We’ve spent two years going back and forth trying every idea under the sun: plane shavings, hand planes, joinery dissections, etc. None of it worked. We needed something dead simple that eluded to (but didn’t clobber you over the head with) the heartbeat of M&T. We knew the most effective logos (such as those of Apple, Nike, and Target) can be drawn in a few lines and are recognizable from across the room. After many abandoned designs, we decided on the one above. This drawing is from the title page of London-based painter and engraver William Hogarth’s 1753 book, The Analysis of Beauty. The image is simple, powerful, and beautiful. But what does it symbolize?

The Meaning Behind the Symbol

In 1745, William Hogarth painted a self-portrait with his pug. Lying on the painter’s palette prominently set in the foreground was an S-shaped three-dimensional line with an explanatory caption below: “The Line of Beauty”. Hogarth later said that “the bait soon took” and many artists came to him to inquire of the meaning resulting in “freequent explanations and disputes”. Hogarth made the case that the waving line, found all throughout nature, was “ornamental and pleasing” requiring a “lively movement of the hand” to draw. It was the Line of Beauty.

Hogarth expounded his case in The Analysis of Beauty which he said was “written with a view of fixing the fluctuating IDEAS OF TASTE”. The book set forth six principals of beauty: FITNESS, VARIETY, UNIFORMITY, SIMPLICITY, INTRICACY, and QUANTITY. He explained that these elements work together to create true beauty. In his view, although all these principals were to be balanced together, the waving and serpentine lines made the biggest visual impact. Hogarth’s biographer, Ronald Paulson, has explained that the Line of Beauty was “a synecdoche for his theory and its crucial terms of variety, intricacy, and pleasure. It was his theory reduced to a hieroglyph.”

Not all waving lines are created equal, however. To illustrate the ideal curvature, Hogarth showed seven cabriole chair legs, the first three of which were “mean and poor” (too straight) and the last three of which were “gross and clumsy” (too curvy). The ideal curvature for a cabriole leg was depicted as number four.

Because of the importance of the waving line in his system, Hogarth composed an illustration that sat on the title page of Analysis. This emblem depicted the serpentine Line of Beauty set inside a transparent glass pyramid atop a plinth inscribed with the word “VARIETY”. Of the pyramid shape, Hogarth wrote, “Observe, that a gradual lessening is a kind of varying that gives beauty. The pyramid diminishing from its basis to its point [is a] beautiful form… There is no object composed of straight lines, that has so much variety, with so few parts, as the pyramid: and it is its constantly varying from its base gradually upwards in every situation of the eye.”

One scholar has said this symbol was “emblematic of and embodying Hogarth’s ideas espoused in his work” and was “a synthetic visual demonstration of the argument of his text.” In his preface, Hogarth explained how the two elements in the logo come together to symbolize the essence of beauty: “the triangular form of the glass, and the serpentine line itself, are the two most expressive figures that can be thought of to signify not only beauty and grace, but the whole order of form.”

We at M&T celebrate the SIMPLICITY of historic craft process, eschewing elaborate machining processes and complicated jigs. A major part of that includes embracing the VARIETY (in dimension, tool mark texture, etc) inherent in hand tool work. We’ve decided to adopt the drawing (sans the plinth) as M&T’s official logo because it perfectly depicts the beautiful fusion of SIMPLICITY and VARIETY.

This logo, shown on the first page of Issue Three, will also be featured on our merchandise in the future. Yes, stickers and shirts are coming.

 

- Joshua

 

Categories: Hand Tools

Reproduction Wall Clock

Journeyman's Journal - Sun, 09/10/2017 - 3:26pm

This clock is called a Pomeroy Wall Clock. It was first built in 1886 by CT. Hartford, there are only three originals in existence. The original is only 3/16″ thick and from memory if I’m not mistaken about 27.5″ long x 10″ wide but don’t quote me as I reproduced the original almost 19 years ago.

I did about two reproductions before I decided to make some changes to beef it up as I felt it was too fragile looking and in needed of a serious upgrade.

My dimensions and these are only in the ball park were 60″x 18″x 3/4″. The whole Clock was scrolled and being so thick I broke a ton of blades in the process. I used sandwich parts that were identical which would make it even thicker and harder to scroll. There were plenty of corners that needed to come to a sharp point and only a thin blade could do it, that’s why I broke a lot of blades in the process.

You see many people using CNC machinery for their scroll work. I never went in that direction for two reasons, my clocks had to be done by hand, it needed that personal human element to it. The other reason is that cnc burns the edges and cannot create sharp corners and points, only a hand can do that. The scrolling takes about 8 hours solid going at it very fast or 12 hours at a steady pace. The whole clock would take about a week and half to complete including the finish.

There are about eight through tenons and mortises that held this clock together. The lower half where the stalk is had the longest shoulder as the tenon was smack in the middle. This shoulder had to be perfect as gaps would show on the show side.

Unfortunately a battery powered chime movement was used which made it affordable for the average person. If one wanted to use a mechanical movement then the whole clock would have to be redesigned to accomodate it. You build clocks around the movement your going to use, battery powered movements eliminates that need.

This clock you see in the picture was one I built a couple of years ago for a customer in Switzerland. I made countless of them as they were one of most popular wall clocks. I still have plans for many more I never got to build as the popular ones were mostly in production so I couldn’t introduce anything new to the market.

I would normally build a mockup and just look at it and see what changes need to be made. You can make one in 3D on screen but nothing beats one in real life. If I was satisfied with its looks I would go ahead with its production. At first I used to ask people if they like what they saw. I eventually stopped that because everyone has different tastes and you can’t please everyone.


Categories: Hand Tools

Roman Workbenches & the Trail of Artworks

Lost Art Press: Chris Schwarz - Sun, 09/10/2017 - 1:22pm

overall_IMG_1538

I don’t know when it happened, but at some point in the research for the book on Roman workbenches, it became a text that would feel at home in the “art history” section of a bookstore.

Researcher Suzanne Ellison, who has a deep love of art, and I spent months poring over texts that discussed Roman and early German tools and woodworking for the letterpress edition of “Roman Workbenches.” After we completed that book, I switched gears to finish up work on other authors’ books (and some furniture commissions).

Suzanne, however, expanded the scope of her research and began finding paintings, drawings and mosaics that dealt with the low-style workbench that I had never seen. And not only were they from Europe, but they also came from the New World, especially South America.

I could barely keep up with the pace of her research. Before I could fully digest a series of paintings to sort through their interesting bits, she had already dumped another load in my inbox. This crazy pace has continued for the last nine months.

After discussing hundreds of paintings, we narrowed our scope to ones that were truly representative of a long-term pattern. Or ones that showed methods of workholding that were, quite frankly, shocking to me.

As a result, this book – an expanded edition of “Roman Workbenches” – has become something far greater. It is a survey of early workholding methods that were used on simple and low workbenches for almost 2,000 years. Many of these workholding devices are incredibly simple – like the doe’s foot – but also incredibly effective. If you’re reading this blog, you probably agree with the statement that early artisans were incredibly clever and resourceful.

And this book has gotten much bigger. So big, that I wonder if I should even call it “Roman Workbenches” anymore.

During the coming months I’m going to share some of the gold that Suzanne dug up, along with some of the dead ends. The painting at the top of this entry was right up the road from me in Indianapolis and almost made me wet myself.

— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com


Filed under: Roman Workbenches, Uncategorized
Categories: Hand Tools

Another Hot-Sand Inlay

360 WoodWorking - Sun, 09/10/2017 - 6:07am
Another Hot-Sand Inlay

In the last online course released from 360 Woodworking (Inlaid Tea Caddy), hot sand was used to shade pieces of veneer to make rays for quarter, round and oval fans. This past week I was back at it to make a different hot-sand inlay for an upcoming project, a Pembroke Table. The legs of the table are strung, have a small inlaid circle to cover a pivot point for the stringing and have a cuff band, in addition to the sand-shaded inlay.

Continue reading Another Hot-Sand Inlay at 360 WoodWorking.

Week in Review – Sept 3-10

Popular Woodworking Editors Blog - Sun, 09/10/2017 - 2:54am

This week we recieved a lot of great feedback from the propane forge video that we posted to facebook. It’s a simple project to get you started forging for under $100. If you enjoy that clip, you must check out the rest of the video, Build a Viking Tool Chest. We also announced the winner of the Popular Woodworking Magazine Excellence awards. The Editor’s Choice went to Al Spicer for […]

The post Week in Review – Sept 3-10 appeared first on Popular Woodworking Magazine.

Categories: General Woodworking

a bloody saturday.......

Accidental Woodworker - Sun, 09/10/2017 - 2:49am
I'm not talking british bloody here but the actual red liquid stuff that is supposed to stay inside the body. I put a boo-boo on both forearms today. One is a minor scratch and the other was deep gash and wouldn't stop bleeding. Every time I got it stopped and I starting working again, it would start flowing. Very annoying but after a couple of hours I finally got it stopped for good. Dealing with this put a dent in my shop time but at least I didn't have to make an ER run. Going to the emergency room would have curtailed working for most of the day.

Ohio tool catalog
The molding plane iron that I am sharpening now is for a #64 Ohio tool molding plane. According to the catalog it is a grecian ovolo with a fillet. (The top profile on the right)  I've been looking for an Ohio Tool catalog for a while with no luck. Josh at Hyperkitten usually has a selection of catalogs for sale but so far nothing from Ohio Tool.

stock to complete the dust seal
When I looked at Paul Sellers's video on the tool box build he had another piece of stock under the lid. He said it strengthened the box and made a dust seal. I can see the strengthen part but not the latter. The lid drops down over the box on 3 sides so that is a dust seal too.

I chamfered the overhang
leaves a gap I don't like
The chamfer isn't that large and I have two choices with making it go away. One is to saw off the side and the front pieces and make a new one. Two, plane the chamfer off.

the first cut on my left forearm
This isn't more than a scratch and I ignored it.

removed the back hinge rail
I thought I would replace this but I changed my mind and put it back on. The two ends are beveled but it is at the back and won't interfere with the lid opening or closing once I get the bottom half of the dust seal installed.

this is not a scratch
 Initially I got the blood flow stemmed but being stupid, I kept on working. And it would open up and start to bleed again. This is where my wife spent a lot of money to get some wound closing steri-strips along with a plethora of other bandage crappola. I think chinese for lunch helped with stopping the blood too. Maybe chow mien has a natural clotting effect.

the culprit
You would think that I would have learned something on the first scratch caused by this iron.  Like maybe take it out of the holder and put on the bench. Hmm, that made sense so that is why I mind farted that idea and just swore at it the first time. By the way, both were caused by me walking by it.
After I opened the second nice sized wound, I did take my head out of my arse and put it on the bench.

a couple of hours later
This is a Stanley 102 which I use for shit jobs like this. I did the first run around the lid just to remove the paint.

planed the inside too
The lid was a bit snug as it closes on the box. I used my bullnose plane and made a few runs on the inside of the lid.

reversed myself
I stopped playing with the toolbox and finished sharpening the iron that wounded me. There are no spring lines on the toe and I wasn't sure of how to plane this profile. I measured the plane width and nailed a scrap to run the plane against. It worked and I was able to plane the profile but I sensed that this isn't the correct way to do this.

ledge, hook, thing-a-ma-bob, what is this called
I hooked this on the edge of another piece of stock and planed away. I started with the plane tilted slightly upright and I slowly moved it inboard and down as I planed until it stopped making shavings. This way felt like it was the way to do it.

second profile done

profiles match up perfectly
 I will save these and they will be definitely used for something. I like this profile a lot. This is the perfect size to use as a band molding on a top that overhangs something.

back to the box
I got the front mitered to length. The sides are oversized and will be trimmed to size after the front is on.

my spacer
I saved this thin piece of pine and I'm going to use it as spacer between the top and bottom parts of the dust seal. I stopped here because I couldn't think of a way to hold the bottom piece's position while I screwed it from the inside. I don't want any nails or screws on the outside to show so I'll have to think of way to clamp it or something.

3/8" stock for the tills
The 5/16" resawn stock is history. I don't have the same skill set for resawing that Paul Sellers does. I hope to have it but for now I don't. I'll use 3/8" stock which I think is a better choice for a youngster.

it's working
It isn't pretty looking but I finally stopped bleeding. It's been a few hours and it is holding up.

UPS on a saturday
I didn't know that UPS did saturday deliveries. I didn't ask for one and this was free S/H from Lee Valley too.  When I had checked this online, it was scheduled for monday.

Lee Valley free shipping until the 11th
Got a brush and replacement irons for the 71.

1/4" and 1/8" irons
the Lee Valley irons are about a 1/2" longer
Lee Valley says in the catalog that these will fit the Stanley 71 and 71 1/2. You have to turn the thumb wheel screw around to do that.

tried two more molders
One of these is a 1/8" beader and the other one I don't have any idea what it is called. It looks like an astragal or beader depending upon how quickly you look at it. I had sharpened the iron and glued the boxing back in and forgot about it. I had no problems planing either of these profiles.

a flat, a bead, and a fillet
another grecian ovolo (bottom)
This is a dead on match for the first ovolo I did except for the fillet. This one has a flat where the fillet is on the other one.

the two ovolos
The sole profile on the non fillet ovolo doesn't look as deep as the fillet one but the profiles match up pretty good. This plane has no maker stamp and has the number 5 stamped on it besides a few different owners.

the two ovolo plane soles
last one
This is the one plane I wanted out of the 8 I won on the auction. This iron I will have to sharpen and hone. I'm finding that molding plane irons don't have to be anal retentive sharp like a bench plane iron in order to plane profiles. This iron is dull and rusty but yet it planed a good profile. It is clean and well defined end to end.

I may not be able to resaw worth a bucket of spit, but using molding planes is picking up for me. I tried five of them today and I went 5 for 5. The downside to that is I'm running out of room to stow them. My plane till is getting awfully crowded and making another one may get promoted to the A list.

Stanley 71 depth shoe
I found what I'm calling the depth shoe for the 71 in my Stanley catalogs. Some call it a special attachment and others call it an extra attachment. The cost of it in the Sweetheart catalog no. 120 was 50 cents. Still in the dark as to what it's intended purpose is.

accidental woodworker

trivia corner
What is the largest single drop waterfall in the US?
answer -  the Ribbon Waterfall in Yosemite National Park

Plane-setting Hammer

The Barn on White Run - Sat, 09/09/2017 - 4:04pm

Recently when I was visiting plane maker extraordinaire Steve Voigt I had the chance to use his Sterling plane setting hammer, and I liked it and said to myself, “Self, you gotta have one of those.  Right now.”  Since even in the era of the interwebs, on-line purchasing does not provide instantaneous delivery so I got up the next morning and made a plane setting hammer for myself, using scrap from my inventory of stuff.

My first step was to take a piece of brass and turn one end of the head on my wood lathe, which is easy enough to do when using turning chisels set up as scrapers rather than turning gouges (virtually all of my turning is with beefy scrapers with very rare use of gouges; it’s an old habit from my early years in the pattern shop).  I then turned a wooden end of the head from a scrap of lignum vitae, then drilled and tapped both sections and screwed and epoxied them together.

Then I grabbed a piece of exotic wood from the waste bin (probably bubinga) and made a handle in about ten minutes.  I drilled the hole in the head through which the handle passed, then used material from an ivory piano key as the wedges for the handle in the head.  All told I spend maybe 90 minutes on this hammer.

The result was immensely gratifying and its weight and proportions and performance have made it my “go to” tool for this purpose, and several folks I have shown it to have expressed interest in purchasing one.  Who knew?  I guess I will have to get set up to do it.  I might have to actually order some supplies.

Stickley Poppy Table – Art and Engineering

Bob Lang's ReadWatchDo - Sat, 09/09/2017 - 12:56pm
Before Gustav Stickley became “The Craftsman” he manufactured furniture in upstate New York. After twenty-some years in the business, he took a trip to Europe, where the Arts & Crafts movement was popular in England and L’art Nouveau was a Continue reading →
Categories: General Woodworking

America’s Finest

Journeyman's Journal - Sat, 09/09/2017 - 6:33am

I’ve stumble upon by chance on YouTube a husband and wife team living the dream producing outstanding reproduction and custom furniture.

doucette_feature

Before they became furniture makers, Mathew was a carpenter building custom homes and his wife Moriah was a landscaper/gardener.  Their interest in furniture making sprung from their love of the craft as hobbyists. They studied the art of joinery and furniture construction .

doucette_3

Now they work from home, commuting across their driveway into their dream shop building truly exquisite looking furniture.

doucette_1

From 2011-2014 they were selected as one of America’s Best Craftsman and were listed in Early American Life magazine.

As I sat watching through most of his videos I was amazed at the speed he was working at, even though the video was mostly sped up there were moments when it was shown in real time.  95% of his work is handwork, he uses basic machinery for the monotonous and laborious tasks however, all the initial shaping, carving and tons of planing are all done by hand.  The skill this guy has just blew me away.  I’m not sure how long he studied furniture making before beginning his business, but the skill he displays is just mind boggling.

I hope you enjoy his videos as much as I have as there are plenty of tips to pick up in them.  He doesn’t offer any lessons in the video, but if you sit through each one from start to finish without skipping through them there is plenty of lessons in there to be absorbed.


Categories: Hand Tools

2 Books in the Birth Canal

Lost Art Press: Chris Schwarz - Sat, 09/09/2017 - 4:35am
t2t_cover

This is a very rough draft of the cover for the book, which will be painted in watercolor by Andrea Love.

This year we have been so busy working on new books that we’ve barely had time to tell you what we’re working on. Two books are just weeks away from heading to the printing plant so here are some quick details.

We’ve just finished up the design work on Mary May’s massive and fantastic “The Acanthus Leaf: A Rite of Passage for the Traditional Carver” (still working on the book’s title a bit). This is the most visually complex book I’ve ever worked on. Mary has poured her heart and hands into this book. The result is a fascinating trip through history, different cultures and her long career as a professional carver.

My hope is to have this book in our hands by Thanksgiving.

Also on the verge of publishing is “From Truths to Tools” by Jim Tolpin and George Walker. This fascinating book was illustrated and hand-lettered like “By Hound & Eye” and is just as mind-blowing and fun to read. In this book, Tolpin and Walker demonstrate how geometry is baked into the tools you use every day. And then they use that geometry to create and explain other tools and techniques you can use in the shop (or on the job site).

Even if you have been woodworking all your life, this book will surprise you. It will give you deeper knowledge of how our basic tools (such as a try square) function in the universe. And it will teach you practical methods you can use in the shop.

Again, let’s hope for Thanksgiving on this one.

We’re also working on a bunch of other books as well. Details to follow as we can squeeze out the time to write about them.

— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com


Filed under: Uncategorized
Categories: Hand Tools

Dovetailed Dustpan: Forget Plastic or Metal Pans

Popular Woodworking Editors Blog - Sat, 09/09/2017 - 2:00am

Forget plastic or metal pans – a wooden one looks nicer and works better. June 2017 Pages 38-41 by Christopher Schwarz Some time during the last 25 years of prowling around workshops, museums and antique stores, I spotted a wooden dustpan. The encounter made me slap my forehead – why do I have a plastic pan when I could build a wooden one from scraps? After studying commercial dustpans and […]

The post Dovetailed Dustpan: Forget Plastic or Metal Pans appeared first on Popular Woodworking Magazine.

Categories: General Woodworking

Past Projects Map Out Progress – Part I

Paul Sellers - Sat, 09/09/2017 - 1:48am

Spatulas arrayed on the kitchen floor… It starts with a spatula, or something like a whirligig, usually, woodworking with hand tools, I mean; for children. It’s how I started my children working with hand tools in woodworking. You know, you’re three or four years old and your dad’s a furniture maker. You want to be …

Read the full post Past Projects Map Out Progress – Part I on Paul Sellers' Blog.

Categories: Hand Tools

took a sick day.......

Accidental Woodworker - Sat, 09/09/2017 - 12:55am
I wasn't sick in the sense that I was ill but rather I had a couple of medical appointments today. I had to give blood at 0700 and the doctor appointment was at 1130.  Rather than go to work late and then leave again before lunchtime, I took the whole day off. I didn't get a lot of time in the shop but I did almost complete the 71 box.  Some time in the shop is better than no time in the shop.

changed my mind on this
I am going to use this to hold the depth rod and the shoe rather then stowing it on the router itself. If I don't need to use it I'll have to take it off the router and put in the box. I'll survive this plain Jane block to hold it somehow. I looked at all of my Stanley catalogs and none list spare parts for the 71. All the catalogs had at least the 71 but no write up on the parts. I guessing this shoe is used for a wide dado or tenon work.


1/8" plywood bottom
This is one of two boxes I started a few weeks ago. This will get a 1/8" plywood bottom and be done. No lid and no finish.

forgot to flush the bottom and check it for twist first
I glued this up and set it aside to set up.

6 coats
This will be done by the end of saturday for sure. I checked the lid and it slides in and out a bit stiffly. I think once the shellacing is done a little wax on the rabbets will make it slide in/out easily.

still no ideas on storage for these
I found a blurb in one catalog that stated this was a new and improved smoother. I don't know what was new or improved with it. This is the same view that is in the catalog. Maybe it has to do with the iron being screwed on to the shaft?

done
I don't know what I'll use this for because I think I finally might have enough boxes.

practice till stock
I watched a couple of episodes of Paul Seller's video on making a tool box. He made the tills for it 5/16" thick and he got it by resawing 3/4" stock. It's been a while since I last tried to resaw so I'll practice first on this short piece.

not a good start
This is after I had flipped it twice to saw on the opposite side.

the side I started first
This side doesn't look too bad but the side I can't see I went OTL (out to lunch) on.

this is crappola
I definitely need to practice more and I need to do a lot more than I'm doing now. This is not like not riding a bike for a long time and then riding it again.

I might be able to salvage the left one
It won't be 5/16" thick but I think a 1/4" is doable. I will save it and use it for something else.

not much room left
I am going to get a #6 for Miles (this is my #6). He will be rather young then and a #7 would be too big for him to master. I think the #6 is pushing that envelope a bit but he'll need something in the jointer range to start with.

I like this better
He is only getting two panel saws, one rip and one crosscut. I'm still looking to add a carcass and dovetail saw but I haven't found anything I like yet. Translation - it is looking to be cheaper to buy LN saws rather then old ones.

some of the tools for the till(s)
I'm thinking of putting in two tills. One that will be the same as the interior opening of the toolbox and a second one on top of that half the size.

sometimes you get lucky
I found this missing chip stuck to the underside of the lid. I super glued it back on.

derusting a molding plane iron
Doing the derusting with this 150 sanding stick is way easier than using a folded piece of a sandpaper that I usually use.

loose piece of boxing
I had two loose pieces but it looks like the other one got acclimated to the shop and it isn't loose anymore.

warming up the hide glue
The poly is keeping the hide glue in the water until it warms up.

got a hump on the back
back is flat now
I was going to quit here but I had to do one more thing.

coarse sharpening done
This is an interesting looking profile and I am very curious about how it will look. The iron matches the profile of the molding plane pretty good. I think once I get this honed I should be able to make a molding with it. From the wear on the plane sole it looks like plane was used a lot.

accidental woodworker

trivia corner
Who is the only US President to have a national park named for him?
answer - Theodore Roosevelt


Ten Years of Blogging - A Couple of Thoughts

Brokeoff Mountain Luthierie - Fri, 09/08/2017 - 1:48pm
The secret of getting ahead is getting started.

Mark Twain, American writer

I realized the other day that I started this blog ten years ago!

My first post was on September 2, 1997.

My wife was the one who encouraged me to start a blog, she thought it was a good venue for me to become known as a guitar maker, to sell my guitars and to connect with others in the woodworking world.

I have met several wonderful people who are professional woodworkers through the blog, but I am still waiting for my first guitar sale because of the blog. All of my sales have resulted from people actually seeing and playing my guitars, either at guitar festivals, lectures I give at universities, or when players stop by my shop because someone told them I make wonderful guitars.

The Internet has done much to disseminate woodworking information, it's a little scary to see how much information there is online! When I started woodworking, if there was anything that I wanted to know I had to go to a library and look up the technique in a book or woodworking magazine!

Now, all one has to do is to surf the plethora of YouTube videos and websites to find the woodworking technique that you want to learn.

One thing I have noticed lately is there doesn't seem to be as many people blogging about their woodworking experiences and adventures. I find it a little sad these days to go to my favorite woodworking blog aggregator and see only three or four new postings. Maybe no one cares to write a full sentence or paragraph anymore because stringing together 140 characters is the most anyone can do. Instagram is a very easy platform to display yourself on.

Or is it that people just want information, but don't want to share it?

I know that it can be hard to write a weekly post for a blog, making time to do something can be a hard thing to do and accomplish.

In my experience, not knowing if I am reaching/connecting with anyone on Internet can discourage me from writing more posts, I don't get many comments about my posts these days, nor does anyone engage me in some kind of text dialogue. I stopped offering how-to information on basic woodworking several years ago because teaching online through my posts is not my intention. I noticed that when I stopped the how-to no one commented.

That said, visitation to my blog is up this year and I think it is because people want to learn more about the guitars I make. This is great for me, because if there is one thing that I will talk about passionately is making beautifully voiced guitars that will play beautiful music, that in turn will encourage young people to take up the classical guitar.

I will offer this advice about blogging -- don't be afraid to use what you learned in your college freshman English composition courses! Start writing today about what it is you are doing! Make stuff and share it and don't think you have to be the next Roy Underhill or Charles Hayward.

Get into your shop, make shavings and blisters!



Categories: Luthiery

Music I’d Like To Hear #138

Doug Berch - Fri, 09/08/2017 - 1:42pm


Traditional Korean Music Ensemble

Traditional Korean Music Ensemble

Categories: Luthiery

Get On Your Bike

Lost Art Press: Chris Schwarz - Fri, 09/08/2017 - 12:30pm
IMG_0418

Random street scene, Henley-on-Thames

Job Centres were government-operated employment agencies intended to help people find gainful work instead of spending their days watching telly while sponging off the dole. At least, such was the image of their unemployed compatriots entertained by many supporters of Margaret Thatcher, prime minister at the time. Her cabinet ministers (well, some of them) were less dismissive regarding the plight of their jobless constituents. There were jobs out there, they insisted; you just had to put some effort into finding one. “Get on your bike” became an oft-heard exhortation after Norman Tebbit, Secretary of State for Employment, told attendees at the Conservative Party Conference in 1981 that he’d grown up in the 1930s with an unemployed father. “He didn’t riot,” Tebbit said; “he got on his bike and looked for work and he kept looking ‘til he found it.”

The Job Centre certainly made it more convenient to find employment. But I would have found a job with or without it. I was raised by parents who, despite the haziness of their hippie years, impressed on me the importance of hard work and self-reliance. At the same time, they also supported the provision of social services and safety nets, knowing that things can go wrong for anyone, despite diligent work and the best-laid plans.

My friend Beatrice, on the other hand, had graduated from Cambridge with a degree in drama. Finding herself unable to secure paid employment in her field, she didn’t hesitate to sign up for the dole. “But surely you could get a job at a sandwich shop, or cleaning houses?” I offered, shocked that this bright, resourceful, relatively well-off friend had sought government assistance.

“If I take a job unrelated to my area of expertise it will count against me the next time I apply at a theatre,” she explained over Lapsang Souchong in her cozy London flat. Seeing my stunned expression, she added that taking just any job “would suggest that I’m not serious about my profession.”–Excerpted from Making Things Work by Nancy Hiller


Filed under: Uncategorized
Categories: Hand Tools

Stanley 71 screw sizes update........

Accidental Woodworker - Fri, 09/08/2017 - 10:47am
I was looking at my blog post for today and I saw that I forgot to add the screw sizes. Yikes! This blog post's main purpose was to publish the sizes and I zoned that right out.

all checked out
There are six screws on this 71 but I don't know it's history or how to type it. In addition to the six screws there is one round thumb wheel screw (not sure what to call this). It is the one that advances and retracts the iron.

small flat head screw
This screw is a 12-24 and is a 1/4" long measured under the head. I don't know what the angle is and I'm guessing it's the standard 82°?

depth shoe screw
This gizmo still has me scratching the bald spot. I'll have to look it up in my Stanley catalogs and see if anything is written in there about it. This screw is a bit mangled on the threads at the top but it doesn't matter here as those threads aren't even close to being used. This screw is a 1/4-24. I couldn't double check this in my thread checkers because none of them have this size. But I did match up the threads with the #24 on the screw pitch gauge.

The fence screw I did get in today's blog post. It's a 10-24 x 3/8" and I think it is too short. I ordered some 10-24 x 1/2" & 3/4" screws, along with #10 washers, hex nuts, and wing nuts. I'll get them next week.

nickel plated
The nickel plating goes with the rest of the plane. The size of this is 12-20 but I couldn't check it in any of my thread checkers as none have this size. The screw pitch gauge for #20 lines up perfectly with it. I also tired some of my spare studs for knobs and they all fit and I know those are 12-20 threaded.

these are the same size
They are the same size but different in one aspect. The screw for the iron clamp has a conical shaped end. That is so it will mate and fit in the vee. The one for securing the depth rod is flat on the end. Both of these are a 1/4-28. I do have this size on a thread checker and I also checked the thread size with the screw pitch gauge for #28. Both were a match.

I would bet the ranch that these screws and the one on the depth shoe would have been all the same size.

 this one is hard to measure
the stud is a 1/4-28 so the thumb wheel is the same size
As soon as I can figure out the vintage of my 71 I'll post it.

accidental woodworker

A Visit to Takuji Matsuda’s Kiribako Shop: Part 1

Popular Woodworking Editors Blog - Fri, 09/08/2017 - 8:35am

My friend and neighbor, Takuji Matsuda, is an untraditional traditional Japanese woodworker. He is one of a few remaining makers of a special kind of Japanese box called Kiribako, and perhaps the only North America based maker who is an expert in building dedicated Kiribako for Buddha statues. While well rooted in the traditions of Japanese woodworking, Mr. Matsuda, a graduate of the sculpture program at Pratt Institute in New […]

The post A Visit to Takuji Matsuda’s Kiribako Shop: Part 1 appeared first on Popular Woodworking Magazine.

Categories: General Woodworking

Build project from 1891

Journeyman's Journal - Fri, 09/08/2017 - 7:00am

Here is an extract I painstakingly copied word for word from a magazine published in 1891 called work.  They contain projects for home amateur enthusiasts who don’t mind getting their hands dirty. It covers projects for woodworking, talks about metal working lathes, the latest foot powered scroll saws, brick laying just about every trade. It’s like the readers digest when they once printed useful things. Anyway I thought it would be nice to get a real glimpse into the past.

DRAWING BOARD FOR DRAFTSMEN ON WOOD AND IMPROVED INSTRUCTIONS FOR CIRCLES

BY JOHN W. WHITFIELD HARLAND


A GREAT inconvenience arises in drawing upon wood blocks which are 15/16 of an inch in thickness, owing to the absence of a rest for the hand and the difficulty in using squares (T or set) in drawing accurately perpendicular and horizontal lines, a difficulty still increased when drawing architectural or other subjects to perspective points where great care and accuracy are requisite.

To obviate these drawbacks and ensure ease, convenience, and extreme truth of drawing the writer designed made, and used a board, which has stood the test of twenty years’ use most satisfactorily, not only for wood but drawings on paper, if to a very small scale, the paper of course mounted.

First make a 3/4in. drawing boards A clamped at ends 24in. by 15in. over all, and plant upon it a 1 in. strip B. 4 in. wide, 24 in. long, glued and screwed from the back, with a groove ploughed in its face 1/2 in. from edges, of a dovetail form ( see a in section) and rebated 1/2 in. by 1/2 in. on its upper edge, next to A, so as to leave a soffit of 7/16 overhanging 1/2 in. beyond where the rebate is jointed on A Fig. 1. To the right hand side of drawing board A fit and plant with glue and screws a strip c of 1 in. stuff, 6 in. wide, 11 1/2 in. at back, rebated at one end to 11 in. Long at face so as to fill the rebate in strip B. Note that this strip must be made absolutely square with B, or more explicitly with the edge b of B, c, with the edge of C, forming a perfectly true right angle with it. Next fill a similar piece of 1 in. stuff of same dimensions called the “follower” so that it correctly fit the rebate of B, and its edge d made perfectly square with b. Half an inch back from its edge d plough a groove parallel to d 1/4 in. deep, 1/4 in. wide at top by 3/8 in. at bottom exactly as groove before mentioned at ( a in sections). This strip must not be glued or screwed, but is utilised as it’s name, follower, implies to slide square with B all along from the edge of c, also square to the full extent of the uncovered portion of A. At e e cut a groove through the drawing board as a slot 1/4 in. at face and 1/2 in. at back of a T shape parallel to B, but 5 in. From it, to receive a stud and thumbscrew f, or what is called a camera – backscrew, and on underside of the follower D let in and screw the plate g (see f in section also).

Now the board is so far complete that a block can be placed upon the uncovered part of A against B and C, and the follower D pressed against its side until it is firmly held; whilst the thumbscrew secures the follower in its place, the surface of the block will be flush with the surface of B, C, and D, thus fulfilling the first condition: convenience for the rest for the hand of same level as the block itself. Now fits exactly to the dovetails grooves strips of wood (boxwood for preference) of the section shown at h, Fig. 2, respectively 9 in. 6 in. long, made so accurately as to slide readily but not loosely in the grooves (see a in section). Having fitted these slides h, h, which stand up 1/8 in. above the level of the block they can be slid along and used as straightedges for set squares to slide against, the longer giving perpendiculars, in the groove in B and the other, horizontals in groove in D, with a right-angled set square, but when not so required they may be pushed along their grooves out of the way of the hand when drawing.

At any point on the horizon of the required perspective where the vanishing points fall, a needle may be driven into the strip C and the follower D, and all vanishing lines can then be drawn with a straight edge to these points with microscopic accuracy, the slides being pushed out of the way and pushed back again when vertical or horizontal lines are required; the width of strip and follower, 6 in. each, being ordinarily sufficiently distant for the vanishing points. In certain instances this is no the case, however; the writer therefore, provided and fixed (see plan Fig.5 “looking up”) two sliding grooves in back of A ( which can be taken out and hung up when not in use), having a thicknessing piece at their outward ends glued and screwed on with a fixed point or needle in each, so placed as to be in the same horizontal line.

As the horizontal line varies in various drawings, it’s distance should be first ascertained, and the block to be drawn should be pushed up to the fixed horizontal line of these sliders, and the vacuum, so to speak, between base line of block and the edge b should be filled with a strip boxwood block of the exact size to maintain the block to be drawn in its right position with its perspective horizontal line coincident with the normal one of the board. The sliders being drawn out to the required mdistance on each edge, ought to remain n position through accuracy of fit, but as wood shrinks in time, and they may thus become looser, and thus be apt to slip, the sliders may be marked with inches and eighths like an English rule (or centimetres or decimetres etc., on the French decimal scale of lengths, which we like better), and when the point is found a note can be made of it, to check any subsequent shifting. By this means, before photography and process work came into vogue, the writer has produced for The Builder perspective architectural drawings which for accurate detail have not being surpassed, an accuracy due entirely to the means employed. A careful tracing put down on the wood gets obliterated in the shading up on Indian ink and it’s exact angle lost, but if the vanishing point is there it can be regained in the ruling up with mathematical precision. But the draughtsman on wood – perhaps we ought to say nowadays – have not only to draw upon wood have very frequently to trace from very indifferent photographs, which is best done by light being transmitted through the print or glass photo onto the tracing paper. Our drawing board offers convenient means of doing this in the following manner.

Make a frame of 1 in. stuff 1 1/2 in. broad (see Figs 1 and 4) 24 in. inside measurement, tenoning one piece of the sides E into the ends F, F, which are 15 in. long. Before gluing up into the mortises cut in ends, plough a 1/4 in. by 1/4 in. groove about 1/8 in. from face in the four pieces of frame, and then make the fourth a sliding piece G, to fit the groove accurately, so that it will move therein to any desired position; then glue up and wedge the end pieces and the tenoned side; when dried and finished off, slide the piece G into it. At K, K, in F, F, bore screw holes countersunk and screw into the ends of B, so that when level with face of block, the strip C and follower D shall at their top ends be in contact with their inner edge of G when it is pushed close up to the tenoned side of frame E.

These screws form pivots, or hinges, on which the frame can be raised to any angle, or allowed to remain flush with top of block and board. In the frame ends f, f, passing into the grooves in which the sliding piece G moves should be made every 1/2 in. or so from 3 1/4 upwards, so as to maintain G with a photograph covered with tracing paper, or glass plate, with a paper print and tracing paper mounted upon it, put into the grooves of E and G (see section Fig.2), which will hold it whilst being traced. A mirror being put at the proper angle behind it through reflect the rays of light through it, the frame F E F G being inclined to a convenient angle to the plane of the board supported by the following means.

The top of the frame F E F G should be, when down, flush with the surface of the block, i.e., with the surfaces of b, c and d; when up; at a convenient angle, say, for instance, at 45 or 50 degrees to these surfaces or planes. By making two strips of wood I, I, with screw holes bored and countersunk at one end, and screwing them onto their sides of A below the frame which is screwed to B (see end view Fig.3), leaving them 9 in. long, and putting screws, in position shown, into A to perform pivots support for the frame F E F G is at once provided in the position shown in the perspective view, Fig.6. But these pieces or levers, when not in use would fall on their pivots; we halve them at their ends, as shown, and save the pieces, so cut away – to plant onto A with a single screw each, in the same places they would have been occupied had they not been cut off. The levers I, I, when not in use, are thus locked into normal places by these “frogs” but they are capable of another use, namely, that of forming hind legs as it were to slope the drawing board to a suitable angle when blocks are being drawn (see dotted lines perspective Fig.4).

Having now completed the construction, we may to it’s perfection as a “tool” rounding the edges of B, so as not to fray the sleeves or irritate the wrist as shown in the drawings, and add to its appearance by polishing it with French polish or oiling it with raw linseed oil; or the parts where friction exists may be rubbed with powdered talc (Pudding Stone), the French shops of oil shops, the boot makers, or glover’s.

Whilst on the subject of drawing to fine scales, probably we may usefully suggest simple means of keeping the radius of compasses always the same with pencil as it is with pen, the pen never wears away; the graphite gets shorter with circle turned. Instead of using a lead pencil cut to a diameter suitable for the holder in a pair of compasses, procure a propelling pencil case (see Fig.7) and break away the outer case; this costs but a few pence, and will save hours of time wasted in sharpening leads and altering legs. You have only to propel he lead further out, by turning the nose piece to always keep the length of the leg of he compasses the same as the other leg. Another plan, useful principally for bow pencils and spring pencil bows, is to obtain, or make, split tubes to carry Faber’s moveable leads which are made in all degrees of hardness (Fig.8).

As the lead wears it may be pushed further through the carrier and always kept to length, without altering the angle of the legs. Another alternative is to gum a strip paper and roll it around a piece of Fabre’s lead until it is thicknessed out to fit the carrier of the compasses, and keep pushing it further and further through as the graphite wears away.


Categories: Hand Tools

RWW Live: Sharpening Bench Redesign

The Renaissance Woodworker - Fri, 09/08/2017 - 6:53am

Let Me Tell You a Story about a Sharpening Journey

I sincerely appreciate everybody who hung out with me live and asked questions. Sharpening is always a topic you can expect people to have confusion. And my tour and subsequent redesign of my sharpening bench is the perfect example of how we as woodworkers can overcomplicate what is actually a very simple topic. We live in a wonderful world now with many fancy gizmos and sharpening aids and when you are unsure they all look like game changers. I hesitate to say I fell into these traps as each method I used only added to my understanding of sharpening and what works for me and what doesn’t. I stress what works “for me” because I feel that it is a personal thing and often times the journey is what is needed to figure out what you need and don’t need. These days my sharpening regimen is very minimal and I look at it not as a task to be performed but merely a breath in the woodworking action. Sharpening is less event and process and often I don’t even realize I’m doing it. That sounds very zen but think about the last time you got into a groove on something and how you don’t realize how much time has passed nor can you clearly remember each individual task that you performed during that time.

Anyway, I’m waxing poetic now. I’m always open to more sharpening questions and stay tuned for the build of my new sharpening bench. If for no other reason than to see me use a track saw and maybe some pocket screws!!

The Questions You Asked

  • 1:40 Sharpening Bench Talk
  • 28:05 Sharpening Narrow Chisels
  • 32:17 Hand Cranked Grinder and the Wheel
  • 33:50 What’s a Good Brand of Rasps & Files
  • 37:14 Would you have been able to understand what sharp is without jigs?
  • 40:30 Why Do my blades go cloudy when changing stones?
  • 43:56 Sharpening a Router Plane blade
  • 46:34 Sharpening a Spokeshave blade
  • 49:43 Scary Sharp?
  • 52:20 Thoughts on Squares?
  • 54:18 Hand Tool School Orientation
  • 54:40 How do I sharpen drill bits?
  • 59:42 Experience with Irwin Auger Bits?
  • 1:01:42 How do I set rake and fleam when saw sharpening?

Categories: Hand Tools

Pages

Subscribe to Norse Woodsmith aggregator