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If you are of a certain age, you will know this is one of the iconic lines from Firesign Theater’s The Further Adventures of Nick Danger (1969). Depending on how you’ve lived your life, you might have been surrounded by college friends that, from memory, would constantly reenact entire Firesign Theater routines. Often on a daily basis. Possibly more often but you only saw them on a daily basis. (For extra credit, explain regnad kcin.)
That phrase has also recently become my life. A bridge that links us to the world is being replaced. Bridge 77 on Route 1133 was built in 1954 and has been declared Structurally Deficient and Functionally Obsolete. I was born 1954 and have been declared Structurally Deficient and Functionally Obsolete.
With Old 77 missing, the only way out of here is to go 3.5 miles south or 1.5 miles west on an unpaved road. From one side of the bridge to the other is 6.2 miles on the unpaved road or 9.3 miles if car cleanliness is important to you. I observed the gentleman servicing the job site toilet discovering this the other morning. Our access to Chapel Hill and Carrboro is unaffected so we can still eat well.
Here is the bridge as it is being removed:
Why wouldn’t I want this wood. No one can positively say how it’s been treated. Creosote is a given. It was once widely used by all including the homeowner before coal-tar based creosote’s carcinogenic properties became known. And there could be other things in there including heavy metals. The supervisor told me it costs around $2000 per dumpster to dispose of it properly (legally).
Demolition being finished, construction is well underway.
It takes a big crane to build a bridge:
Depending on weather, the replacement could be ready by month’s end. The one thing we will miss is having the road to ourselves on our early morning walks:
Today I decided to start on the cap iron.
I have had an eye on an old butterfly valve for some time now, because it would give some great material for this part of the project.
The valve is a 12" valve that used to be mounted on the ballast system of the ship. It was replaced during the dry docking, because the rubber seating had developed a crack that caused the valve to no longer hold tight.
Not so many years ago it was custom to change the rubber insert in those valves, and it can still be done on some types yet. But this valve is of a type where the rubber is glued to the body, so it can't be repaired. It can however be used for a custom cap iron.
The disc is made out of aluminium bronze, which is sea water resistant. It is also a different colour than the steel that I have used in the build, so it should give a bit of visual interest once it is complete.
I used an angle grinder to cut out a piece I deemed suitable. I deliberately included a cast stamp saying C954. I have no idea what it means, but I thought it looked good.
After getting the piece free from the valve disc, it was again back to a lot of filing.
I have managed to position the holes for the cap iron in a way that it would look bad if it was mounted with screws in the side. So instead I am going to install a rod in those holes, and slide the cap iron below this rod, and capture it in a semicircular depression.
After drilling a hole for the cap screw and making a thread in the hole, I again used the angle grinder to remove some more material. I did this after the drilling and tapping, because it is so much easier to clamp a squarish piece in the vice compared to an odd shape.
In the beginning I considered leaving the entire surface as it came from the valve i.e. as a coarse casting, but in the end I decided that it would look like I had skipped a step or two, and I started filing the surface to get it nice and smooth.
Some time ago I wrote about the abuse of a rasp. I use a standard rasp to draw rasp the edges of saw handles. Tom Fidgen inventented a two handled rasp for tasks like that and published that in June. SO i asked Noel Liogier, to make me a standard rasp wit 1 /14 teeth turned 90°. And I praised the czech rasp Ihave been given. It came this week. Teeth like bespoke and shape like the czech one.
|from left 2 Iwasaki, czech rasp, the new liogier, an oldr Liogier, 3 halrfround file of different pitches.|
|The Czech one, the new Liogier 14 , an old Liogier 15|
The task is to even such curves from sawing.
wrong focus but the move is forward and backward
Falsch fokussiert, aber die Bewegung ist vorwärts und rückwärts.
another wrong fokus
Hello, I am wondering if I could get some chisel advice. I have some japanese style chisels that I received from my grandfather. One of them is over 40 years old and very rusted with a chipped edge and a beat up hollow back. The hoop is askew and the...
The hoop and handle can be fixed. I’d take the hoop off first. Then take the handle off. This can be done by grabbing the blade end of the chisel and hitting the handle on a hard (not too hard) surface, like a scrap piece of walnut or cherry. Fix the crack with some glue, and put the handle back on the chisel. Trim off the hoop end of the handle so that it is round and symmetric. Then fit the hoop on like you would for a new chisel.
As far as the back goes, I like using either some 80 grit sandpaper glued to a flat reference surface or a diamond plate for flattening the back of a chisel. It can be done, it just takes time. Then use the sandpaper or diamond plate to work the bevel side to get rid of the nicks. After that, you can use your favorite sharpening routine to polish up the back and bevel.
The image is from 1634 and needs a caption. ‘Nusquam tuta fides’ translates as ‘no trust is ever sure’ but don’t let that get in your way.
Filed under: Historical Images, Personal Favorites
I came across Andrew’s work on Instagram and Reddit and thought it was a creative build. Andrew uses skateboards that were broken or headed to the garbage to create colorful projects. In the video above he turned a baseball bat – on his Instagram feed you’ll see canoe paddles, drumsticks and coffee stampers. He’s creative and learning fast. I enjoyed his story, I captured part of it for blog post found […]
The post How to Make a Baseball Bat Out of Recycled Skateboards: Interview with Andrew Szeto appeared first on Popular Woodworking Magazine.
Joe sent me these pictures of his latest project, walnut and ash adjustable shelves.
The brackets are attached with what appear to be sliding dovetails.
The rounded shelves have a nice retro look and all finished off with his trade mark signature, The Lucent Crow.
|trimmed the ends|
|trimming the mortise to fit the tenon|
|the tenon I glued veneer to both cheeks|
|had to tap it home with a mallet|
|this will going up for sale now|
|my brown knot|
|doesn't go all the way through to the other side|
|drilling my rounds on the bottom of the foot|
|I didn't forget|
|foot is done|
Time to go enjoy fish 'n chips for dinner.
What did Father Edward Flanagan found on December 12th, 1917?
answer - Boys Town Orphanage
Immediately in the aftermath of my frustratingly brief presentation at the last annual Working Wood in the 18th Century at Colonial Williamsburg, I received two invitations from Hay Shop Master Kaare Loftheim to return.
The first of these was for a two-day closed workshop for CW artisans last month where I would present demonstrations and hands-on exercises for my approach to historic finishing. I was delighted to be there, as craftsmen from the Anthony Hay Shop, the gunsmith, the housewrights and joiners, and the wheelwright shops packed into the Hay shop for two days of intense work on transparent finishes. Normally I like to make it a three day event, but two days was all they had so we worked with it.
Over the next several posts I will recount the exercises that are my normal syllabus.
Whereas plywood has a long history, and we can trace its roots to past millennia, it’s a material that’s still quite young when you see how long it’s been available as a fully commercial product. It’s also true that beyond the run of the mill manufacturers there are the specialist makers who have established themselves […]
When you hang around woodworkers there is always talk of hand tools versus power tools. You’ll meet people who love the idea of doing everything they can by hand and really connecting with their material. And you’ll meet folks who like to take advantage of the speed and convenience that modern machines afford. And then there are those who believe in employing the best of both worlds: using power tools […]
The very idea of digital woodworking is something new and strange to a lot of woodworkers, so it’s only natural there are a lot of questions. For many, the big question is “where do I start?” The answer is easy. Learn to draw using Computer Aided Drawing (CAD) drawing tools. You don’t have to own an expensive CNC router to get the biggest benefit of going digital. You can remain a […]
Forget the Process and Treat Each Board as Unique
I’m hesitant to even call this a technique or a method because it is the total absence of process that makes this milling approach so effective. In short, every board is unique so doing the same thing to flatten every board is folly.
Here is the SecretDiagnose the high spots and remove only the high spots…then and only then do you start taking full length passes. There is no need to work across the grain or diagonally, only with the grain.
To add on to this, you want to spend more time checking the board with a straightedge than you do actually planing. Assume that every stroke you take with the plane is throwing it out of flat and so you need to check with the straightedge often so you aren’t creating a shape that will require even more planing to fix. The net result of all of this is a flat board with very little time spend planing and VERY little actual wood removed. So your 4/4 rough board is now 15/16 thick or you are making rip cuts right on the line and flattening and squaring the edge while removing only 1/32″ of wood.
This changes the game and makes milling a board by hand not a trial or hard work, but a quick and simple task that teaches you a lot about how that board will behave in all the subsequent steps.
New Lessons From The Hand Tool School Vault
- If you have ever wondered or struggled with creating parallel edges or duplicate sized parts by hand then this 20 minute lesson may be just the trick to get you making your parts identical with a hand plane.
- For a more in depth look of the Spot Planing Technique and instruction on how to build the planing stop I used in this live broadcast, check out my lesson on the same topic.
Eight or nine years ago I bought a new lathe. The first thing I did was to make several sets of legs and arm stumps for a pair of Windsor Chairs. I put them into a five gallon pail for safe keeping. There they remained, till now.
The first of the pair is nearly complete. Wow! Have I learned a lot. I’ve built a number of chairs, but this is the first sack-back I’ve done. I have new found respect for my friends who specialize in this particular design.
Here are a few of the lessons learned:
– You can’t overstate the importance of a good form,
– Tangential relationships are critical,
– Use bending straps,
– Use green wood for bending,
– Have plenty of bending stock on hand,
A project like this is exactly what keeps me interested in woodworking. No matter how much you know, there’s always something new to learn. (Or in the case of many of us, it may be that we’ve forgotten more than we care to admit. So, shall we say, there’s always something new to remember.)
Hi Wilbur, is there an equivalent japanese tool for the western panel saws, rip cuts and crosscuts? Thank you!
I’d use a larger ryoba, either a 270mm or a 300mm, for the type of cut one would use a panel saw for. Kataba of the same size could also be used, but ryoba are far more common.
After 21 years of working in shops in the suburbs or (worse) sprawling edge cities, I was thrilled to move to a storefront on Willard Street in Covington, Ky. It has exceeded every expectation, and I have forged a lot of great relationships with nearby woodworkers, metalworkers, carpenters and glass artists.
On top of that, the architecture is an endless source of inspiration, offering pattern, shadow, ornament and form. And my store’s plate-glass windows are like a high-definition television tuned to the human dramas on the sidewalks. Here are my three favorite tales from the last two years.
Sprinting in the City
While my daughter Katy and I were walking back to the store from lunch, I challenged her to a foot race down Ninth Street. She declined. But as we turned onto Ninth, she changed her mind and took off running. I pursued her – sprinting at top speed.
It was a spring day, and all the cars lined up at the stoplight on Ninth Street had their windows open. And the drivers and passengers started yelling at us.
“Hey! You leave her alone!” one driver yelled.
“Stop chasing her!” another screamed. “I’ll call the cops!”
I started laughing so hard I lost the race.
Money Doesn’t Buy Good Taste
It’s pretty common for local residents to stop by the shop to see what I’m building. They also like to look at the completed pieces of furniture waiting to go to customers.
One day a woman stopped by who was looking for work cleaning bathrooms (sorry, I clean my own toilets). After walking in she rushed to the back of the room, dropped to her knees and started examining the fretwork on the staked dining table we use as a desk. She spent a few minutes examining that table, then moved to the aumbry to examine the carving. Then one of my chairs.
She went on a rant about store-bought furniture that any woodworker would recognize. This woman, who you might think is homeless, had really good taste in furniture. (Better taste than my suburban neighbors on the whole.)
If it Looks Like a Crime Scene…
Last winter when I was building the 1505 Loffelholz workbench I was having a heck of a time getting the tail vise working properly. After a frustrating day of adjusting it and failing, I gave up and decided to go home.
I locked the shop’s door and walked to my truck. I had a sudden idea on adjusting the vise that stopped me dead in my tracks. I turned around, unlocked the shop door and immediately slid under the bench, lying on my back. I was so excited I forgot to close the shop’s door.
After 10 minutes of working on my back, I heard someone running toward me.
“I’m calling 911! Are you OK? Are you hurt? Did they rob you?”
A guy was standing in the open doorway, out of breath, with a cellphone.
Again, I started laughing. Except for a pool of blood it looked like a crime scene. I was flat on my back, staring straight up. The door was wide open.
I know a lot of woodworkers fantasize about a cozy workshop out in the woods somewhere where they can be surrounded by nature. And be free from distractions of human society. But for me, a city workshop is best shop I’ve ever had.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Lost Art Press Storefront, Uncategorized
I had 4 comments left that I didn't get to answer that I'll do in my blog. I was trying to fix my comment to Bob Demers comment when things went south on me on the midnight express. Paraphrasing what Bob said - I should get the draw bore pins from Lee Valley.
My answer to Bob was
you're talking to a stubborn old fart. I don't see the need for the draw bore pins. To my thinking they would not help and would elongate the holes reducing the effect of the pins pulling it tight. LV does have the best price on them I've seen anywhere. Besides these are something I don't see written about nor do I see a lot of pics of them.
I had this comment because I did a copy but no joy getting to a paste it. What I don't have is Bob's posted comment. I can't see any of the comments and responses to this blog post.
Ralph, my experience has been that you want to sharpen pins to a small tip almost like a pencil such that the tip of the pin will hit inside the offset hole and then also inside the back hole. This makes pins required to be about 50% longer so that you can cut off the pointed tip entirely on
I agree with you on the pin points. Unfortunately I beat the snot out of that pin driving it out. I couldn't tell what the point of it looked like. I will make sure that the next ones will have a longer point.
I did miss what you asked. I didn't measure how much I offset the dimple from the drill bit mark. I made it above the 'outside circle' made by the drill bit. If I had to guess, I would say maybe it was a 16th and no more.
I've thought about replacing the boiler but I'm sticking with what I got for now. It will still heat the house even if I lose power. It doesn't have the current loss of power cutout that furnaces today have. Another problem is removing the asbestos on the furnace and piping. My last estimate about 8-10 years ago was $3500. No plumber will replace the boiler because of it.
These are the comments I couldn't answer and I don't know the status of the ones I did. Another blogger quirk that I can't seem to remember. Has anyone else that uses this platform have this particular problem? I started a Word Press blog but I like the simplicity of this blogger. Besides I don't know how to migrate all my posts from blogger to Word Press. I have a lot of keyboard diarrhea to move from one to the other.
|the foot is twist free and ready to mortise|
|mine #6 on the right|
|the plane in action|
|my #7 and a unwanted #6 now|
|no hiccups encountered|
|sometimes you get lucky|
|I didn't get lucky with this|
|the end cuts|
What does sic mean?
answer - it is Latin for thus or just as It is usually used in brackets after a quote or copied word(s) to show that it is exactly quoted/copied from the original
I’ve just posted a blog entry that shows the evolution of the Crucible Improved Pattern Dividers (and explained why they have that name. Check it out here.
— Christopher Schwarz
Filed under: Crucible Tool, Uncategorized
“ … For the comfort and seemliness of our furniture will decide the background of our home; whether it is to be a place we can truly rejoice in and be proud of, or whether it is to be a shoddy sort of place, a mean, vulgar sort of place. And these things do not depend upon whether a man is rich or poor. A rich man’s house can be innately vulgar, and a poor man’s house have real charm. It all depends upon what we are trying to do and how we set about doing it.
It is all part of the last defence, which is honesty of workmanship and purpose, qualities that were by no means the hallmark of the mass-produced furniture that flooded the market before the war, much of which had for its only purpose to tempt people to buy meretricious stuff which they did not really need and to push good, honest workmanship into the background. The man who has sufficient skill to make his own furniture need never succumb to this kind of temptation. For he at least knows how things ought to be done, he understands good construction and should have a keen eye for all the paltry makeshifts by which weaknesses and defects are hidden in the shoddy article. It is one of the evils of our time that so many men do not know how things are done. The nature of their work has been divorced from making; and it is from making, something, anything, soundly and well, that we get our main training of eye as well as hand.
Allied with this last defence comes beauty a shy quality in which good taste must combine with good workmanship and which even then refuses to be exactly defined. So many things in the home contribute to it; comfort, order, colour, charm, all reflecting something of the personality of the man and woman about whom the home centres, so that in thinking of “home” we think of a unity into which all are gathered—father, mother, children, background. And beauty becomes the first defence of the home as well as the last when it helps to keep boys or girls poised and steady when they are away from it, seeing it with new eyes just because they are away and are no longer blinded by familiarity, and giving them a standard by which to judge the outer world. The man who is honest with himself, honest with his work, and anxious to make good, honest things, is laying the foundation of such a standard. And beauty will not be far behind, indeed must follow, if he will put the best of his mind and will to it:
‘ … look where our dizziest spires are saying
What the hands of a man did up in the sky;
Drenched before you have heard the thunder,
White before you have felt the snow;
For the giants lift up their hands to wonder
How high the hands of a man could go.’ ”
—Charles Hayward, The Woodworker magazine, 1942; the poem Hayward references at the end is by G. K. Chesterton, titled “For Four Guilds: III. The Stone-Masons,” from the book “The Ballad of St. Barbara: And Other Verses”
Filed under: Honest Labour, Uncategorized