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I've just added to the store three interesting chisels. By "three" I mean I actually only have three. The story behind them is interesting, hence the tale.

English toolmakers make two kinds of of "mortise chisels": the oval-handled mortise chisels of the sort that we stock by Ray Iles, which are designed for deep mortises and are tapered front to back so they can loosen themselves in a deep joint. The second kind are sash mortise chisels, which have parallel sides and round handles. They were used for shallow mortises, specifically window sashes. The advantage of having parallel sides is that they are simply less expensive to make. There's no real advantage for registration or anything like that.

Continental Europeans have never really cottoned to the oval bolstered mortise chisel. Instead they use are very large sash mortise chisels, which are typically tapered front to back. These tools have round handles, which makes them harder to register and use - but they are less expensive to make.

The great American tool company Stanley, which made all sorts of wonderful chisels, never actually made a real mortise chisel, sash or otherwise. So imagine my surprise when one of the owners of my local hardware store (more in that later), told me he had something special to show me - three Stanley sash mortise chisels, made in France and England, probably in the late 20th century. These sash mortise chisels are not in any of my catalogs. And I only have three in metric sizes. If you're interested, you can click on the product description here; if you act fast enough, you can actually buy them. They are perfectly good great tools, properly hand forged. When I say hand forged, I don't mean by hand banging on an anvil. I mean, with a power hammer, with a human organizing the blows. It's a real skill.

Before we go back to the history of the chisels, let's talk a bit about this hardware store. Warshaw Hardware Store on 3rd Avenue between 20th and 21st streets in NYC is run by its third generation, Eddie and Carl Warshaw. It is typical of the small neighborhood hardware stores that used to be all over New York City. It has everything. In other words, when I need 1/4"-20 bolt 1/2" long I can order a box from McMaster and have them the next day or I can go into Warsaw and buy three 1/4"-20 bolt 1/2" long for probably about a buck. For a tinkerer, and a guy trying to run a machine shop, this is a godsend. Your sink breaks, you need a weird washer: they got it. The fact that they are conveniently located is a godsend.

Back to the chisels. If you're running a hardware store for three generations, the chances of finding stuff in weird corners of the shop is 100%. So Eddie called me and said that he had found these chisels, had no idea what they were for, and thought of me. Did I want them? Of course I was intrigued. So I stopped by I took a look and saw that they were sash mortise chisels, which made no sense.

Eddie said "In the 1990s, one of my distributors went out of business and we bought their entire inventory. Over the years I sold everything but these chisels because they're not really our thing and they ended up being pushed aside."

I'm guessing the chisels are from around the 70s or the 80s and were sitting in the distributors warehouse a long time. They might have been a marketing experiment by Stanley, to import some of the more woodworking friendly tools that were available in Stanley Europe into the United States to see if they would sell to hobbyists here. Apparently they didn't.

In case you're wondering how I know that they are forged and handled mostly by hand, it's because the forgings aren't perfectly symmetric, a mark of an open die not a complete drop forge. When you hand forge chisels, the balance isn't always centered correctly on the tang. To address this problem, when you put the chisels into a handle - the job of the cutler - you compensate so the chisels weight is perfectly balanced and symmetrical. But visually it may be off slightly - and that's the case with these chisels. The mark of somebody paying attention. Two of these chisel still have their fancy store hanging display hoops on.

 Temps here about have been in the single digits overnight and barely getting above 20F/-7C during the day. Today it hit 37F/3C and the snow mountains actually melted a wee bit. My happiness will be that what we have piled up along the driveway will melt before I get whacked with another storm.

almost

There were a few holidays on the brown frame that I had to touch up. The black frame has two coats on the back and one on the front. I will have to wait a couple of days for the paint to cure out before I put any shellac on them. The goal is to get the 3 frames to Maria on saturday.

toast

This is the second 5x7 shadow box and it is toast. It is twisted too much to plane it flat. The first one was twisted too but not as bad and I was able to flatten it. I had to make another frame.

nope

This was the 3rd panel I made for the frame and it was also the 3rd frame that was twisted. I thought I could keep it flat while I glued it but nixed it. I didn't want to chance it going wonky on me.

last one

The 3 previous failures were all 1/8" birch plywood. All of the plywood panels were visibly twisted. The frame wasn't strong enough to straighten it. The final panel is crappy 1/8" plywood from china. It was flat and the dry fit laid flat on the tablesaw. Glad it worked because I ran out of both the birch and chinese plywood. 

I'm dreading buying more 1/8" plywood. The price had jumped a lot the last time I bought some. With the way prices are spiraling upward, I'm sure the plywood will be higher too.

hmm.....

Couldn't get this setup to work. The clamps would not clamp on the flat of the red 45. I tried 3 different clamps and nada. I wanted to use these because I could see if the clamps twisted the frame with pressure applied. Onto plan #2.

Plan #2 was the band clamp. I eyeballed it all over a bazillion times making sure it was seated down fully on the metal corners. I thought maybe the band clamp caused the twist in the previous 3. Maybe, but 2 were definitely due the plywood being twisted.

splines

I noticed when I tried to twist the frame flat, one of the miters broke apart. Wasn't expecting that at all. I put two splines in each miter on the first frame.

3 hours later

Normally I would have waited until tomorrow but I had to check it out. The frame is laying flat on the tablesaw. There was zero rocking on any of the corners.

splines

I used red oak veneer for the splines. I'll be painting both of the 5x7 frames. I didn't do any lay out for the splines - I just eyeballed them. 

came today

I like reading history like this. The book on the right was published in 1984 and the second one in 1992. I did a cursory page check and both books are different. Both are still about New Jersey toolmakers and not just woodworking tools. I especially like reading the ads. It is like reading a foreign language even though it is my native english. 

accidental woodworker

Last week I talked about life working wood that few might know today. A journey through youth to adult life, maturing through migration to live and work as a maker in the USA. No one could have imagined my life. Not one ounce of it would have matched anything of their world, nor any other I ever knew of. Looking back on my own unfolding life, I never met any others that took anywhere like the one I took. Most people are worried about risk, looking foolish to their friends and colleagues, and would never sell up their entire family home and belongings, nor go to live permanently on a continent 5,000 miles from home without the secure promise of some kind of future life elsewhere. Life for the majority is clearly about self-safety, low- and no- risk enterprises, with mainly a gym-safe security for health exercise rather than whitewater kayaking, freeclimbing rock faces over 250 feet and real mountain climbing without Sherpa guides rather than dropping trees in a Texan wilderness, deserts really, nor are they about driving penniless to shows two thousand miles through four other states in a beaten-up 30-year-old Ford Country Squire station wagon with 400,000 miles on the clock and, dare I say, on threadbare tires. Monarch Pass in January snow blizzards, just over 11,300 feet, puts Snowdon's 1,000 into foothill realms, and the magnificence can never be compared with hills you never see the top of for thick cloud.

Even in summer, snow often remains in pockets, but in winter, the story is very different. One of my trips was in January when the roads were bad enough for me to pull over to fit snow chains when I found those that came with the old car were not for my size of wheels.

Yes, my Life is somewhat more sedately paced in some ways, but I am still impressed to keep encouraging my fellow man even when they insist on comparing handwork to machining wood, the two of which have only the barest minimal of connections when it comes to skill building and the whole immersive experience I get from hand work. It bothers me all the less which methods people use, what might irritate me the more is any consideration that the two are one and the same, and it's just a matter of choice. My world is far more diverse, much healthier and absolutely richer. No question. Unless you have truly developed hand skills to a substantial degree, and that means a couple of weeks full on in terms of time, not all at one go, you cannot understand that of which I speak. In most cases, when `i speak of what I know about handwork, the eyes of machinist woodworkers glaze over in a few seconds. At best, they try to extrapolate some kind of legitimate comparison to persuade me differently. About five magazine editors over the last three decades have tried too, the truth was, they didn't know either. They often developed their knowledge by reading, writing giftedly and only minimally doing. Sorry, but that comes from personal interactions and relating to them!

This adventure launched us into online teaching, and our early videos were filmed from inside the castle walls. Imagine being given a handful of ordinary tools, about ten, and a workbench and walking out with a beautiful rocking chair.

So, here I am in a small village of 4,000 called Odiham at a woodworker's venue called Cross Barn and will shortly be surrounded by a mass-congregation of woodworkers making me feel settled and very much at home. It's been a while since I gave any kind of public talk, but meeting Trevor a few months ago and him asking whether I might consider speaking sparked something in me. He had recently come to my workshop, and he intrigued me as we talked about his input into the lives of younger people himself. He's one of the few people that took my investment and started reaching out to them by teaching hand work. Trevor is a gentle soul, kindly, easy to be with. He seemed to know everything about me through following our online work. Our exchange revolved around woodworking, woodworking with children, and then his association with an association of woodworkers just over an hour's drive from me if the weather's good and outside of connecting arterial roads to city lives. When the day came to travel, in heavy, incessant rain there and back, it seemed like a good idea at the time. I was thankful for Joseph volunteering to come with me. The journey is shorter with company, and satnavs often need a nudge at complex intersections on unknown routes.

This was the Men's Sheds talk I gave a few years ago. I enjoyed that talk too. One day, I hope to do this again. These organisations need our support all the more.

The days ahead of my visit prompted me to be more thoughtful about what I might want †o say. I prodded myself with thought-provoking considerations, thinking of the significance woodworking had had on me throughout my life, but then three and more decades trying to dismantle the commercial impact that changed woodworking to become machine-only practices where everything made now came off a rotary cut from carbide-tipped cutterheads and blades of all kinds. The effect on people wanting to just make an occasional piece, a coffee table or perhaps a wedding gift of some kind, every now and then, something for a granddaughter, something like that, has been quite remarkable. Imagine, needing five machines of different types just to make a few pieces every few years! I know, I'm exaggerating some here.

Snowdon will always have a special place in my life. It was where I spent my younger days climbing and beachcombing with my family. I also had some special neighbours living in the Llandygai Village next to the Penrhyn Castle where I had my UK woodworking school workshop, New Legacy.

My life experience as a full-time, lifetime maker of 98% handmade pieces seems to me, at least, to be unparalleled in that I haven't really met many, if any, who have actually spent as long as I have working wood in self-employed ways, travelling through life as a maker and then going most of it alone much of the time. On this evening I didn't want to be just an interesting 'guest speaker', though that's important too. Time is important to me, and I wanted this Southern Fellowship of Woodworkers to feel inspired enough to investigate other options where needed. I was altogether sure that these woodworkers would be like all the others I ever meet, and by that, I mean in my more amateur realms rather than so-called 'professional' ones—those fascinated by possibilities, interested in every new discovery and no matter how small, excitingly interesting, considerate in passing on any ability and knowledge they might have to others. That sort of thing. No trade secrets here!

My work teaching in the US ended with a cluster of hands-on classes in and around 2012. This New York class was a beginner class, but we did complete a month-long workshop that enabled many woodworkers to transition into full-time making.

Another key difference in my world was the reality that children these days are highly unlikely to experience real woodworking of any kind, even machining parts of it. Children can not work with or near to ultra-dangerous machines, and that, by its very nature, leaves 98% of them outside the workshop doors during the most critical era of formative learning. If that was true in my day, how much more today with the advent of mobile phones and total access to the internet twenty-four-seven? The competition for things of interest today is unparalleled in history. It's all about the scarce recognition that we rarely have enough time to PAY FOR ATTENTION! Also true, another reality, The majority of those youngsters wanting to do woodworking would be held firmly outside the machine shop doors for obvious safety issues that must never be ignored. The simple reality is this; it's not just the machinist-user who is in danger. Those standing or working within close proximity to machines, mostly a single-car garage-sized space and such, are in equal levels of danger. Anything that can wrong will likely go wrong for everyone and wood and splinters fly, when wood explodes from the impact of a three-horse-power motor, wood splits without warning and people can forget where they are and become disoriented. Furthermore, which young person, when having access to a mobile device of any kind, wants to stand around listening to the scream of machines watching someone else make all the cuts for them anyway? School woodworking and D&T (Design and Technology UK). It's no wonder we have seen half a decade of rapid decline in woodworking around the whole world. I recall not too long ago the racks in every UK supermarket and bookstore having several linear feet of dedicated space for DIY woodworking magazines for sale. But it was the editors that shot themselves in the foot by prioritising machine methods in 98% of their pages. How short-sighted they were. For the main part, they simply regurgitated the same old, same old every few months. There are only so many moulds you can make with a power router and so many straight cuts from a tablesaw.

Another adventure unfolded when I started my UK school from an old farmyard on the Isle of Anglesey as the snow started falling on my wood and the only place I could use machines outside.

Funny enough, I think, the majority of richer, machine-only woodworkers actually believe that these others, the ones yet to discover woodworking for themselves, could own machines like they do; that this was available to all, and that it was really the only way forward. Owning a few dedicated machines and a workspace large enough to house them does speak of being well-off and better off than the majority. My outreach is to both the well-off and those not well-off. This is based on my reality that my work will indeed equal the cuts made using a chop saw, power planer, and tablesaw but that it takes real effort and skill to do it and that it is well worth the cognitive development of making three-dimensionally and probably 4D. With time, many cuts actually become quicker––even with the need for further refining with a second or third tool. Starting from scratch, any dovetail I make will be faster than machining it, and it will always fit straight off the saw. But I know that if I need a thousand identical dovetails, a power router and jig will repeat the process a thousand times faster. But, go ahead, ask yourself, who needs a thousand dovetails outside of industry anyway? Machines have the capacity to always deliver dead-square cuts and that could never be achieved using hand tools in the same time, but there is much more to woodworking than the square and straight cuts you get. And it's this that my audience wants. It's the realness of high-demand woodworking.

It feels like I could just have made about a thousand of these but lost count. I made on in every box-making class alongside the students I taught, and that is thousands of students.

It's easy to forget that machines demand big-foot footprints and dedicated spaces around each piece of kit, volumes of investment, and more beyond. I have spent 30 years proving that 98% can't and never could or would have access to such wealthy woodworking, and that once that thoughtful consideration passed, the minute was lost, and those looking for the new hobby moved on with a sense of loss and impossibility. We're talking thousands upon thousands of pounds, whereas hand tools might cost less than £300 for a complete kit and a relatively compact workbench will make every stick and stem to furnish a home with 60 pieces of high-end furniture. 98%, that's my using the reference ninety-eight percent, is a favourite number in percentages for me—it's arbitrary, of course. I picked out what I could from my lived life as what others refer to now as an influencer. Actually, inspirer suits better.

This is roughly what a month-long class looks like. Absolute success and no school in the world had expectations like this: a dovetailed box, a wall shelf, an oak end table, an oak coffee table, a pine tool box replete with raised panels and two drawers, and an oak rocking chair in 26 days with all the students having minimal or zero hand tool experience. Oh, how we have dumbed down expectations for hand tool woodworking.

Success usually speaks positively for itself because mostly the unsuccesses rarely get a mention. Of course, we must take care not to give the impression of total success when ten failures prefaced the reality of the risks you took for your one eventual success. The truth is, success can be staged performances based on small gains through lesser failures at each successive rather than successful level––most of them are simply serendipitous bolt-ons. You persevered, of course you did. It's all too easy to give others the impression that you planned the whole thing and that there were never any failures, that you planted each stepping stone to get where you are, whereas for me, failure seems always to undergird some measure of ultimate success in someone who didn't give up. It's one thing letting go of something and another being discarded, and it's one thing discarding something and another recognizing it's your time to move on. But I fleshed out ideas that seemed to expand positively from time to time. Rarely, if talking about wood to woodworkers, will I ever be stuck to relate to others on common ground somewhere, and that's because my woodworking comes from a wholly lived life of daily experience. If I took any one-year span of my life, I could relate to others through the wood in it, simply because it was the life I'd lived. Any given year would give me sixty diversely different woodworking topics, from making mesquite birdhouses to mesquite credenzas for the Cabinet Room of the White House.

Joseph and Kat joined me in New York to help with the class. It's always special having them along with me.

Joseph coming with me to Odiham was nice for me. I think our relationship is remarkable. The deep gutter-water, hydroplaning, and such made the trip interesting, but we arrived safely and dead on time and at the right place. The evening dark surrounded us as we parked by the Cross Barn venue. We were to meet with a smaller group at the Red Lion pub for a tantalising menu for choosing supper. The ten or so of us sat for a good hour, discovering our common ground across the table. The venue was a five-minute saunter through the village.

This is Hannah's work I took to show off at the venue. Everyone loved it and all were surprised it was total handwork

My mixed feelings about presenting this night quickly evaporated with the crowds hovering in hospitality to greet both Joseph and myself. I was glad for his company and support, but he too has his own unique story that few fathers and sons working together through life have. It seems to me at least that he and I have been partners forever and in so many ways. I'm not really nervous about talking to a crowd, but more feeling that what I might share is more important to me than I first thought. You see, I am on the other side of the uncertainties early life can be paved with, the other side of unsuccesses the other side of seeking the approval of others. I'm not saying I have arrived, and then again, I feel in much of my life, I have. Living my kind of success is measured far less alongside famed people we might generally acknowledge as successful and more about the sense I have that I have actually achieved something quite substantive, an important objective through my isolation and ambition. To be 'there', after living 'out there', we must shed lots of the excess baggage we usually accumulate from many sources along the way. This often begins in childhood and passaging through life, we accumulate and accumulate like we do possessions. As I said, my life as a maker has never had bolt-ons in my designer-maker living designing many a thousand pieces and then doing 98% of all work using hand tools rather than machines. As a result, I have taught a thousand children how to work wood in traditional ways and then ten thousand woodworkers to strive for the more real experience of high-demand woodworking I consider to be hand tool woodworking. Take any segment of a working man's life with hand tools in it, and a story exists that most other woodworkers will be interested to hear of it. I had considered a couple of things, but critically I wanted to reach out to those there to reconsider their amount of handwork and to see how it might relate to others––people like those I had trained three decades ago when they were kids and then those in recent years, people, unusually, like Hannah. Hannah has been my only ever serious female to go through apprenticeship.

I enjoyed the evening. It went well.

Last week I talked about life working wood that few might know today. A journey through youth to adult life, maturing through migration to live and work as a maker in the USA. No one could have imagined my life. Not one ounce of it would have matched anything of their world, nor any other...

Source

Any time I rehab an old tool, I think about whether or not to leave as much patina as I can.  In the past I've been more in the camp of trying to make it look like new, shining up the brass and other metal parts and cleaning the wood thoroughly.  Lately though, I've been more apt to just make it useable and keep it looking like it is 100 or more years old.

With this old moving fillister, though, there was enough work required to get it fettled properly that I decided to clean it up all the way.  This is a #68 Sandusky moving fillister plane that initially looked like it was in pretty good shape.  The only thing obviously wrong was that the nicker iron was missing.

Overview

Markings on the front

Close-up of the right side showing depth stop and the dado that should house a nicker

The heel end stamped with former caretaker H. W. Campbell

The 1 5/8" wide iron was in pretty decent shape

This shows the angle of the cutting edge required due to the skew of the iron in the plane

There was a little damage to the aft end of the boxing - not enough for me to worry about

I started with the body of the plane, specifically the sole.  I was mainly checking to see if it was flat, but what I saw was a HUGE amount of twist!  I had to plane that out and it didn't take long.  Then I looked at the right side, which I wanted to be square to the sole.  It too had a HUGE amount of twist, so I planed that out, too.  Planing those two surfaces and making them square to each other had the additional benefit of crispening up the corner between the two.

Plane held in vise upside down, winding sticks showing twisted sole

Plane lying on its left side and winding sticks show twist on right side

Got both surfaces twist free, flat and square to each other

While I was planing, I also flattened the fence (only the face that mates with the plane's sole) and made the edge that rides on the work square to that face.

Squaring up the fence

Cleaned up the brass inserts and screws

Planing the surfaces that I did leads to predictable consequences.  First, since the fence is now a little thinner, the screws holding it to the body bottomed out in their holes before tightening the fence completely.  I didn't want to deepen the screw holes, so I added washers that would bear against the fence's brass and that fixed the problem.  But now the screw heads protrude just a little bit beyond the bottom of the fence.  Not really a problem - it just doesn't sit upright as stably as before.

Second, planing the right side of the plane body made it so that the dado that would hold the new nicker iron was not as deep.  Before planing I had measured it at .137" deep.  The steel I'm using to make a new nicker is .125" thick, so I thought I might have to use a shim to get the cutter to be at the level of the plane's surface.  But I planed enough off the right side that the .125" thick nicker would have been proud of the surface.  I ended up routing the bottom of the dado to make the cutter level with the surface.

The dado for the nicker.  Note how it is tapered in its length as well as its depth, getting wider at the bottom.

Some notes about how to make a new nicker

Getting the nicker close to the right shape

But because I planed the right side of the body, the nicker sits too high

So I used a small router to deepen the dado.

To complete the nicker, I hacksawed and filed a notch that allows one to remove it from the plane

Then shaped the cutting edge on the grinder

Then heat-treated and tempered it and gave the edge a final honing

The plane's rabbeting iron didn't need too much work.  After removing any rust with abrasives, I reshaped the cutting edge to mate well with the plane's sole.  Another consequence of planing the right side of the body was that the iron now extended too far out the planes' side.  So I had to grind and file that back to be in line with the plane's side and the nicker.

You can see how much the iron extends past the planes' right side (top in photo)

Grinding a new cutting edge was tricky due to the angle of the edge

You can see the laminated iron in the bevel

First test cut: rabbet cut along the grain - nicker removed

Second test cut: nicker used here to cut a cross-grain rabbet

A couple of test cuts gave nice results.  But I really had to be diligent about pressing the fence against the workpiece when cutting with the grain to avoid getting a rabbet of tapered width.  The small test rabbet cross-grain using the nicker was great.  It really worked well.

After all the work was done, I gave the wood two coats of BLO.  It's been drying 2-3 weeks now, and here's the final product.

Glamour shot

After I use it a while, I might find that the wedge needs work to fit better.  There's a slight gap down near the iron's cutting edge.  It didn't seem to affect the test rabbets, but I'll keep an eye on it.

 Today flew by and before I knew it I was killing the lights in the shop at 1458. I didn't get any major t hings done but I did whack a bunch of little things. I like that time went by so quick I didn't notice. As usual I let my limited attention span drive me down all the side streets today. Thinking my next project will be a desk for Miles. Not looking forward to driving to New Hampshire on a week day. Boston traffic is a PITA and terrifying at the same time. Oh well stercus acidit. 

done

Got the disastrous milk paint frame repainted. Got two coats on the back and front. Tomorrow I will slap 3 coats of shellac on it. Then it will be off to the Frame It Shop. 

sigh....

Shouda, woulda, coulda, but didn't. If I had looked at this frame earlier I could have fixed all the boo boos. I was ready to put shellac on this frame but I found too many hiccups to ignore. Most of it were drips and paint build up on the edges. Scraped the drips, etc and then sanded the frame with 100 grit and repainted it.

hmm.......

Thought of using a sawthooth hanger but nixed it. I would have had to use epoxy to fix it and I didn't have any.  Decided to use screws instead.

it fits

Vertical space of any kind is super tight in the shop. This fits here and there is another space above the thermometer for a sibling. I'll start looking for a couple more of these.

done

I have no idea what you would call these two. Refrigerator magnet art? I bought these somewhere in Maine 10-12 years ago.

this will work

I was going to use a sawtooth hanger when I thought of this instead. I glued the short piece at the top to the back and screwed it to the long bottom piece.

almost ready

I had to file all four screws to shorten them. The two at the top just needed a wee bit and the two in the long bottom piece needed about a 1/8" filed off.

surprise

The screws were solid brass. I was expecting them to be brass plated - that is what I find is prevalent now. Solid brass files easier than the brass plated crap.

hmm......

Happy with how this turned out. Thinking that maybe I should attach a strap or something similar to limit how far the back leg would open. The hinge I used is a stopped hinge that opens to 95°. It is steady as is and when I thumped the bench with a hammer, it stayed in place. I can revisit it if need be so for now it is sans a strap.

two new shadow box frames

Got confused again and plowed the groove before shooting the miters. I should have done the other frames with a groove for the back. 

I like

Dry fit to check the margins and they were spot on. I showed these to my wife and she asked if I was going to mat them. I hadn't considered that at all but I did muse about it for a few. I'll ask Maria about that when I bring the other frames to her. 

glued and cooking

Debating whether or not to paint these two or leave them natural with a shellac finish. Maybe I'll paint one and shellac the other.

Lie Nielsen vise screw

The leg screw was been adopted. I threw in the handle because I don't have any need for it. I don't have anything to fill in the void - I used up all I had shipping out the planes. Bubble wrap at Wally World is $16 and the S/H is going to high enough without adding that to the mix. I'll have to check around the house and see if I can scrounge up some more packing material.

quickie

Whacked a simple shelf before the quitting bell. Made it all with scraps I dug out of the shop shitcan. 

close by now

This is the Stanley depth stop do dad for  auger bits which are right above this. Thinking now that it is done that maybe I should have made it longer R/L?

accidental woodworker

In the aftermath of the snow/sleet/freezing rain/ice/snow adventure of last Sunday you could definitely say we were disheartened at the sight of the collapsed greenhouse.  The broken internal structure was clearly evident, in one place the end of the snapped off arched beam had poked through the plastic skin.  Mrs. Barn rightly insisted on clearing off the ton of ice to assess the damage and get a plan for the reconstruction.

One thing we did not want to do was wail away at the shell and damage the skin even more than it was already.  Finding the right tool was a conundrum.  She tried with one of her gardening tools but it was a poor fit for the problem, plus she was too short to get up high enough to get much done.  I’m taller and with my spiked boots I could get up on the snow/ice dam along the edge of the building.  And fortunately I had just the right tool.

Many years ago my woodworking pal TomS gave me my favorite walking stick, about shoulder length with a bulbous knot near the top.  Since the knot was gentle in shape I could stand and whack the ice until it broke up without risking more damage to the plastic skin.  After about an hour of careful work the last of the ice slabs slipped off and the arched structure popped back to its original shape.    Hallelujah!  You can see that slab leaning up against the greenhouse, it was about six square feet of four-inch-thick ice/snow composite.  It is several hundred pounds.   So even though we have not seen each other in more than a decade, TomS saved the day!

I found just a couple of punctures to the plastic skin and repaired them straightaway.  I still have to build four new laminated arches, but the necessary repair is much less than anticipated.  I’ll get to work on the repairs as soon as we get a bit more warming.

I just checked and the outside temp is 16 and inside the greenhouse it’s nearly 60.

PS.  Here’s a glimpse of what we were dealing with.  We estimate it would have taken a month to clear the six inch thick ice slab on driveway with a pickaxe and shovel.  It was brutal work for us septuagenarians.  Thank goodness for hearty mountain men willing to work all night long in frigid temps with their monster machines.  It was well after 10pm when we finally got to the top of the list.  They finished with us and moved on to the next name on the list.

PPS   A fellow at church told me he had seen some of the Amish kids skating in a field.  Who needs a pond or rink?  We certainly could not navigate our place without snow cleats.

 The storm that threatened my spot in the universe never happened. In the early AM it was cloudy and gray but the sun came out and shined all day long. The snow never came any where near me. The storm went south and than east out to sea. Daughter #2 who lives in North Carolina did get a lot of snow. The grandkids loved it and spent the day sledding. 

back done

Yesterday before I killed the lights I had got one coat of black on the back. This AM I got the 2nd coat on and called it done.

hmm....

Waited until this AM to put on the second coat. The shop temp is steady at 55F/13C so I decided to let the first coat set up overnight. 

hmm.... again

I like the frame/photo on the left. The margins on it are pretty even. The right one is good top/bottom but too wide R/L. I have enough of this small stock to make the right one over. I don't like the uneven margins. These are shadow box frames and the margins, IMO, need to be even all around.

Donna said yes

I made this in May of 2011 after seeing a pic of it. This was my version. I put the boxes I shellaced yesterday in it. I also have a cherry one similar to this - the top drawers are reversed on it. I'm keeping that one for me - hopefully I'll find a hole to hang it over. Donna will be taking this with her when she comes up this way in july.

read the back

This is epoxy but it is a finishing cover like what is used in making epoxy tables. Not sure what the adhesive grip is with it. This was what I was going to use on the next shadow box frame.

checking for square

I eyeballed the margins - the bottom margin is wider than the top. I used marine grade 5 minute epoxy to adhere them to the back. I set it on the radiator in the kitchen to keep it warm while it cures. 

The backs on them are magnetic. I cleaned them with Simple Green, scruffed with 100 grit to give the epoxy a tooth to stick too. Fingers crossed on that and I'll find out in the AM.

accidental woodworker 

 

done

The woodworking at least is done. I had to glue a back on it and then paint it. No shellac for this one.

epoxy failed

The frame fell apart when I took the 45 clamp pads off. The miters were still sticky and none of the miters had cured. The shop temp was 54F/12C and epoxy doesn't like cold so I think that is why it failed. 

3rd glue up coming

Cleaned up the epoxied miters and glued them up with yellow glue this time.

clamped and cooking

This is the second time for yellow glue - the first one failed when I tried to plane the sides. Fingers crossed that it will be better with this time.

warmest spot in the shop

I ended up sticking 3 miniature frames here to keep them warm while they cooked.

5x7 frame

This will be for a holiday pic of the grandsons. That pic is 5 1/4" x 7 1/4" and I made the inside measurements 5 1/2" x 7 1/2".

back to the milk paint

Put the milk paint from the can into the blender up to the max line. I zipped it a couple of minutes and painted the frame again. The coverage is spotty and there are a few areas where the paint just ain't sticking. But it did lay down smoothly.

hmm.....

The paint dried smooth and lump free. The coat I applied appeared to have laid down and stuck. 

hmm.....

I dumped the bullet back into the can and no clumps or lumps. I'm done playing with this batch. It is going to take me a few more dance steps before I get a batch that works.

my original dovetail do dad

This is how the jig works. It sets the height of the stock for sawing. 

Cosman clone

This sets the height of the stock the same as the original jig. However, that is all this one does. The original sets the height and it also is what the tail board rests on. Looks like I wasted time and calories on this one. Maybe I should have set it to a hand plane like Cosman did.

painted

I covered the area where they will go with blue tape. I plan to use epoxy to stick them to the inside of the frame. I'll get the 2nd and final coat on after dinner.

sigh

The areas of bare wood are where the paint didn't stick. It had bubbled and flaked off on one short side when I touched it. I sanded the inside bevel with 240 grit lightly and this is what it sanded off.

rescue time

Sanded the frame with 120 grit and used a hand scraper  to remove lumps and drips. After that I slapped on a coat of shellac as a sealer coat. I'll be painting it with commercial milk paint that isn't really milk paint.

shellac pile

The biggest box I just made. The other three I made over the past 3 years and none of them had a finish on them. I am giving a cabinet I made 15 years ago to my sister Donna and I am putting all these boxes in it to get rid of them.

Getting ready for another winter storm. The prediction is 1-3" of the wonderful white crappola. I don't know when it will start nor when it will stop. Fingers crossed that I'm in a pocket that just gets a lot of wind and no snow.

accidental woodworker 

I brought all the pieces inside where it was warmer. My daughter helped with the gluing up and the finishing.

First the inner shelves and uprights were glued to each other. This was the type of clamping where if you crank down too much everything will sploosh out.

don't clamp the tar out of it

After that set all day or night we glued the sides, top, and bottom. The bottom also had pocket screws driven from underneath.

Upside down

My daughter said she didn't want to paint it, she wanted it to look like wood. I offered her the options of no finish vs putting on something almost clear that might make it easier to clean or keep things from sticking to it. She opted for that so we got ready to apply shellac. I was preparing paintbrushes when she asked why we can't just roll it. She must remember helping to paint walls.

rolling on shellac. first time.

It didn't sound like a great idea but we went ahead and rolled on Zinnser sealcoat shellac. It went on pretty thick, and some areas were foamy or had ridges. I later went back and tried to smooth some of those areas out.

we laid it on thick shellaced (or is it shellacked?)

These shelves were heavy and large. It took several days to get around taking them up one set of stairs from the basement to the first floor. Then it took another 1-2 weeks and an appliance dolly to get them from there to the second floor. Maybe I should learn a lesson from that and assemble/finish larger projects closer to their destination.

in place in use

Now it's gotten to be too cold to do much else.

where the magic happens (march through october)

Although I don’t make a lot of spoons these days, I still haunt the spoon-making discussion groups on social media, and this is one of the most common questions I hear. How can you be sure that the wood finish you’re about to use is actually food-safe?

Here are some freshly-finished utensils made from eastern red cedar. Dust from this wood is a known irritant, and the oil finish hasn’t been officially certified as food-safe! Will they poison everyone who cooks with them?!? No, they won’t.

Let’s say you’ve made a cutting board or a wooden spoon, or maybe you’ve built a baby crib, and you want to be extra-sure that the finish won’t poison somebody.

You go down to the home center and start looking at wood finishes, and only a few (mostly expensive oil-based finishes) make any claims to be safe for food contact. What about the rest of them? Can you safely finish that cutting board with Danish oil? If the baby if starts chewing on the crib rails, will a lacquer finish send her into anaphylactic shock? Why on earth don’t companies tell you if their product is or isn’t toxic when cured?

Or maybe, just maybe, we don’t get the answers we want because we’re not asking the right question.

In a classic article, finishing expert Bob Flexner points out that no government agency actually certifies any wood finish as “food-safe.” A company can call its finishing product “food-safe” at its own risk, but that claim has not been verified by anybody.

So does that mean that there’s no safe wood finish on the shelves today? That only raw, unfinished wood is truly food-safe?

Not at all. Here’s what Bob Flexner has to say:

…there is no evidence of any common wood finish being unsafe for food or mouth contact once it has fully cured, so a distinction between food-safe and non-food-safe is speculative.

You can’t be absolutely sure about the food safeness of any finish you put on wood. There could even be problems with mineral oil and walnut oil that we just don’t know of yet. There could also be problems with raw linseed oil, pure tung oil, wax, shellac and salad bowl finish, because we don’t know where these substances have been or what they might have come in contact with. None has met the regulations laid out by the FDA.

But, based on FDA regulations, the way finishes are made, the complete lack of any evidence to the contrary, and the countless other untested objects food and children come in contact with, there’s no reasonable argument for avoiding the use of any finishes.

(The whole article is worth reading in full, though it’s only available on web archive sites now.)

In other words, the question we should be asking ourselves is this: “Which wood finishes are known to be toxic when cured?”

And the answer, at least in the USA, is “none of them.”

According to Bob Flexner, there are some specialized commercial finishes in some industries that come with health hazard warnings, but they aren’t the kinds of products you can find on the shelves at your local home center.

When you think about it, we come into contact with various cured wood finishes pretty frequently–on wooden floors, wooden furniture, wooden paneling, wooden handles, you name it. Have you ever heard of anybody reacting negatively to handling finished wood? I haven’t. Our common experience indicates that, as far as anybody knows, none of the the wood finishes you can usually buy off the shelf at a home center in the USA are toxic when fully cured. (Check the label. Is there a warning that the finish contains heavy metals, like lead or mercury? No? Then you should be good to go.)

That’s not to say that applying finishes is non-toxic. Many common finishes, like lacquer, give off pretty noxious gasses as you apply them. Others, like boiled linseed oil, can cause fires if oil-soaked rags are improperly stored. So you should always take reasonable safety precautions when applying a wood finish. But once the finish has cured, the finished wood is as safe to handle as any other common object in your everyday environment.

There are even a few wood finishing products that are edible: shellac, beeswax, mineral oil, and vegetable oils (e.g. flaxseed oil, hemp oil, and walnut oil). Some purists stick to these products in older to be double-extra, super-safe. I have also known people to just use whatever vegetable oil they have available, like olive oil or sunflower oil, but that’s a mistake because those vegetable oils don’t actually dry. If it doesn’t wash right off of the utensil, it will eventually go rancid. So if you absolutely must use an edible finish, stick with an oil that dries: flaxeed/linseed, hemp, or walnut oil.

For my own wooden spoons and spatulas, however, I use a three-part blend of polyurethane, mineral spirits, and raw linseed (flaxseed) oil. The oil and polyurethane mix and dry in the wood, and the mineral spirits (added only to thin the mixture so it soaks into the wood) evaporate completely.  The finish is extremely easy to apply, and once it’s cured, it stands up to repeated washings in the kitchen. And it has never, ever poisoned anybody who used a utensil that was finished with it.

So yes, it’s fine to finish your cutting board with the boiled linseed oil from your local home center. Just let it dry completely before you start chopping fresh veggies on it. And yes, go ahead and use lacquer or polyurethane on that baby crib.

Unless it’s the mother’s first baby, and she’s a health nut.

In which case, give that crib a coat of food-grade flaxseed oil followed by several coats of shellac topped by a hand-rubbed coat of beeswax. Tell the anxious mother that while the finish won’t exactly be tasty, it is certifiably edible.

 

 

I am happy to report that my broom-maker is on the mend and just before the snow/ice storm delivered some new inventory.  I’ve got a couple events this year so he has a standing order to crank out polissoirs as his health allows.

But for now, everything is in stock.  Ironically sales for everything has plummeted, about 40% in 2025 vs. the 2024 totals.  Just as well as I am making almost zero on each 1-inch ploissoir sale.  Good thing this is just a hobby at this point.  Not complaining, who else can say they have a hobby that doesn’t cost them anything?

bare wood showing

There is a definite difference with the paint adhesion between the late and early wood rings. There are two coats on the front of the frame and it is going to need a 3rd one.

needs a second coat

The quirk on both the inside and outside had a couple of holidays. The flat areas of the frame didn't need a second coat. I applied a 2nd coat to whole front anyway.

sigh

Way too much quark in this batch of milk paint. It is way too thick and it has a ton of clumps in it. They were easily flattened and didn't seem to be a hiccup sticking to the wood. I added water to it to thin it but it didn't really work 100%.  

On the back of the frame I painted it two more times. The coverage there was spotty and it wasn't covering entirely. This batch was borderline acceptable. I'll be making a 3rd batch of milk paint but will it be the charm? 

hmm......

In spite of the hiccups with this batch I do like this color. It isn't flat and it isn't shiny but somewhere in between the two. It was hanging out here drying after the third coat. On a positive note the paint, although it is iffy, still seems to be viable.

changed

The pendulum bob (outside the case) is too small for the viewing window. The replacement one is a bigger, shiny brass one which I like a lot. The movement I put in the clock last week is dead with my cell phone time. Now I just have to remember what did I do with the back panel?

hmm.....

Instead of the brass pendulum rod I covered it with a wooden insert. I can't remember where I bought these and a did a fruitless search for them last night. I only have one more left. I waxed it with dark Briwax to match the walnut case.

my version

Rob Cosman recently posted a vid about making a jig for setting stock square in the vise for dovetailing. He made his to match a 5 1/2 hand plane whereas mine will match a dovetail jig I already have and use.

almost done

I used 6mm plywood and a scrap of Philippine mahogany for my version. I rounded over the top on all four sides. 

done

This matches the height of the squaring jig I made a few years back. The new one should be easier to use than the left one.

no more twist

The two mini frames I glued up last week are both twist free now. The smaller one is too small for the photo I wanted to frame in it. The larger one is big enough for a 5x7.

3 days late

Stickers finally came in. They look better up close and personal than on the ETSY website. Still wish I could have found specific Stanley numbered sticker though.

dresses it up a wee bit

Sticker at least identifies the box as holding a Stanley tool.

Yikes

This is the big frame and it fell apart when I tried to plane the first side. Reassembled the frame with epoxy this time.

too small

I like these magnetic stickers. The June Cleaver moms are such a shocking difference from the sayings. I had one more of them but I couldn't find it. I'll have to make another frame because this one is a 1/4" too small.

new frame

Whacked out a new miniature frame. I will glue this one with yellow glue. After it has cooked I will glue a 1/8" plywood back to it. That should hold the miters together and keep them from separating.

grandsons Stanley #2

I rehabbed a bazillion hand planes and this was the only #2 I ever saw offered up for sale. I never saw a another manufacturer's #2 offered neither.  Right out of their toolbox it spit RML shavings.

hmm......

Two sets of RML and two sets of full width and length face shavings. I don't see the big deal with this plane. I think using a blockplane is a better choice. I got this one for the grandkids because of its size. It is a perfect fit for young hands.

it is too small

This plane feels awkward in my hands. It almost disappears when gripping the tote with one hand and the knob with the other.  

the grandson's main tool chest

I put a sticker on the box - it has a Stanley depth stop for auger bits, a counter sink, and a 1/4" driver. There is also a complete set of Stanley planes for them - #2, #3, #4, #5 1/4, #5 1/2, #6, #7, and a #8. Missing is a 4 1/2, 10 1/2, and #1 (which will never happen). Not sure if I'll add two of the missing 3.

accidental woodworker

 

last night

Made another batch of quark. I don't seem to have any hiccups with this part of making milk paint. It is neat to watch how quickly it curdles when the vinegar is added to the milk.

came last night

I have always been fascinated with Mr Wright and his designs. Falling Water is my favorite and his prairie school homes I like more than his earlier ones. But above all I love the stain glass designs that were so prevalent in his designs. I read the whole book in one sitting. 

not in the book

I rinsed the quark and placed in it some cheese cloth and a double mesh strainer to drain any water left in the quark (overnight).

hmm......

I little less than half a cup left in the pan. Water seems to be the enemy in making milk paint from my reading of the book. Seemed like a prudent step IMO.

this sucks

The book says a minimum of 250 grams of quark to make a batch. I'm about 50 grams shy. The quark is hard, much harder than my first batch. I'll had to make another batch of quark.

3rd batch

I used this milk to make the 2nd batch. I used a supermarket generic milk to make the first batch which yielded more than 250 grams. The author wrote that different milk brands yield different results with the quark.

On the 2nd batch I had added a cup and half more than one quart. I thought that would give a wee bit more than the required 250 grams. It didn't and I only got 208 grams.

2nd batch

Rinsed and draining while I went to the VA. I have an appointment at the West Roxbury VA for a PET scan at 0800 on Feb 6th. I checked with transportation and the shuttle from Providence to Roxbury leaves at 0530. After I confirmed that I went to express care for a rash on my left shin. 

I have dry skin and it is a common headache in the winter. Especially so when the weather gets cold like it has been the past week or so. Just another joy to endure in my golden years.

have enough now

Decided to make a big batch. I added 42 grams to the 2nd one to bring it up to 250. I then added another 125 grams to raise the total to 375. 

oops

I didn't notice the max line when I loaded this. The blender was straining to mix it up. I finally got it done but it was slow going. Mixing (even this big batch) was so much better over hand mixing. No lumps or clumps of quark. It was a homogeneous mix that I forgot to add the black pigment to. I had to mix that in by hand. 

kind of black

The black pigment has mica in it which makes it shiny. I think I made a me-steak getting these pigments. I'm going to search for earth pigments next. This paint batch is thick. Thicker than commercial paint not sure how will that effect the coverage? 

the small picture frame

I sanded this with 240 grit before I painted it black. This will house pics of the grandsons.

hmm.....

Two coats on the back. The coverage isn't that bad. There is no washed out look like the miniature chest. The author wrote that milk paint doesn't have a long shelf life. Thankfully this paint did dry quickly - about an hour after the first coat, I was putting on the 2nd one.

After dinner I will get 2 coats on the front of the frame. The paint had thickened between the first and second coats. I had thinned the paint before applying the first coat with 2 tablespoons of water and 5 tablespoons on the second one.

big frame

I'm pretty impressed with the coverage of the first coat on the front of the big frame. I will eyeball it in the AM before I decide whether or not to do a 2nd coat.

thicker

Don't understand why this paint is getting thicker with each use. So far thinning it with water seems to be working. Fingers crossed that I can get two coats on the front before it heads south on me.

accidental woodworker 

January has been a busy month for me. Last weekend, I went to Colonial Williamsburg to give a talk on the Samuel Wing chair.  At the end of two 90-minute sessions my friend Jerome Bias (who was also presenting at the conference) came up on stage to help me assemble the back.  It was an especially recalcitrant back, so my wife Morgan also came up to help:

Both presentations were fun, and I was quite happy (thanks to planemaker Steve Slocum for both photos):

Earlier in January, I drove to northern VA to buy an automatic knife grinder for grinding our travisher and reamer blades.  I’ve been having local grinding shops do this grinding, but it seems time to move it to my shop.  This grinder is as big as a lathe, so we need a spot to put it.  Hence, some machines for sale.  The best is first – my very first lathe, now owned by Seth Elliott who makes the travishers and tenon cutters that I sell.  Here’s what he has to say about it:

For Sale: A Powermatic 90—Elia’s First Lathe

The tool-making section of Hand Tool Woodworking, where I spend my time, is an enclosed shed with big sliding doors off the back of Elia’s main shop. It’s got a little Jotul wood stove and a great view of the woods. Ironically, we use several power tools to make our hand tools and have intentionally housed most of them in this back shop area to keep the noise and dust somewhat isolated. With a 24″ planer, 14″ band saw, table saw, steam box, spindle sander, belt/disc sander, router, grinder, lathe, and drill press, space is at a premium.

Still, for the past couple years Elia has graciously allowed me to store his old pea-green Powermatic 90 lathe against one wall. He originally purchased this lathe in 2004, did put a single-phase motor in it, and turned on it for fifteen years until selling it to me after scoring his massive Wadkin pattermaker’s lathe. I used it for a few years in my own shop that I had set up in an elderly neighbor’s outbuilding down the street from me. After she passed, and I had to break-down that shop, we moved it back to Elia’s shop with the intention of replacing the small Delta lathe I had been using there. My lathe use for the toolmaking is limited, however, and it makes sense for Elia to keep the Delta—a somewhat-mobile lathe—for the occasional demo. So, I’ve decided to stop letting the Powermatic collect dust and instead get it into the hands of someone who will use it.

I had plans to save it for another permutation of my own shop on my own property, but that project will not be happening any time soon and Elia has just bought a metal grinder that needs that wall space in the tool-making shop. Sorry as I am to see it go, it makes the most sense at this time.

It’s an excellent lathe. The Powermatic Company in Tennessee made the PM90 from 1955 to1998. There’s a great thread on its history on the OWWM.org website. Its owner’s manual and parts list can be found on the same site. From that, it looks like this one is from 1961. These lathes became popular for use in high-school shop classes and gained a reputation for standing up to less-than-careful use. It weighs in at 600 pounds and is therefore quite stable. It has a variable speed lever that shifts easily from1000 to 4000 rpm. This one is currently set up with a 1 hp motor and a single-phase, 220v connection. Also included, in addition to original metal tool rest stand (minus the tool-rest itself), is a longer wooden one that Elia built for turning chair parts and also a sturdy tool stand/rest for outboard turning.

Asking price is $1500. The buyer will need a way to load the lathe as we have no lift.

Contact Seth for more info.

I (Elia) am also selling a couple machines. The first is a drill press. It was Peter Ross’s first drill press that he bought in the 80’s. I bought it from him when I moved into my current shop, and it became my first drill press. The motor promptly burned out, so I put a nice 3/4hp, 110v Dayton motor on it and we’ve made thousands of tools on it since. It runs great and has a couple nice features: a very nice quick-set depth stop and a table crank. But it’s a little small for our work and the quill has some run-out, which can cause vibration when drilling metal and reaming large holes (read tenon-cutters). So I recently bought a bigger Powermatic drill press (also from Peter) and this one’s got to go.

$150

When I bought my automatic knife grinder, the owner had five pedestal grinders he was also selling. On impulse, I bought the best one, and immediately regretted it. Not that it’s not a nice grinder – it’s much quieter and better-built than mine. But do I really want to spend time tearing my grinding setup apart and putting it back together again? No! So I’m selling this grinder for what I’ve got in it.

$250

The post For Sale: My First Lathe, My First Drill Press, and a Grinder first appeared on Elia Bizzarri - Hand Tool Woodworking.

When I built the greenhouse last year I was determined to overbuild it.  As the evidence indicates, I was wrong in my assumptions and execution of what I thought overbuilding was,  The center laminated arch just snapped this week under the weight of the snow, sleet and frozen rain.  A pretty substantial rebuild must occur before next winter, building bigger (and more) laminated arches.  In addition to replacing the destroyed center arch I will build two more inside the greenhouse and one in the outer workspace on the far end of the structure. I’ll make them each 1-1/2″ x 3″ rather than 1-1/4″ x 2″.  That calculates to a four-fold increased strength. I don’t know yet whether the plastic skin can be salvaged.  Part of me was pleased to see the laminations remained intact, just the weight and the wind literally snapped the center arch.

Also, if I was so inclined and equipped, I could absolutely ice skate down the driveway.  (I left my ice hockey days behind me many, many decades ago)

One thing I was very pleased about was the performance of my spiked-sole lumberjack boots.  They made traipsing around the icy landscape a breeze.  I was absolutely right to buy these a couple years ago.  I was only expecting to use them when harvesting firewood on sloped ground, but they sure did the trick here.

UPDATE

The plowing crew finally came at 10.15 last night to dig us out.  They brought three big machines.  The first was a V-wedge icebreaker to bust everything up, the second was an 8-foot plow blade, the third was a 6-foot blade to make everything purdy.  Was great to look out this morning and actually see the driveway, we can now get out after four days of being icebound.  Free at last, free at last!

Right around zero at dawn this morning.

 The chest is done and my wife liked it. I am thinking that aliens have cloned her because she rarely likes things I make. She especially liked the color and asked me if I had done it on purpose. I explained that it was the result of my first failed milk paint. In spite of that, I kind of liked the color myself too.

new toys

Surprise. The bullet blender I ordered arrived a little before 2000 yesterday. Got some  spatulas to clean out mixing jars. Went searching for small canning jars and nada. I went to a bazillion stores and I found quart sizes but I wanted the smaller one. I'll be mixing a new batch of milk paint (black) tomorrow.

sweet

This came with 3 different size mixing jars, this is the largest one. The blender only has one speed but I don't see any need for pulse blending.

nope

The white spots are wood putty and the milk paint didn't cover it. Not sure if that was because of the crappy first batch I made or whether a good batch would have covered it.

happy face on

I didn't get any paint bleed through on the tape. All the edges are clean and sharp. The underside of the lid was the same.

last coat

Ended up slapping 5 coats of shellac over the milk paint. The shellac didn't change the paint color in the least. I used a blonde shellac that wasn't 100% clear, so I wasn't sure if it would add a tint of shellac color to the milk paint.

wood poster frame

I picked brown and I like the color. The border on the poster is black and my original color for the frame was black. There wouldn't have been a line in the sand between it and the poster border. Now with the frame being brown and the poster border black, I can pick a matting color that will blend the three together.

4th finger got cropped

I could have stopped here with four but I was in the shop and couldn't do anything else. So I applied a 5th and final coat to kill some time.

from china

14oz canning jars from the Dollar Store that the clerk warned me shouldn't be used for canning due to lead in the glass. I used it to mix 1oz of black pigment. I'll use it to make the milk paint for a picture frame.

glamour pic #1

It isn't so much the color I like, but the washed out look of it is what appeals the most to me.

pic #2

Seeing this pic now I'm thinking that maybe I should have have knocked the height of it down a few inches.

3rd glamour shot

I like the contrast between the bare wood of the lid and inside compared to the milk paint.

final glamour pic

Back looks funny to my eye. It doesn't quite match the washed out look of the sides and front. So in that respect it is good that it is the back.

hmm......

The Union #3 continues to perform well. This is a scrap of wood that I used to close the lid on the shellac can. It had dings and divots in it on both faces that the Union smoothed out lickety split. However, my OCD is in overdrive because the lever adjust is over the right.

ten minute project before the bell

This is a riser for my computer keyboard. The feet on it don't tilt it up high enough for me.

just right

I eyeballed the height and I nailed it dead on. It is 3/8" higher then the feet and it lies in the plane from where my elbows rest on the edge of the desk to my hands on the keyboard. Glad I didn't have to play with it to get the height of the riser correct.

accidental woodworker

Dowel joinery. It takes little equipment. Even beginners can do it with care. Yet among many woodworkers, it just does not get the states it deserves. Let’s consider. I learned the principle and technique mainly from pages 130 – 140 of The Fine Art of Cabinet Making, by James Krenov, published in 1977 and read […]

Let me establish from the start that many, many methods of sharpening can work. And while I may be courting controversy in my approach, I really am interested in this blog post in discussing how I sharpen, not offering a comprehensive review of all plausible methods. I will also say from the get-go that there is also a big difference between regrinding a tool to a new geometry to repair damage and routine maintenance because of use.

Here is how I am keeping my tools sharp.

Except for one 3/8" spindle gouge ,all my turning tools are made of high-speed steel (HSS). There are gradations of quality of HSS, but in general HSS tools stay sharper longer than traditional carbon steel tools. On the other hand, carbon steel is easier to sharpen. Pole turners have a tendency to want to use carbon steel tools, because such tools are easily sharpened with a stone in the field. Other that that, HSS tools have replaced carbon steel in the marketplace.

One complaint people have with sharpening high-speed steel is that HSS doesn't get as sharp an edge as carbon steel. I would suggest that with modern sharpening equipment such as diamond stones, CBN wheels, and quality waterstones, HSS can get pretty darn sharp. It not so much the steel, which is kind of gummy, but diamond and CBN cleanly cut through the carbide inclusions that are found in HSS.

For the one or two times I've wanted to really change the geometry of a tool, I've used a grinder with a CBN wheel. The CBN wheel isn't essential, but it does mean my chances of burning the tool are nearly non-existent. Many people finish up on a grinder and call it a day, although they are usually finishing up on a much finer wheel (220 and up) than I have (80).

Since I don't have a super fine grinding wheel, in all cases no matter how I get to the ground edge I'm following up the fine and extra fine diamond stone. And then I'm doing one of three things. Leaving the tool as is and getting back to work. Stropping with strop treated with micro fine green honing compound, or polishing on an 8,000 grit water stone. I'm going back and forth between the strop and the 8000 grit waterstone trying to figure out which is better. I don't have an answer yet. I do think however if you have a sharp tool to begin with. a polished edge will cut better and longer.

Since I free-hand sharp everything anyway, I free-hand sharpen my turning tools. Learning to sharpen the handle heavy turning tools took some adapting, but it's the same skill. One of the reasons I'm a big fan of free-hand sharpening regular chisels is once you can free-hand sharpen chisels and plane blades, you can also free-hand sharpen pretty much everything else as well.

When my turning for the day is done, I feel the tool for sharpness. If I'm unsure if it's sharp, it's probably not. I then touch it up on the fine and extra fine diamond stone. And then follow whatever polishing medium is handy.

In the photo above, we have a 1" skew chisel and a 1" continental gouge. You can see the hollow from the grinding. I have a 6" grinder. Most turners prefer a lesser hollow and use 8" grinders. But unfortunately I can't justify a new grinder. The polish marks on the heel and toe of the bevel are the result of hand honing.

I can't emphasize enough how much of a pleasure and a rush it is when I take a tool that was cutting weirdly, sharpen it, put it back on the lathe, treadle away, and get curly shavings.

 It snowed overnight and I woke up to about an inch plus on the ground. Unbelievable after the ton of crap that fell the day before. At least it is was light and fluffy. There is the possibility that a repeat of the past sunday will happen on this coming sunday. After the last 5-6 years of minimal snow fall I can't really complain. 

not bad but also not welcomed

I was not a happy camper this AM. My arms and shoulders didn't hurt anymore but my back was frantically shaking hands with me. Spent a lot of time today molding my butt cheeks to my desk chair. But that happened after I shoveled the driveway. 

nutso results

About 15 years ago when I decided to go the rabbit hole of hand tool woodworking one of the things I went nutso on was getting replacement irons and chipbreakers. I have at least two sets of iron/chipbreakers for all of my planes except for my #8. I have an extra iron but no chipbreaker. I took out two sets for a #3.

much better

I got a Stanley iron in the Union #3. Cutting smoother and easier than the Union iron. I had a similar problem like this with a Miller Falls iron. Sharpened and honed and nada. It would not make a shaving. I ground the bevel back on my bench grinder and again nada. I couldn't get it to make a shavings. The Union iron cuts good on the right side of the iron and garbage on the left. Couldn't improve it by sharpening it again concentrating on the left side.

what a difference

The shaving from the Union iron was jagged and It wasn't continuous from end to end. And it tore out like crazy around the screw holes. The Stanley shaving was continuous, full width, full length, and the screw holes were intact.. Thinking of offering this up for sale again.

One thing I've found over the years was swapping out sets doesn't always work. What works is swapping just the iron and keeping the original chipbreaker. I don't know why but it was a hard learned lesson.

prepping the chest

I don't want any paint on the underside of the lid or the inside of the chest. If I get any bleed through the tape, I'll paint the underside and the top edge of the box.

hmm......

I lost 12 grams of quark over the past 3 days. I am still going to make my first batch of milk paint regardless. It is all part of the learning curve.

done

I think I made way too much dye for the paint. The author says 1ounce/30 grams and I stopped at 20 grams/1/2 ounce. The paint mixed easy but not completely. There are lumps of quark that no matter how much I stirred,  wouldn't go away.  The color isn't as blue as I would have liked. I really wanted something more like a cobalt blue.

One thing that surprised me was how liquid the paint became. The lime got 4 tablespoons of water and I drained the water that was in the quark container. I couldn't see how mixing the lime quark would become a liquid or even a loose, watery paint. 

It became liquid almost immediately. A bit on the watery side but a paint quality liquid. The author recommends a blender and I now agree with him. I bought a small juicing blender from Amazon. I'm supposed to have it today but I find that doubtful but I'll keep my fingers crossed. If I get it I'll make another batch in the AM.

left over

There is more then enough to color a 2nd batch of milk paint. I would have mixed a 30 gram/1 ounce sample but this jar wasn't big enough.

yikes

I wasn't paying attention when I grabbed the paint can and I tipped it over. Sigh. I am not impressed with the color on the wood. It isn't blue but it looks greenish. I wanted this to be a pale wash that showed the grain but not green and that is working. 

ugly color IMO

Besides the color being off, the coverage wasn't what I expected. I think part of the problem with that is I didn't sand before painting. This paint was applied to a surface that was hand planed. Too smooth and no tooth for the paint to grab.

hmm......

There are bumps and clumps of (quark?) on all the surface. They look like crap. The dark specs.

an hour later

The greenish tint has toned down some and it looks like a pale blue/green color now. It is dry to the touch and I'll be putting on at least one more coat.

clumps

The little dark spots are clumps of quark? They are hard and I couldn't remove them scraping with a finger nail.

worse spot

The coverage here sucks pond scum. 

240 grit

The sandpaper cut and smoothed all the clumps. It also left behind a lot of dust. I'll try to get a 2nd coat on after dinner, hopefully. If not then in the AM. I will also be applying 3-4 coats of shellac.

accidental woodworker