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|unplanned goodies from Lowes|
I had looked for them on line but the selection had nothing I wanted. I wanted a 2" or smaller wheel rated for at least 50lbs (27 kilos) and Lowes had a quite a few to pick from. I grabbed four steel wheeled casters that were rated for a 100 lbs (45 kilos) each. As I was walking away with these, I spied the ones I did buy. These are 51mm (2") wheels with a some kind of a poly wheels. These are rated for 91lbs each (41kilos) and this should be more than adequate for the toolbox.
I got some 5/4 pine to make a dolly with. I had got a good suggestion on buying one and I was going to do that but when I saw the right casters in Lowes I changed my mind. I bought two 8' x 4" boards. I could have made the dolly out of one board but I got two so I can work around the knots. It is something you can't avoid with pine.
|new pattern for the top of the uprights|
|it's not a circle|
|where do you put the knot|
|laying out the tenons|
|foot detail changed|
|top bearer mortises laid out|
|bottom stretcher mortises were the last of the layout work|
|sawing out the tenons|
|first M/T done|
|cheek fit is good but the ends need help|
|second one done|
|I feel like this was the first time ever for sawing tenons|
|removed the ski jump from the pic above with a big ass chisel|
|done and it's critique time|
|3 are snug fitting and self supporting|
|one is loose|
|all the shoulders look this good|
|edges look ok too|
|the 3 snug fitting cheeks|
|the loose one|
Overall these joints will work because I am going to draw bore them. Draw boring is like putty, both will hide a lot of sins. I would not try to just glue these because of the bad end cuts I made. I think that they would move and eventually fail. I give myself a C on the overall output.
|it seems I have a pizza box of veneer|
|cut it out with the marking knife and ruler|
|with both pieces it is self supporting|
|making the mortises for the bearers and the stretchers|
|3 chisel line up|
|getting an even depth|
|tapping the veneered tenon and mortise together|
|first one dry fitted|
|knifing a new line|
|both dry fitted|
|it's about a 1/4" higher|
|I like the new ones|
Which US President founded the Springfield Armory in Massachusetts?
answer - George Washington founded it in 1777 during the American Revolution
Since more than a year I'm working on a plooywog. That is fast work compared with a classic handel.
To make the rear infill, I sawed out a piece of Bubinga and flattened one side that would serve as a reference for the lay out. This was the lower side of the infill.
Next one side was squared up and finally the last side was made parallel and square too.
Following this I marked out a 50 degrees angle on the forward part of the infill, which will eventually become the frog or bedding for the blade.
If I had had a protractor out here I would probably have used it, but I dont. So with the help of a bit of math and a tangent function I was able to do the job anyway.
After marking up I sawed close to the line with a hacksaw. The surface was then sanded completely flat going through the grits with the sand paper placed on a flat piece of thick aluminum plate.
The block of wood was placed inside the base of the plane and the contours of the side were marked on the wood with a pencil.
The block was removed and a hacksaw was again used to saw near the lines to remove the bulk of the waste.
After sawing, the block went back in, and the assembly was clamped in the vice and the wood was brought down to be flush with the sides using files and sandpaper.
Just like with the front tote, I left the rear infill a bit long. This will be trimmed of later.
Making a rear tote is the next part of the project.
My working with hand tools has nothing to do with a reluctance toward living in a post modern world; just so you know. I’m just thankful I do, and that I feel to a balanced degree I’ve been able to embrace it. I always like seeing old workshops with wood leaning against rustic walls and […]
As woodworkers, we tend to think about trees most often in the context of wood. But a living tree is habitat, safe perch, shady spot, daily carbon dioxide sink, and more.
Trees also bear fruit. Until I moved to Indiana, persimmons were novelties: fat juicy globes with exotic names such as Fuyu and Hachiya. Then, one October, a boyfriend proposed a weekend paddle on Lake Monroe (yes, he’d made his own canoe) to a spot rich with persimmons. We filled a couple of shopping bags with squishy fruit and paddled back to the truck. He showed me how to make pulp and shared his grandmother’s recipe for pudding.
When we pulled the glass dish out of the oven, the kitchen filled with sweet, spicy steam. We let the pudding sit a while to firm up while we whipped some cream. Slice, serve, dollop. Heaven.
Much smaller than their Oriental cousins, our native persimmons are packed with nutrients: 127 kcal per 100 grams of raw fruit (compared to 70 kcal for the same amount of Japanese persimmon, Diospyros Kaki), 33.5 grams of carbohydrate (compared to 18.59), 0.8 grams of protein (versus 0.58), as well as higher than the Japanese persimmon in fat, calcium, and iron. I offer this comparison not as an exercise in nationalism, but to help explain why the peoples native to this land considered putchamin an important food.
A couple of years after my first taste of persimmon pudding I was looking for an affordable property where I could have a workshop. The first place I visited fit the bill and came with a bonus: an old persimmon tree on the front lawn and a couple more on the fence line.
Fast-forward fourteen years. After feeding many a deer (and two of my dogs) and giving us fruit for countless puddings, the old tree in our front yard finally gave up the ghost last winter. We had plenty of advance notice: fewer leaves each spring, more limbs dropped per thunderstorm. Of course it’s not really gone: Persimmons spread through their roots to form groves. Several daughter trees are growing to maturity in the garden.A large dead tree in the front yard is hardly attractive. “Can we please cut it down?” I asked my husband last spring. I wasn’t asking for permission; he’s the one who uses a chainsaw. I’ll use industrial shop equipment any day, but chainsaws terrify me. “No,” he said; “it offers wild birds refuge from Louis [the shop cat].” Spring turned to summer, and concern for the birds’ safety turned into “Taking that tree down is going to be a huge project. Do you have any idea how much work it’s going to be, cleaning up those limbs?” Clearly not a job for the itchy, sweaty months. Now that fall is here (if tentatively), we’ll take it down and give some of the wood to our friend Max Monts to turn into bowls, because as many readers will already be aware, persimmon is related to ebony.–Nancy Hiller, author of Making Things Work
Here’s that recipe.
Filed under: Uncategorized
A few of you may have spotted Ian on my stand demonstrating my guide while I took a much needed refuelling break. Whilst Ian is an experienced demonstrator, I did rather throw him in at the deep end, sorry about that!
Ian cuts all his dovetails freehand and is seen here demonstrating at a show back in Japan where he lives. And this is the result, a fine pile of 'Paul Sellers' boxes.
This reminds me I must try to think of something more imaginative than cutting endless single corners!
Here is Ian's freehand version of one of my corners, perfect!
Ron Herman discusses woodworking braces, including terminology, sizes and chuck designs. Plus, he shares his take on hand-powered drills as he identifies a small assortment of tools still available at garage sales, flea markets and tool swaps.
I got my time allotment in the shop tonight but there isn't a lot of pics. The verbiage will be matching the pic count too. The saw donkeys are moving along and I think I'll get them done this weekend. I made another change to them, no knock down. Being lighter and easier to move than my 4x4 donkeys, I'll have to put up with stowing as is. That is because I couldn't think of way to knock them down that I liked.
|got the second mortise done|
|ends are OTL|
|got the remaining 3 done|
|I'm using and changing this|
It was the top rated variety show of all time and last aired on TV in 1971. What was it?
answer - the Ed Sullivan show
Mrs. Barn calls it ADD, I call it Hyper-curiosity. Whatever it is, it means that sometimes I have a tough time turning my brain off, which in turn has an ancillary side effect of insomnia. And, an inability to concentrate fully when I’m watching a movie or such (tonight it’s an Eastwood bullet-fest — obviously Mrs. Barn is out of town) and I usually have a note pad nearby to capture my fragmented musings. A few of these and I have an idea, a few ideas and I have concept, and a concept usually turns into a project of some sort.
Here are some landmarks on the conceptual map that is taking shape for one possible future project for The Barn based on observations, whimsy, and experience. Consider the following:
- I’ve had the amazing opportunity over a great career spanning almost five decades that enabled aggressive learning and allowed/required creative, interdisciplinary problem solving
- I retired five years ago with plenty of fuel left in the tank. Since then I’ve published three books (with at least five more manuscripts in the pipeline, maybe even as many as a dozen if I get back to writing fiction), filmed three videos, and created a unique exhibit.
- Now freed from the immediacy of most deadlines (I’m still writing a ton, but the deadlines of the Roubo and Studley books were imminent and the Studley exhibit deadline was inflexible) and recovered from two serious injuries, I can now let my mind wander and creative juices flow unfettered
4. I have a big barn in a beautiful setting and have been encouraged to organize workshops to pass on what I learned over the years. Those who have attended the workshops give me great feedback about the experience and the setting.
5. But, most folks are unwilling to come to The Barn for workshops, for what ever reason; distance, remoteness, time, topic. Last summer two of the four workshops I had scheduled were cancelled due to lack of interest, this year it was three of five scheduled workshops cancelled. I will probably never cease offering them, maybe just a couple every summer, but it’s pretty clear workshops at The Barn are likely not a big part of the equation going forward..
6. I still enjoy greatly transmitting to willing learners the stuff taking up space between my ears and energizing my hands.
7. I go places to teach occasionally, but my aversion to travel makes this an unlikely major component of my future plans. Plus, I generally expect hosts/classes to compensate me similarly to conservation clients, and that is a deal breaker a lot of the time. Think of it as the intersection between Opportunity Costs and Comparative Advantage.
8. I am comfortable speaking to audiences, whether the audience is people or cameras. I hope my previous videos confirm that self-assessment.
9. A talented (and eager) young videographer has returned home to the hills after honing his craft at college and in commercial work. Given that about 39,614 guys are out there making woodworking videos, some with negative production value or informational organization, I’m thinking there may be some fertile territory for our collaboration given his expertise and my idiosyncratic interests.
10. The cavernous fourth floor of The Barn ( 18′ x 38′ with 17′ cathedral ceiling) served mostly as an attic for the past few years.
With those things simmering in the pot, I have decided to turn the fourth floor into a video studio. Mostly that involved cleaning out the stuff being stored there, doing a bit of painting, and finishing the wiring. If nothing comes of this, at least I got the attic cleaned, painted, and wired.
I’m always surprised by how many woodworkers – even experienced ones – try to avoid the grinder. They will purchase expensive diamond plates or (worse perhaps) a ream of belt sander paper and an expensive granite plates all to avoid stepping up to an electric or hand-cranked grinder. This is not just a fear among hand-tool users who avoid electricity. I’ve met guys who will use an unguarded shaper with […]
Happy Friday, from Giant Cypress.
The sanding was done with grit 60 emery cloth, so the surface is not perfect yet, but like the base of the plane, there is no need to make a show surface and risk destroying it while riveting the plane together.
The front knob looks a bit big, but I think it is because the rest of the plane is not yet filled. I made it a bit longer than the base of the plane, so I'll have to trim that when it is riveted in place.
Now that I have gained a bit of experience with the Bubinga, I am going to try to make the aft infill and later the rear tote.
There was a discussion going on in the comment section of one of the earlier posts in this series regarding which type of wand that is best for a woodworker.
I am not saying that the wands from Olivanders' made out of ebony or holly with Phoenix feathers or griffins teeth etc. aren't good, but for woodworking my old time favourite is without any doubt pallet wood with a bit of hair from a Newfoundland dog.
If there should be any sorcerers amongst the readers of this blog, please feel free to comment on your personal favourite wand composition.
Some Live Events Coming in October
Last January I built a bookcase live on my YouTube channel using Chris Schwarz’s book the Anarchist Design Book as my model. This October 14th I will be doing the same thing but following Chris’ lead again and building a staked piece of furniture. Or really I like to think of it as a Windsor Stool or often referred to as a Perch. That will start at noon on 10/14 and I’ll be as usual taking questions as I build.
Next Thursday, 10/5/17, at 6:30 PM EDT is RWW Live. Its another open Q&A opportunity to bring your questions about hand tools and hand tool techniques. I’m open to answer and demonstrate anything so I hope to see you there. I will also be starting up an Auction to benefit hurricane relief in partnership with Ernie Stephenson of Grandpaslittlefarm.com. Ernie will be putting up a fully restored Jack plane and 3 blade kit and a 3 blade kit for those who already have a Jack plane. I will be throwing in a semester of choice to the winning bidders as well.
Customers who place a pre-publication order will receive a free and immediate pdf download of the book. The book is expected to ship in late November. You can download a sample chapter of the book here.
For customers outside the United States, we will offer this book to all our international retailers (a list of retailers is here). It is the decision of the retailer as to whether they carry this book or not.
“Carving the Acanthus Leaf” is May’s first book and is the result of three years of intense work. It is a deep exploration into this iconic leaf, which has been a cornerstone of Western ornamentation for thousands of years. May, a professional carver and instructor, starts her book at the beginning. She covers carving tools and sharpening with the efficiency of someone who has taught for years. Then she plunges the reader directly into the work.
It begins with a simple leaf that requires just a few tools. The book then progresses through 13 variations of leaves up to the highly ornate Renaissance and Rococo forms. Each lesson builds on the earlier ones as the complexity slowly increases.
One remarkable aspect of the book is how May has structured each chapter. Each chapter begins with a short discussion of how this particular leaf appears in architecture or the decorative arts, with photos May has taken from her travels around the world. Then you learn how to draw the leaf from scratch. Though you are provided with a full-size or scaled drawing of each leaf, May insists that drawing the leaf makes it easier to carve it. Each step of the drawing process is illustrated in detail.
As May explains how to carve the leaf, she augments each step with multiple photos and illustrations that show where and how each tool should move through the work. The result is that each leaf can have as many as 100 photos and illustrations of each step of the carving process.
In addition to the intense instruction, May also provides a short essay between every chapter that illustrates her journey from a young pumpkin carver to the world-renowned carver she is today. The overall effect is like apprenticing with a master carver, with both the demanding instruction and the personal experiences that make woodworking such a rich craft.
“Carving the Acanthus Leaf” is manufactured to survive many hours of use in the shop. The heavy paper is both glued and sewn so the book will lie flat on your benchtop without the pages coming loose. The pages are protected by cloth-covered hardboards and a tear-resistant dust jacket to protect its contents. This is a permanent book – produced and printed entirely in the United States.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Carve the Acanthus with Mary May, Uncategorized
|it looks pretty good|
|I had to take a look at this way|
|this is leading in the polls|
|I'm really liking this for fixing bevels|
|this one brings the top line to the side|
|ready to chop my first through mortise|
|1/2 way - time to flip and repeat|
|this is the reason I made the jig|
|it's a 1/2"|
|this end of the mortise is ok|
|got a hump on the opposite end|
|all four walls are square|
|I wish this was an inch longer|
|cleanest mortise I've ever made in Douglas Fir|
|the other cheek wall looks just as good|
|sometimes you have to just walk away|
Where is the oldest seaside resort in the US?
answer - Cape May, New Jersey
It always interests me that often on those rare occasions I go out looking at furniture I will find very similar items. Similar but not the same.
First I found this:
Continental Victorian Burled Sideboard
Description: Circa 1860, choice burl wood veneers, ebonized highlights, oak secondary, three part form, backsplash featuring a central cartouche with relief carved nuts and fruit, mirrored back, base with two upper side by side drawers above two paneled cabinet doors, flanked by rounded cabinet doors, on suppressed bun feet.
Size: 72 x 65 x 23 in.
Condition: Likely later mirror; top with several shrinkage cracks including one long crack; wear and paint loss to ebonized edge highlights, shrinkage crack to left cabinet door panel; other imperfections from age and use.
The French are very fond of the knife hinge.
And this one has the cutest little bun feet:
A consignment shop in Raleigh has this similar piece:
Again, dovetailed drawers:
This one has hinged drawers:
This buffet also has the lock with two bolts used on many pieces of French furniture:
If any of you know the name of this lock or where I can buy one, please share.
This buffet also has some really great pulls:
Last and by far the least, this poor sad thing found at a mall furniture store:
This is an excerpt from “The Woodworker: The Charles H. Hayward Years: Volume III” published by Lost Art Press.
A reader has been making a piece of work which has involved the use of a tenoned rail some 12 ins. wide, and tells us that he has had difficulty in sawing the tenons. Whilst it is possible to saw the tenons, we should not advise it. It would take too long, and it would be difficult to keep the saw true across so wide a tenon. We give here the simplest method.
We show a wide rail in Fig. 1, the cutting of the double tenons of which is a typical example of the process to be followed. A similar case of even wider tenons is that of, say, a table top with clamped ends, the last named being mortised for tenons cut at the ends of the top.
Mark out the joint in the usual way, squaring in the shoulders and marking the tenons with the mortise gauge. The chisel is used for marking the shoulders, and a shallow sloping groove is cut on the waste side as at X, Fig. 2. This forms a convenient channel in which the saw can run when cutting the shoulders, the next operation. The tenon saw can be used for this. Saw down to a fraction short of the gauge line, and be careful to keep the saw square.
Assuming that the grain is reasonably straight, chop away the cheeks with a chisel as at B, Fig. 2. Do not attempt to remove all the waste in a single cut, but start the chisel about halfway down, and finally take it to within about 1/8 in. of the line. Of course, the grain must be watched. If it tends to run downwards the chisel cannot be used so close to the line. If it runs upwards, it can be taken almost on to it. A fairly wide chisel is desirable for this work.
Now take the rebate plane and work across the grain, the side of the plane pressed against the shoulder as in Fig. 3. If you have the metal type of rebate plane you can set the depth gauge so that the plane ceases to cut when the tenon is reduced nearly to the gauge line. Be sure that the cutter does not project on the shoulder side as this will damage the latter. At the near side the grain is sure to splinter a bit, but this does not matter. It cannot splinter on the shoulder side as it has already been cut with the saw.
To finish off use the jack or any other bench plane as in Fig. 4. Carried out in this way the reduction of the wood is quite rapid, certainly quicker than when the saw is used throughout, and it enables the tenon to be trimmed to within fine limits. The remainder of the work, that of cutting the separate tenons and the haunches, is as in normal tenoning.
— Meghan Bates
Filed under: Charles H. Hayward at The Woodworker
For the December 2017 issue of Popular Woodworking Magazine I built a pair of folding campaign bookshelves based on a 19th-century pattern. Long-time readers of this blog know that I love mechanical furniture that folds up into tiny spaces and is durable. So 19th-century British campaign furniture is right up my alley. These examples have a Gothic look to them, but you could alter the profiles of the folding end […]