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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 …
|changed my mind on this|
|1/8" plywood bottom|
|forgot to flush the bottom and check it for twist first|
|still no ideas on storage for these|
|practice till stock|
|not a good start|
|the side I started first|
|this is crappola|
|I might be able to salvage the left one|
|not much room left|
|I like this better|
|some of the tools for the till(s)|
|sometimes you get lucky|
|derusting a molding plane iron|
|loose piece of boxing|
|warming up the hide glue|
|got a hump on the back|
|back is flat now|
|coarse sharpening done|
Who is the only US President to have a national park named for him?
answer - Theodore Roosevelt
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
|all checked out|
|small flat head screw|
|depth shoe screw|
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.
|these are the same size|
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|
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.
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?
This is an excerpt from “By Hound and Eye” by Geo. R. Walker and Jim Tolpin; illustrated by Andrea Love.
Now let’s move past bisection and divide a line into a bunch of evenly spaced intervals.
This process is useful for laying out such things as:
Now let’s divide a line up into four equal segments; first with dividers and then with the sector.
As you have likely guessed by now, you can use the sector to find most any number of segments.
Now let’s do something practical, such as spacing fasteners evenly on the side of a tool tote.
— Meghan Bates
Filed under: By Hound and Eye
|stud for a bench plane tote|
|I tried a few more just to be sure|
|got my new fence screw|
|it fits in all four fence holes|
|it fits and holds the fence securely|
|screw appears to be short (front hole on the left)|
|it's a 10-24 screw|
|no problems threading the wood with the screw|
|making a tap|
|stowing the fence screw here for now|
|cleaned up and made the chamfer a bit wider with a chisel|
|chiseled most of the pencil line off|
|calling the box done and ready to shellac|
|forgot to saw a bevel on the front|
|this is where I found out I had been misspelling his name|
|from this side too|
|the bottom has no half pin and it is mitered|
|I had made a second one I didn't glue|
|the first half blinds I ever made|
|a mitered bridle joint|
|shellac comes tomorrow|
It was held for the first time on this date in 1921. What was it?
answer - the American Beauty Pageant
I built this for my wife oh about two decades ago for her 20th birthday, how time flies. My daughter has this now and it’s in tact and it hasn’t fallen apart nor has the stain faded. It looks the same as the day it was made.
I made it from radiata pine and stained it with rosewood mahogany. The finish I used was my dad’s 15 year old automotive clear lacquer. They say old paint won’t stick but it hasn’t worn off after 20 years unlike the gloss I bought 15 years from a big box store. That’s the difference between industrial made finishes and the finishes made for the DIY’s.
Some of my woody friends said the rails will snap because there isn’t much meat due to the scrolled leaves. I suppose they would of snapped if you stood on the table or even sat in the middle, but if you use it as it’s supposed to be used then it won’t and it hasn’t and never will.
The moral of this story is:
Don’t be afraid to experiment.
Don’t fret too much over structural integrity, even nails (cut nails) will hold a toolbox together for a couple of hundred years.
I build a table back then that 5 ft square, it was a split top hinged lidded table. We used to place DVD’s in one half and children’s toys in the other. It was held together with wooden nails and the tabletop was doweled at 2″ spacing. My kids were jumping on it, dancing and even I who was overweight then stood and jumped on it several times, the darn thing never broke.
If the table was built from chipboard it would of snapped like a twig. If it was built from MDF it would’ve snapped like a twig. That’s why IKEA furniture and any furniture made from chipboard and MDF rarely last very long.
Drivel Starved Nation!
You talked and we listened. Over the past couple of years we have received numerous requests for a larger KM-1 Kerfmaker. I am pleased to announce that I finally got around to designing one. And in the process, we have made it better!
If you are new to our Kerfmaker tool, we conceived and patented this device several years ago and over this time it is our number one selling tool. Here’s a video of how the original KM-1 works–the KM-2 Kerfmaker is no different;
The KM-1 Kerfmaker is limited to a maximum stock width of 2 inches. The KM-2 Kerfmaker will allow you to make cross laps and other joints with stock up to 100mm (4 inches) in width. Here’s a pic;
It is a scaled up version of the KM-1 with the exception of the two magnets you see embedded in the end of the two referenced faces. These magnets firmly hold the the KM-2 in place so you do not need to by hand. This is incredibly handy. Here’s a pic of the setup using our new magnetic reference stop (you clamp this in place). As you can see, the KM-2 can be used with this stop either in the vertical or horizontal position;
With a wider capacity, you can now use the KM-2 with a dado head and the KM-2 can be calibrated to any kerf size up to 25mm in width. Pretty cool. Hey wait, there is more! The magnets allow you to stick the KM-1, and the stop, directly to your saw. Pretty cool again.
So, what does this mean for the KM-1? I really don’t know as of this writing but I am entertaining the thought of adding the magnets to the KM-1 with a magnetic stop that fits that tool the next time we make them. The magnetic base really is a huge benefit in use. The KM-2 closed is 182 mm in length, 44 mm tall and 16mm thick and gauges stock width up to 100 mm with a maximum kerf of 25 mm. FYI.
We will open up pre-orders for the KM-2 the second week of September with delivery in early December. The whole set-up will be around $100 bucks.
JOHN IS STUPID DEPARTMENT…
In other news, we are making an incredible new tool that has caused some confusion, mainly because I did a crappy job of explaining how it is used. I actually explained my reasoning to my two dogs and they looked at me like I was an idiot. Let’s try round two…
Pictured below is our new Universal Gauge;
The tool at the top is the LEFT version of this tool (UG-L) and the unit on the board is the RIGHT (UG-R). If you are using this tool to set-up a table saw, you would use the RIGHT version if your blade tilts to the left, and the LEFT version if your blade tilts to the right. The confusion we created is for those woodworkers who want this tool but will not use it on a table saw, so here is the definitive answer to “Which one?”
See the unit on the piece of wood? It is the UG-R (R for Right). If you were going to scribe a line along the bevel arm, which hand would you use. If you said LEFT… BINGO! If you are right handed you will want to order the unit in the top of the image. Make sense? Regardless, this may up being my most favorite layout tool, my shop at home is really small.
Look for an email soon regarding our FREE SHIPING OFFER on the Gyro Air Dust Collector that runs through October 15th.
Some 15 year old kid with illegal fireworks deliberately (through ignorance I presume) started a forest fire in the beautiful Columbia Gorge east of Portland last weekend. You cannot imagine how bad the air quality is here, the worst I have ever seen and I was here when Mt. St. Helens blew. I mention this because if you are a parent or a grandparent, this is great teaching moment to inform those you love that their lives can change in an instant and that every action has an unintended consequence. This fire is unbelievably tragic and right now it is about 40,000 acres and is 5% contained. Ugh!
The post Bridge City Tool Works Introduces New KM-2 Kerfmaker… appeared first on John's Blog.
The Lost Art Press storefront will be open 10 a.m. to 5 p.m. this Saturday with lots to do and see. In addition to giving free sharpening lessons, we have:
- Eight blemished Crucible dividers at half price ($90, cash only)
- Four prototype (fully functional) Crucible holdfasts for half price ($60, cash only)
- A bunch of blemished Lost Art Press books (also cash only)
- T-shirts, stickers etc.
- Copies of the deluxe “Roubo on Furniture” to examine and buy.
- Our complete line of Lost Art Press books (credit, cash or check)
The store is located at 837 Willard St. in Covington, Ky., 41011. If you are coming with a spouse or family, consider brunch at Otto’s or Coppin’s (in the Hotel Covington). Get a beer at Braxton Brewing down the street and marvel at all the development along Pike Street (we got in here just in time!).
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Uncategorized
In this episode of 360 with 360WoodWorking we hear from a woodworking professor at Thaddeus Stevens College in Lancaster, Pennsylvania. You may better know him as Steve Latta, woodworker, Fine Woodworking contributing editor and the guy who, in my opinion, brought inlay back to the forefront of woodworking. Steve is in his 20th year teaching this craft to those in college – and he’s doing a damn fine job if you look at the results.
I visited the George Nakashima compound last weekend again for the first time in a while, which included a lovely tour led by Mira Nakashima. I told Mira that every so often I’ll have a fantasy about getting a plot of land and building a house, most likely a timber frame house, in an area like this. I also told her that my wife’s usual response to this idea is, “Right. Where are the Chinese grocery stores?”
Mira told me that there’s an H Mart about a half hour drive from the Nakashima compound. Looks like the plan has a second life.
|changed my mind on this|
If I can't get a tap I'll try using the screw itself to thread the wood. This is either pine or maybe fir but the wood is soft regardless of what species is it. I don't think it will be a problem using the screw as a tap.
|sizing the width|
|rabbet laid out|
|started the rabbet with this plane|
|tried to use this one to finish it|
|rabbets dialed in|
|back squared up|
|lid sawn to rough length|
|1/2" astragal on both sides|
|used the shavings to burnish the astragals|
|front of the lid is done|
|made the lid proud of the top|
|took my time|
|thumb catch done|
|this box eats up a lot of real estate in Myles's tool box|
The painting,"Arrangement in Gray and Black No. 1", by James Whistler is better know by what name?
answer - Whistler's Mother
Here is a short video of fish glue flowing off the stick. Watching is sometimes the best description.
Hand tools are not slow.
This afternoon, after Mike and I ditched the granite work because of a downpour, I went to the shop to prepare table parts for a presentation I am doing on Friday at the Yale University Furniture Study (Registration full, sorry). The presentation is titled “Efficient Handcraft” and will focus on pre-industrial methods for efficient furniture making. I will bring parts of a table at each stage of the process so that I can demonstrate the whole process in the time allotted. This afternoon’s prep involved ripping out two legs and two rails from rough-sawn pine, planing both legs square, laying out and chopping two of the mortises, tapering one of the legs on two sides, planing the rails’ faces, laying out and cutting four tenons, fitting two of the joints, shaping pins and drawboring one of the joints, and cutting and paring the two pins flush.
This took me one hour. And I figure this base is almost 1/3 of the way complete (i.e. ready for finish).
This time in the shop reminded me of two things:
- Our “Tables” Apprenticeship video is still under production. It’s proven to be much more of a time consumer than we anticipated. With the new shop raising, and shipping Issue Three out at the end of the month, we will be hard-pressed to get much time to work on it. But every spare minute Mike has, he’s editing that video. Promise.
- I will again be teaching the “tables” weekend workshop from this summer at Lie-Nielsen this next summer. We don’t have dates yet and they don’t have their workshops listed yet. I will also be teaching a five-day version of this class at Port Townsend School of Woodworking in spring. Stay tuned for all those details.
Many, many months ago I was commissioned by a client who asked me to create an interpretation of an early 19th Century desk. I approached the original artifact caretakers, requesting a set of the drawings I knew had been made for that artifact. My request was declined, so my first task was to derive a working set of designs based mostly on images from the web.
About the time I was set to begin work on this project I crossed paths with an angry wheelbarrow, and the resultant broken hip left me out of action for many months. One thing I could do was sit at my laptop and noodle up some templates. I started with the images from the web and the handful of measurements that were also on-line and got to work. My importing the pictures into Photoshop and distorting them I got something resembling “face on” images for the critical elevations. Still, some was spitballing at this point with details to be resolved at a later time.
By importing these manipulated Photoshop images into a vector drawing program, in my case CorelDraw, I was able to ascertain the various measurements and contours I needed for the construction templates. If I was either younger or more computerily cognizant I would have use SketchUp, which I believe can do most of this processing almost automatically, but at this point in my life I am trying to forget computer applications, not learn new ones.
Should you be in a place to need construction details, measurements and proportions based solely on photographs it is best to have images where the camera is square to the desired face of the furniture, at point zero on both X and Y axes, with the longest possible distance from the object . From there it is a piece of cake to get the details darned near perfect, provided you have at least one or two firm dimensions known. At some point upcoming I will write bout the best way to capture the images with an eye towards creating drawings, but I have not written that missive yet.
For this project I was able to derive all the dimensional and profile details I needed, so soon enough I was off to the bench. Working in the manner to which I was accustomed from my time in the pattern shop I drew out the detailed drawing at full scale on a sheet of clean plywood. Once I was satisfied with the results it was time to get started with the building.
But first I needed to gather the necessary lumber. Stay tuned.
We have two hummingbird feeders hanging outside our breakfast area. Our cats enjoy watching them feed and I am constantly amazed by their aerobatics and dogfights (bird fights?) Seems hummingbirds don’t get along all that well.
Unfortunately, the hummingbirds prefer the cheap copper toned available from Home Depot. We have tried nice, more expensive feeders but all are rejected. Are these feeders really cheaper when they rust so quickly and need to be replaced annually?
Over the weekend, our feeders started emptying themselves overnight. 2/3 to 3/4 full at dusk and empty at dawn. Hummingbirds don’t feed that much overnight. I’ve heard that some bats might feed there but emptying them both? Suspecting leaks, I brought them in for testing and put last year’s out. In the morning, the old ones were empty with one screw-on base on the ground.
The next step was technology. I place one of my Nikons on a tripod and programmed it to take a picture every two minutes and left the outside lights on at sunset. I got a whole lot of this picture:
At 10:41, I got this:
First racoon we have seen in the eight years we’ve lived here. Deer. Opossums. Rabbits. Squirrels. Chipmunks. Cyotes, Foxes. Groundhogs. But no racoons.
Might explain what happed to all the asian pears…
|plow plane box is done|
|sizing the lid|
|top has no twist|
|ran a gauge line 360|
|one lid planed to thickness|
|doo-dad for the depth stop - sawed a step for the shoe|
|had to do some gouge work|
|it's a tight fit|
|change two coming|
|lots of stock in case I screw it up|
What is the largest shopping Mall in the United States?
answer - The Mall of America in Bloomington, Minnesota (it ranks 36th in the world)
Hello Wilbur. I recently discovered your blog. Amazing and informative. I was wondering if you can provide me some advice. I'm interested in purchasing my 1st kana but i'm rather hesitant as there are so many choices to choose from. Do you...
Thanks for the nice comments. I really appreciate it.
My usual advice for the “How should I choose my first Japanese tool?” question, whether it’s a plane, chisel, saw, or what have you, is to contact the various Japanese tool sellers out there (here’s a list of all the Japanese tool sellers that I know of who know English well), explain what kind of projects you want to make, what kinds of woods you use, and see what their responses are. One of those responses will resonate with you. Buy your tool from that seller. You’re going to get a good Japanese plane regardless of which tool seller you work with. What you’re also going to get is a relationship with a tool seller that understands your needs and who you can work with, which will pay off in the long run.
As far as the blue/white steel issue, I like blue steel overall better for planes, and white steel for chisels. That’s because blue steel has more resistance to abrasive wear, which is what plane blades have to deal with. White steel, on the other hand, is generally easier to sharpen. For a chisel, I’m not as concerned with edge life as I am with being able to restore the edge more efficiently. But overall, the choice of steel is not as important as the blacksmith. Despite what I said above, my favorite finish plane is made with white steel.
If you are having trouble wrapping your brain around what I said about the white steel/blue steel issue, think about it this way. Choosing a Japanese tool based on white steel/blue steel issues is like deciding whether cherry or walnut is better for making a dining room table. The real answer is that Frank Klausz will make a better dining room table than I will.
Overall, a crack in a dai forms because there isn’t enough allowance on the sides of the blade to accommodate wood movement with seasonal changes, especially overall shrinkage of the dai year over year.. As long as you set up your dai so that isn’t an issue, I think you’ll be fine. What I would do is set up your plane as you normally would without worrying about seasonal movement to start. There will be a little side to side play. If the dai shrinks too much, use chisel on the side slots that hold the blade to provide a little more room for movement. Eventually you’ll get to a point where you won’t have to worry about it any more. There may be a little more side to side play than one of my planes, but your plane will work just fine.
One last thing to keep in mind is that the dai is going to move regardless. My shop is in my basement, and we have central air conditioning and heat, so it’s as climate controlled as it can get. I still have to tune up my planes every so often. So even if your dai isn’t going to crack, you still have to deal with movement.