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24 hours has passed since I edge glued a test piece with Lee Valley’s Cod fish glue.
I must admit I was nervous that it would fail because I thinned it. I tried squeezing it in my vice and I think I may have buggered my vice, it’s now making some clicking sound. I changed the strategy and placed the panel flat in the vice and got some multi grips. Finally I managed to break it and it was no where near the glue line as you can see in the picture below. Also notice in the second picture that it’s virtually impossible to spot the glue line.
I think the results speak for itself. Fish glue is truly as good as any PVA on the market strength wise however, it does take a full 24 hours to fully cure and I don’t think that in truth is any different to any other PVA on the market.
I am also of the opinion that instrument makers who have not had much success with it either, used an inferior version or didn’t thin it and therefore the glue had lumps. Lumps will not allow a join to completely seat itself and also the glue won’t be absorbed by the timber.
I recently spent a great day with our friend Marie Pelletier up in Newbury, Massachusetts at the Parker River National Wildlife Refuge, aka Plum Island. She got great shots of many of the birds we saw… maybe this will take you to her shots – https://www.facebook.com/photo.php?fbid=10213122359110858&set=pcb.10213122371511168&type=3&theater
It was not the best light for me, my camera shoots kinda dark. But here’s some of what I got that day:
Egrets were the bird of the day; both snowy (Egretta thula) and great (Ardea alba) – here’s one of the great egrets:
a bunch of the snowies:
They weren’t the only long-legged waders around though – we saw Great Blue Herons now and then (Ardea herodias)
A juvenile Northern Harrier – (Circus cyaneus )
The swallows were really the most impressive sight. Their numbers were out of this world. They’re “staging” – stopping here to feed and gather in huge flocks for migration. Many (most/all?) of these are tree swallows (Tachycineta bicolor) – there’s no way this photo or any photo captures the impact of seeing this many birds. they were in constant motion, and the sound of them hitting the water to feed on insects was LOUD.
I never skip a chance to watch cedar waxwings (Bombycilla cedrorum) this one was very cooperative
A couple of days later, at Pret & Paula’s house, an eastern screech owl (Megascops asio). Too distant for my camera, but such a treat to see it poking out of this dead tree:
Then this morning, the flock of common grackles (Quiscalus quiscula) with some other blackbirds mixed in, come streaming up from the marsh just around sunrise:
For us blokes going bald or are bald a simple towel will suffice, but they’re not just for drying hair.
We use them on wood too. Don’t let your wife or daughter catch you using her’s just buy a cheapy.
So what can they be used for?
If you’re using animal protein glues and you know your glue up is going to take a little longer than usual that ‘s where a hair dryer can be useful. Heat up the parts that need to be glued. The open time will be slightly longer and the adhesion will be better.
If you’re using Fish glue, the recommended clamping time is 12 hours. Once 12hrs has passed you sometimes notice the glue line feels a little tacky. That’s normal with fish glue as the exposed glue line hasn’t fully cured to a hard state. It’s still structurally sound, bonded and workable. Not much different to some PVA’s where you only need to clamp for 4 hours before you can begin working on it and the same rule applies to fish glue. It will still take 24 hrs before the glue has fully cured. However, to get rid of the tackiness a hair dryer works quickly. You only need to use it for less than minute to dry it.
I wouldn’t recommend using it to dry your finishes even though some people actually do.
In regards to yesterdays post on thinning fish glue. This morning I unclamped the test pieces. 12 hrs did pass and the glue line was tacky, so I used the hairdryer to dry it to the touch. The results are no gaps due to lumpiness, I thinned it to the right consistency, and the bond is super strong. I will let it sit for another 12 hrs to fully cure and then try to break the edge bond. I’ll use a clamp or stick it in my vice to break it apart. If it breaks along the glue line then it failed, but if it breaks anywhere else, then it’s a success.
This will be my final test with fish glue. I really don’t expect it to fail.
Hand Tool School Orientation is the Perfect Starting Point
The started The Hand Tool School more than 7 years ago. In that time I’ve learned a lot about how woodworkers learn. I’ve learned a lot about the concerns and questions they ask when first getting started with hand tools. And I’ve learned a lot about which tools are good to start with and which only confuse and hold back the skill development.
So about a year ago when I looked at my Semester 1 curriculum I realized I need to go back and create a prequel semester that hit on some fundamentals and did everything to get the woodworker over the analysis paralysis and building stuff. Stuff they really want and need for your new shop.
Like…a WORKBENCH!!! My god woodworkers just can’t get enough about workbenches so I gave in and built another one. But then I went on to build several more projects for the bench and for the new tool collection. I then developed a series of 101 style lessons to supplement all of this and what I came up with is the perfect entry point to hand tool woodworking. An orientation of sorts to a lifelong journey of plane shavings and chisel scars.
Welcome Hand Tool School Orientation.Check Out Hand Tool School Orientation
Here is a jointer plane for sale in Oz, it’s a steel at $100 because it’s in mint condition. I laughed at his reason for selling it ” because he has too many planes and he doesn’t use a jointer very often.” Really? Sounds like a machinist and has several smoothers.
Chairs at the Rhode Island School of Design Museum, by Gerrit Thomas Rietveld and Gerard van de Groenekan, Ludwig Mies van der Rohe, Hans Wegner, Charles and Ray Eames, George Nakashima, and Samuel Gragg.
Samuel Gragg’s chair was made in 1808. It was in no way the first bentwood chair ever made, but he did use some sort of patented technology to make it.
|another first for me|
|enough walnut for a hundred boxes|
|back is done|
|1645 and I'm finishing up the last plug|
|the plane body measures the same|
|slot for the fence|
|the planned spot for the fence|
I measured the rods and they are 5/16" diameter. Again I was expecting metric but I'm happy with the imperial. Tomorrow I'll make a drilling guide for the rods and make some practice holes before I drill the holes in the box doo-dad.
What is the longest running scripted TV show in the US?
answer - The Simpsons at 29 seasons (Gunsmoke and Law & Order both had 20 yrs)
This is going to be a very short post, but I want to share a finding with you. I purchased 1 litre bottle of fish glue from Lee Valley. The day it arrived was the day I put it to use. The glue’s consistency is very thick, and I tried it as is on two moulding planes I made. The results were poor. It’s not that it’s not doing its job, that part is fine. It held on strong and still holding strong, but it needs thinning prior to use. I knew that all along but since I’ve had previous success with it with their tiny bottled version I didn’t think it would make any difference, but I was wrong. Like any glue it should flow like maple syrup as they say, I’ve never actually seen maple syrup but I know what it should flow like as I use hide glue.
So, today I thinned it by eye, I can’t say exactly how many percentages you should thin it by, but it should flow off your brush or stick or whatever you’re using like maple syrup. Not too thick and not too thin.The results immediately showed a remarkable improvement. It flowed and spread easily with no lumps that caused the two pieces not to fully close. Another words not show any gaps. By adding water to any glue your taking away it’s strength, but to render it useless would be to add too much water.
Remember you have to add water to hide glue but only enough to take away the lumps. I’ve set the pieces aside to dry and will check it in the morning. It’s spring here, and it’s slowly warming up so I’ll see if it’s still holding strong in a weeks time. I don’t have any reason for it not too.
You may wonder why all the fuss with fish glue as I normally use hide glue. Well, to be honest it’s sheer laziness on my part. The part about preparing hide glue and heating it up, OK I have liquid hide glue as well and that too is a pain as I need to heat it up and keep it heated to 140° F (60°C). It’s easier to use liquid hide than regular hide because it’s open time is longer.
With fish glue you use it in it’s cold state just like regular glue and if I’m confident in it’s holding abilities like I am with hide glue, then I’ll make the switch. So far this glue hasn’t let me down but I need to use it for a while to be certain of all it’s pro’s and con’s.
Is all this fuss really necessary? White glue and yellow glue work fine.
I think the fuss is necessary if your building fine items that’s going to end up in some antique roadshow or shop in a hundred years time. I glue all my clocks with hide glue and furniture I built prior to clocks I used regular glue. None of it was reproduction antiques except for the hotel I built for.
You have to ask yourself. Are you building furniture that it recyclable or furniture that is exquisite and made to last?
In this modern age of consumerism, women mostly like to replace their furniture every 24 months and many would like to replace it every six months if they could afford it. So when you think about it; do you really think it’s going to end up in some antique shop or someone is going to bother themselves to repair it? No, it will end up at the city dump like most items.
Like I said earlier, unless your building something extraordinary like a secretary, highboy, fancy clocks or you do veneer work, all this unnecessary extra expenditure on glue pots and paying the ridiculously high costs of both fish and hide isn’t worth it. Rather invest your money into timber or a new tool or even some video or book where you will learn something that will benefit you in the long run than on these glues.
You know how much I love these glues and I won’t stop using them, but the truth is the truth and there’s no point in deluding yourselves to think otherwise.
The auction from the last post was not a great auction, there were no wonderous pieces of furniture. Many nice ones but nothing that jumped out and screamed “Take me to the Met.”
In the absence of greatness, I look for interesting details. Things done differently or things not typically done. I always wonder if these different approaches are naive or brilliant. Did they not know how things were done or not care how others did it. No clue or different inspiration
There were a few items that had a unique approach to curves. First up is this:
Chippendale Style Dressing Table
Description: 19th century, oak, shaped dish top, single serpentine drawer, cabriole legs with ball and claw feet.
Size: 29 x 30 x 18 in.
Condition: Restoration including the drawer being reworked, later glue blocks, break and repair to back right leg; insect damage; surface stains.
To start things off, the ball and claw feet are a bit different:
The drawer has been reworked?
The serpentine drawer front caught my eye:
A sawn serpentine drawer front is not unique. What is unique is how thin the drawer front gets:
I do like the bail pulls:
Next specimen is quite a bit taller:
William IV Mahogany Bookcase
Description:` 19th century, two-part form, mahogany, mahogany veneer, oak and pine secondary, applied cove molded cornice, two hinged glazed doors with original wavy glass open to two louvered shelves, over an ogee drawer, two paneled doors with flush base.
Size 94 x 43 x 18 in
Condition: No key; surface wear; top surface to base with looseness.
The only curved thing on it is the, as they call it, ogee drawer. Looking at is in profile you see:
It looks like it started life as a squared drawer to which bits have been added and removed:
Staring at it for a while, I think I might have figured out how they did it. It started out as a drawer with a square profile. The baseline looks like it was made by a marking gauge which would require a flat front. Moldings and fillets were attached and the drawer front was then given the ogee profile. The through dovetails were hidden behind a thick veneer on the concave surface.
The third curve is the first kidney-shaped server I’ve ever seen.
English Regency Concave Mahogany Server
Description: 19th century, mahogany, oak secondary, top with applied gallery, two drawers over two tambour doors, shelved interior, on flush base.
Size: 39 x 50 x 22 in.
Condition: Right tambour door with loose panels; surface scratches; shrinkage crack to top; other wear.
The tambour doors were a bit stiff. Now knowing how the non-existent Pottery Barn Rule (You break it, you bought it) applies at an auction, I wimped out and chose to use their picture to show it closed:
The joinery might be a bit coarse but it has lasted for 200 years:
Interesting way that the lower shelf boards installed on a bias:
This is an excerpt from “Grandpa’s Workshop” by Maurice Pommier.
The darkest corner of Pépère’s shop both fascinates and frightens me. It is full of spiderwebs and dust. It is there that Pépère keeps the tools he doesn’t use anymore.
It’s also the place he keeps the odds and ends of things he calls his “couldcomeinhandy’s.”
He says it would be a terrible idea to clean the corner, because the elves would be furious. Grandma says he should be ashamed it is such a mess, and that he could easily clean up that shambles. Pépère just chuckles.
Today I came in earlier than usual. I brought a flashlight to look through the jumble of things in the corner while Pépère had gone to break his bread. I discovered a big blue chest. When Pépère came back into the shop, I tugged on his sleeve and asked him what it was.
— It’s Pépé Clothaire’s tool chest, he said, tapping his finger on the chest.
— Tool Chest?!?
— Pépé Clothaire’s chest was handed down from his grandfather, and certainly from the grandfather of his grandfather!
Pépère wrinkles his nose a bit, and he tugs on his mustache.
— Wow! It must be incredibly old! Open it! Show me what is inside!
Pépère goes to the keyboard on the wall and picks up a little key among the many hanging on nails there, and he makes a little space around the chest. He turns on the light and with a broom sweeps the dust off the top of the chest. The key goes cric-crac in the lock.
When he opens the chest, Pépère’s eyes shine. He shows me the underside of the top where the big English saw had been stored. Then he pulls out the tools and arranges them on the floor of the shop, and he teaches me the names of them all:
— Wow, Pépère, they are a little rusty…
— Yes, and they are covered with dust that tickles your nose. You see, here are almost all of your Pépé Clothaire’s tools, all that he needed to build the roof structures of churches, of castles, and of houses. But there is one missing…Wait a second, I think that it is over here, it was too long to fit in the chest.
He wipes his nose and rummages around in the corner of the woodshop. He returns, peeling oily rags off a long, strange tool.
— Is is the besaiguë of Pépé Clothaire, Pépère tells me before I can ask him what it is. The ends of the tool are protected by leather sheaths. He takes them off to show me:
— On one end you have a big chisel, like a slick, and on the other a mortise chisel. To cut a mortise, the carpenter would drill a series of holes into a beam , and then use the besaiguë to finish the square hole in the wood. He also used it to shape the pegs used to pin the joints, and when he wanted to show off, he would even use it to sharpen his pencil!
Pépère shows me how he can use the besaiguë to shape a peg from a scrap of oak.
— Pépère, who did the besaiguë belong to, before Pépé Clothaire?
Pépère’s face falls a little, and he says he will tell me about that later. Because he needs to put the tools away, because he has some work to do, and he isn’t going to do it alone. I help him put Clothaire’s tools back away in the chest. Pépère takes the angel’s head and looks at it, frowning, and stuffs it down deep into the chest.
— Meghan Bates
Filed under: Grandpa's Workshop
As a professional teacher, I own a lot of dress slacks. Until recently, I had them hanging on a variety of different hangers, most of which sagged and left unsightly wrinkles on each leg. There are a lot of effective ways to hang up a pair of slacks without wrinkling them, but most good hangers are expensive and hog valuable space on the rack. My new pants hangers each cost approximately 75 cents took under five minutes to make.
Making them requires only a few simple woodworking tools and almost no skill. Here’s how I did it.
I began with some old wire hangers that came from the dry cleaner. Such hangers are easy to find. These are have a cardboard tube that each end of the wire sticks into.
I had most of my slacks hanging on hangers like these. They worked for a while, until the cardboard began to sag and finally break in the middle.
I had a lot of them.
You could use regular wire coat hangers for this project just as easily, but I had these ready to hand.
The first step is to use wire cutters to snip off the lower wire close to each end. I cut the wire about 3/4″ from each end, but the exact length isn’t critical.
I also clipped the wire at an angle so as to leave a sharp point. That will be very helpful later when it comes time to assemble these. Be careful, though, as cut wire IS very sharp.
The next step is to cut the new wooden rod to length. I used 1/2″ diameter poplar dowels from the home center. They’re often labeled “hardwood dowels,” and the wood often has a slightly green color. They should run you less than $2 apiece. I got mine for $1.69 each.
At the store, take some time selecting the straightest dowels you can find. To test straightness, just sight down the length of each dowel rod. If they look straight, they are straight enough. But if you don’t trust your eye, roll them on the floor. A bent dowel will wobble a lot. A straight one will roll pretty evenly.
Cut your dowels to 16 inches long. If you bought 48-inch dowels, you can get exactly three hangers out of each dowel with no waste! I cut them with a small hand saw and a bench hook–that’s the handy holding device pictured above. (See the end of this post for more details on making a bench hook.)
Next, drill a small hole into each end of the dowel. You can eyeball the approximate center. Go as straight as you can, but don’t sweat a crooked or off-center hole. The hanger will work fine even if your drilling is off a little bit.
I like to stand my stock up in a bench vise, but if you don’t have a vise, you can brace one end of the dowel on something solid, hold the dowel in your hand, and carefully drill the end. I braced mine onto my bench hook, and it worked great. Just don’t slip!
Poplar is a fairly soft wood, so use a smaller diameter drill bit than your hanger wire. I used a 1/16″ bit, but you could go one size bigger without trouble. The exact depth of the hole is not crucial. I just drilled to the depth of the drill bit’s flutes.
The dowels come from the store sanded smooth–which is great if you want them like that. However, I don’t like my slacks slipping off the hanger and onto the floor at the slightest touch–as they will if the rod is too slick. So I used a piece of 80-grit sandpaper to roughen the rods a little. I just swiped the sandpaper down the length of the rod once, turned it slightly, and did it again, until the whole rod was just a little coarse. Just remember to clean off any sawdust before you hang your slacks on these things.
While you’ve got the sandpaper in your hand, also sand off any ragged fibers that the saw left at each end.
Now it’s time to assemble your new hanger. With your fingers, press each cut end of the wire into the holes in each end of the dowel rod as far as you can.
If you feel they haven’t gone in far enough, a few taps on each end with a hammer will seat the wire firmly. If the wire doesn’t seem secure, you can always add a dab of strong glue, such as E6000 glue or even hot glue, to each hole. But that probably won’t be necessary.
And that’s all there is to it! Hang up your slacks on your new hanger.
I didn’t use any kind of stain or finish on the wood because (a) I didn’t want to wait for a finish to cure, and (b) I don’t want any smelly or sticky stuff on my clothes. These are going in my closet anyway, and I really don’t care what color they are.
I made up a dozen of these in under an hour. It’s probably the easiest woodworking project I’ve done in years–and I’ll use the hangers I made for years to come.
Bonus: The Bench Hook
I use my bench hook all the time. I actually have two of them, and for cutting up long stock it’s nice to have a pair. But for small stock, one works just fine all by itself.
A bench hook is simple to make, and almost as simple to use. Each one consists of three pieces of wood. The base is a wide-ish board 3/4″ thick. Mine is about 8″ wide and 12″ long, but exact dimensions aren’t critical. You could easily build this with smaller pieces–whatever you have on hand.
The other two pieces are they cleats. They are narrower bits of wood, almost as long as the base. They can be screwed, nailed, or glued to the base, as you see above. Mine are glued on. If you’re right-handed, the smaller piece should go almost to the right-hand end of the base but not quite. Leave between 1″ and 1/2″ of the base protruding past the cleats.
To use the bench hook, the lower cleat hooks over the top of a workbench or table. You hold your stock against the upper cleat with your off-hand, and you saw with your dominant hand. I have two sawing spots in this bench hook–one on the end and the other in the middle. The one in the middle is best for very small pieces that need to be supported on both sides of the saw. I use the spot on the end for everything else.
When one side of the bench hook gets too chewed up to use–which will take quite a long time–you can flip the whole bench hook over and use the other side. This essentially doubles the working life if the jig.
The saw I’m using is a cheap dovetail saw made by crown, which I think retails for about $25. But any normal, sharp saw with relatively small teeth can be used effectively on a bench hook. With practice, you can hold a workpiece firmly and saw a clean, straight line with ease–no clamping required.
If you do much craft work at all, I highly recommend investing the fifteen minutes it will take you to make one or two bench hooks.
After sculpting the backrest of this dugout chair with a chainsaw, I noticed two things. One, the chair is about half the weight when I started. I can move this thing around by myself with some grunting. Two: It’s now a rocking stump. Yup, after removing a lot of waste from the front of the chair, the stump began to tip backward on its own, rocking nicely on the meat […]
Next Saturday, Sept. 9, is our regularly scheduled open day for Lost Art Press. We’ll have our complete line of books plus a good number of slightly damaged books at 50 percent of retail (cash only). And T-shirts. Coffee. Stickers.
I also have been informed that we will have a handful of Crucible dividers there that are cosmetic seconds (100 percent fully bang-on functional). Those also will be 50 percent of retail (cash only).
To reinforce the “Sharpen This” series of blog posts, I will offer free sharpening lessons all day. If you want to learn basic sharpening or get into more advanced topics, come on down. I don’t know everything about sharpening, but I’ll be happy to share what I do know.
(Note: Let’s not make this day about me rehabbing your old or damaged tools. If you’d like to bring in a tool to discuss, great. I’ll show you how to sharpen it, but you will do the grinding and honing. One guy brought in a box of old planes for me to fix for him once – that service is $60/hour plus materials.)
If you struggle with any aspect of sharpening, put your ego aside and come ask for guidance. If you don’t know how to sharpen curved blades (travishers or scorps), we can cover that. Scrapers? Yup. Grinding V-tools? Nope (those drive me nuts).
Our storefront is at 837 Willard St. in Covington, Ky., 41011. The hours on Saturday are 10 a.m. to 5 p.m.
— Christopher Schwarz, christophermschwarz.com
Filed under: Lost Art Press Storefront, Sharpen This, Uncategorized
This video from the Victoria and Albert Museum shows lacquer craftsman Lee Kwang-Woong using traditional Korean techniques to create a lacquer box with an inlaid shell decoration. There are many parallels between the techniques used in this video and the western traditions of marquetry and animal glues, not to mention the fine abrasives used for the final result. One thing that is underplayed in this video is the perfect surface needed on the box itself prior to the application of the lacquer. Any imperfection in the box surface will telegraph through the lacquer.
The other thing that strikes me is that the work area looks more like a laboratory than a workshop. I can see why, however, as the smallest stray bit of dust would telegraph through the lacquer finish on the box as well.
(Thanks to the Sturdy Butterfly for the link.)
In this episode of 360 with 360WoodWorking as the Labor Day Weekend holiday approaches and we plan time with our families, I decided to revisit an “Around the Shop” podcast that discussed backboards. It’s solid woodworking information with an eye toward historically accurate work.
Join 360 Woodworking every Thursday for a lively discussion on everything from tools to techniques to wood selection (and more). Glen talks with various guests about all things woodworking and some things that are slightly off topic.
|both have cathedral grain I will use|
|sawn to rough length but not the width|
|I want to center the width on the point of the cathedral between the sides of the box|
|the haste, waste, and mistake part|
|repeated the cathedral thing with the second lid|
|labeled the front so I won't get it mixed up(on both faces)|
|left the front long|
|planing the rabbets|
|a teeny bit of a slope on the entry end|
|none on the exit end|
|pretty even on the gauge line too|
|I'll plane to this gauge line after I fit the rabbets|
|about 80% on the second try|
|right front - loose on the side and at the top|
|left front - loose on the side and tight at the top|
|the back right|
|the left side is a close repeat of the right|
|I could probably close it but I' wasn't sure that I could open it again|
|finally got it|
|marked the lid and planed it to the line - left it a frog hair proud|
|planing a chamfer on the front end|
|1/2" astragal batted next|
|grain reversed on this end|
|layout for the thumb catch|
|don't know what I want here|
|it's 1700 and quitting time|
What is an anglophone?
answer - someone who speaks english
I laid out the shape of my my dugout chair in chalk. Then it rained. The next day I laid out the shape of my dugout chair in lumber crayon. Referring to my CAD drawing (below), I drew in the seat at 17” from the ground. Then decided to put the arms 8” above the seat and have them slope back about 1/2” or so. The depth of the seat […]
I just finished carving the 8th & final panel for the bedstead I have underway. There’s 4 patterns I used, each one repeats twice. most of them are patterns I made up, but drawn from a large body of work I have covered here a few times. The carvings that are the inspiration come from Devon, England and Ipswich, Massachusetts. I love these designs because they are so lively, and have so much variety.
Lately I’ve been trying to draw the designs – to try to learn how to talk about them – the parts, components and how they get combined. When I first saw these panels, I thought they must be the most involved carvings – but really they’re just busy…there’s very little background removed. Most of the impact is from the “horror vacuui” effect of covering every blessed surface with something. (This next one was a mistake – the board was 10″ wide, too narrow for the bedstead.)Narrow panel
These patterns have a few common elements/motifs – most have an arch across the top of the panel. there are a few exceptions, but generally I carve the arch-top versions. All of these have an urn/vase/flowerpot just above the bottom/center of the panel. Then some leafy bits/leaves/flowers coming up and spreading out from this urn. I tend to think of the designs being broken into thirds – though not necessarily even thirds.
Some wind up from the urn through the middle of the panel, then wind outward and reverse direction into the arch. Mostly these also bend downward, looping back toward the middle of the panel. In this case, there’s 3 tulip shapes inside this arc, then the big leafy bit that fills the bottom corner:
This pattern is easiest on wide stock, at least 10″ of carving space-width. This one, a chest I have copied a few times, the panel is 12 3/4″ wide x 15″ tall. Compare it to the narrow version above – I think it works better on the wide stock.
On this panel from the bedstead a single flower replaces the 3 tulips, same leaf at the bottom though:
Sometimes from the urn you get large shapes flowing almost horizontally out from the middle. these often have double-volute-ish scrolls where they hit the edges of the panel The one heading down then flows into a leaf shape that bends right against the bottom of the urn. This one is from the extra-wide muntin of the same chest –
Here’s the front of that chest – I copied the proportions and all the vertical bits from 2 examples I’ve seen in person, one other I know from a photograph. All were initialed & dated on the muntin; 1666, 1669 & 1682 for the dates. I substituted different (related) designs on the horizontal rails; and in this case added brackets underneath the bottom rail.
These carving often employ a three-part leaf, which is standard in the related S-scrolls – (seen here on a period box from Ipswich)
and on the panels this form is used again & again, inside spaces, between elements – it can be like this:
Or along the side of the panel:
Hard to see it upside down, here it is from a period piece, the shape I’m thinking of is between the bottom of the arch and blends into the margin just above the large bottom leaves:
The bits flowing up from the urn that then turn down to the bottom corners can take several forms as well. The one I used at the top of this post is simple, big fat leafy shapes bending up then down. They split into three parts at the bottom – one to the corner, one to the feet/urn junction, and one between. Fill the spaces with gouge-cuts, and call it done.
as a drawing:
I could go on forever, but this post has taken long enough. A few more panels of my work:
This one hangs in our kitchen, done in Alaska yellow cedar:
This oak panel was an experiment, I mostly like it, but rejected it for the bedstead:
This one took its place:
A couple weeks ago I ventured into the barbarous climes of Mordor to deliver the workbench to the Library of Congress Book Conservation group. If the traffic and multitude of high-dollar construction projects are any indication, the travails of the provinces are not being felt in the capital city. In fact it looks like a boom town that has four trillion of our dollars at its disposal every year. And since we apparently are not motivated enough to demand that they stop spending those four trillion dollars every year on us, that trend line will remain unchanged.
The logistics of getting into a secured facility (and in Mordor virtually every facility is secured) is a challenge. It turned out that the most efficient way to get the workbench into LC was for me to drop it off at the curb in front, with LC staff taking delivery of it there. Once I parked and rejoined them we were able to get through the security checkpoint and proceed to the conservation lab. Admittedly, I felt under dressed with my Victorinox Spirit muti-tool sitting in the van outside.
The path to the final home for the workbench was uneventful, and the crew there was delighted to get their new tool. Particularly pleased were the petite members of the staff, many of whom wrote me a “Thank You” note for taking their physiques into consideration when fabricating the variable height configuration of the bench.
The bench fit perfectly into the tiny Tool Room space they have, and after I spent a little time explaining its features it was given some tryouts almost immediately.
And then I escaped before the Dark Eye poisoned my heart any more.
Woodworking projects from the kids at the Hole In The Wall Gang Camp. I think these are terrific examples of the finest of woodworking.