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In this episode of 360 with 360WoodWorking Mark Arnold of Boston Woodworking discusses his time at North Bennet Street School, editing and writing for American Period Furniture and a woodworking technique known as sgraffito, which he’s teaching at the Marc Adams School of Woodworking in late June 2017.
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.
Don Williams will be selling first edition plates from “l’Art du Menuisier” at his booth at Handworks next month. Don purchased these unbound original plates recently and has decided to sell them to the public.
Real-deal copperplates are stunning things of beauty, suitable for framing. And originals from Roubo are quite rare.
Don has been posting the plates he’s selling on his blog. Here are some links so you can read more:
— Christopher Schwarz
Filed under: Uncategorized
|sink J clip|
|one of the better J clips|
|the J part|
|plates for the plate rail|
|this determines the plate rail groove|
|what I came up with|
|I think I'll go with 3 grooves|
|the before pic|
|new book came in|
|new tool catalog|
|I bought two more side bead planes from Josh too|
|4 beading planes|
|my three side bead planes|
|debating on getting the 5/16" size|
|my wife bought this for me|
What is a coutelier?
answer - a knife maker
In my ongoing quest to learn to turn and, to a lesser extent, shrink my mountain of offcuts I present the next beginner project that I have tackled. The Honey Dipper.
There is not much to say about the honey dipper, the name pretty well sums it up. It is another simple lathe project that lends itself to beginner success. There is ample opportunity for practice with basic shaping and working with the parting tool. The honey dipper can be any shape or size that your imagination can contrive or available material will support. However, I thought I should at least set forth a goal. Part of the skill building for me is to develope the ability to execute whatevere desired shape and size that I want. To that end, I worked up a design drawing for a simple honey dipper.
I’m not going to show photos of the progression. What I will show are the first two honey dippers that I have turned on the lathe. The first one is the prototype prior to the design drawing.
Here is my first attempt at matching the design drawing.
As you can see, its not an exacting execution. It is, however, a perfectly acceptable and functional honey dipper. I’ll keep trying.
This is one of those quick 15-20 minute projects that can be done whenever I just want a few minutes in the shop. I need to find a basket or build a box to start collecting these type of projects in. I think they will come in handy as gifts.
Anyway, there you go. Another simple beginner project for those of us just starting out and possibly a fun quick project for you experienced turners.
Well the leather sewing machine belt drive cord gave up the ghost. A little disappointing that it only lasted about three weeks of moderate use. Rather than waste my remaining leather cord, I made a trip to the Big Box and bought a fifty foot hank of 7mm solid braid polyester cord. I let you know how this stuff holds up.
This next bit is about an accessory. Once I started using this lathe it became immediately apparent that it would be impossible to turn short lengths of wood or oddly shaped pieces. There would be no area on which the drive cord would run in those instances. What I needed was a drive mandrel that would serve to accommodate the cord and transfer that energy to the workpiece.
After doing a bunch of searching online, I came up empty. There is plenty of information to be found on creating a drive mandrel for bowl turning on a pole lathe, but practically nothing about a mandrel that was independently supported from the actual workpiece. So I did a little head scratching and sketching and came up with an idea that seemed promising.
My idea is essentially the same as the drive pulley on a typical treadle (flywheel) lathe except I only need to have a bearing to support the end of the mandrel. There is no need for thrust bearings. The existing dead centers continue to serve in that capacity. In use, the drive mandrel and the workpiece are “pinched” between the existing dead centers. The bearing mounted on a removable puppet serves to support the juncture of the mandrel and workpiece.
So I ordered a 1-1/2″ bore flange mount bearing and a 1MT drive center off of fleabay.
The mandrel I turned from hard maple. I sleeved each end of the mandrel with copper to prevent splitting and add durability. A 1-1/4″ copper slip coupling has a 1.9ish outside diameter and was a friction fit to the bearing once I added a shim fashioned from aluminum tape. The 1MT drive center was installed in a stepped hole same as the dead centers.
The tricky bit was getting everything to line up along the same centerline. Time and patience paid off and everything lines up reasonably well.
The thing works great! The bearing is new and arrived somewhat stiff, so it takes a little more spring and little more effort to push the foot board. The bearing is beginning to loosen with use though. I also needed to put together a smaller tool rest. The new one is about 5″ wide and utilizes the same locking base as the the large one.
Now I can turn just about any length of wood I want.
A short clip taken before the drive cord swap.
Notes 2 Greg Merritt
We have a wonderful companion to the previous print in my inventory of First Edition prints from L’Art du Menuisier, this one being “Diagrams and Illustrations of a table and a camp bed with their Developments.” Again this page is in near-excellent condition with just the teensiest bit of staining along the top and bottom edges (this would be completely hidden by the mat when you get it framed.
The plate was drawn and engraved by Roubo himself.
If you have ever wanted to own a genuine piece of Rouboiana, this is your chance. I will be selling this print at Handworks on a first-come basis, with terms being cash, check, or Paypal if you have a smart phone and can do that at the time of the transaction.
Last Wednesday Chris Williams and I took a trip to Whitney Sawmills in search of air dried ash, oak, and elm, for a Welsh Stick Chair building session we’ll be undertaking for the John Brown book. Although this trip was ostensibly for the purpose of buying timber to build our Welsh Stick Chairs, really it was a research trip to find examples of what timber to select, and what not to select – a means to demonstrate and explore Chris’ experience and knowledge gained from building chairs for many years with John Brown.
I always enjoy trips to the timber yard, and Witney was a timber yard I’ve not been to before. So notwithstanding a flat tyre incurred on the drive through rural Herefordshire, it was a thoroughly enjoyable day out. What made it most valuable was watching Chris at work and to start to understand what he was looking…
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Filed under: Uncategorized
I assembled the frame of the wainscot chair the other day. First, I had a few tenons to fine-tune. This step includes beveling the ends with a large framing chisel.
Then inserting each tenon, marking it for drawboring, removing it & boring the hole. 18 joints, 2 pins each, I get 36 holes.
Here’s an old look at drawboring – it looks like some of that is from the book I did with Jennie Alexander, Make a Joint Stool from a Tree. https://pfollansbee.wordpress.com/2009/01/25/drawbored-mortise-and-tenon/
This picture is a little hard to read, but it’s a step called “kerfing” the joint. In this case, the rear shoulder was in the way, keeping the front shoulder from pulling up tight. So you go in there with a backsaw, and re-saw the rear shoulder. Sometimes it takes a single pass, sometimes more.
Then you knock it all together again, I have already pinned the front section and rear section separately. I was looking to get a general overall photo…but this wasn’t it.
I went to the other end of the shop, and that’s the angle. Better anyway.
Then I went higher.
Here’s the frame. This one gets a crest, two applied figures one on each side of the rear posts, then seat, then arms.
Here’s the crest, with conjectural attachment. It gets nails through the ends, down into the integral crest rail. But I never felt like those were enough to hold it in place. So I added a loose tenon between the two crests. I chopped one mortise in the wrong spot, so you see it runs wide/long.
This is as far as I got yesterday.
Inside the chest, on the sloping part of the back, I have chiselled MMXVII, just like I normally do, but I felt like it could be interesting to paint some sort of decoration on the outside too that would show the world that this is my tool chest.
Brian Eve has got his Spanish bull painted, and that looks good, but if I made a bull it would be a shameless copy.
I like beavers because they are woodworking animals, but people might think that I was from Canada (which sadly I am not).
Termites are sort of woodworking creatures as well, but I don't like those.
I have wished for an exlibris stamp for my birthday, and my daughter Laura and I did a bit of brainstorming about that. I guess that brainstorming for my part is mostly keeping quiet, but we ended up combining two of my favourite things: Newfoundland dogs and gambrel roofs.
So I enlarged our stamp suggestion and used that as a decoration. Maybe someone will think that I actually live in Newfoundland in a house that has got a gambrel roof :-)
I am pretty good at sketching gambrel roofs, but I genuinely suck at drawing Newfoundland dogs. So In order to get by I taped the print out onto the lid. I then traced all the lines and the outline of the dog using an awl. I didn't poke through the paper, but the pressure is enough to leave a faint line in the painted surface. It is very similar to how I do when I mark out for the name signs for horses that I have made earlier.
The template was removed and I just had to colour inside the lines. This would most likely have been a bit easier with a smaller paint brush.
All in all, I find that the Dutch tool chest is an interesting and satisfying project to make. The project can be completed in a variety of ways, simple or difficult according to the abilities or the desires of the maker.
My browser doesn't allow Disqus, so I'll comment here. An isocyanate reacts with an alcohol to make a urethane, so the Japanese glue you found is likely very similar to those sold here as polyurethane glues. I agree that hide glue works fine, here...
Thanks for the info! I really appreciate it.
I agree with you on hide glue, given that “here and there” implies everywhere.
In part two of this series, several techniques and tools were shown for accurately setting origin points. You can use line-of-sight, feel, extrapolation from a known diameter, edge finders, wigglers, 3D sensors and more. Accuracy is critical and although all these tools and processes work well, setting origins can be time-consuming. So, in my own shop, I often use other methods and tools to locate and set my origin points. As a […]
The post CNC Skills: Origin Points – Part Three: New Techniques appeared first on Popular Woodworking Magazine.
Many of us woodworkers experience low humidity in Winter – ever listen to your furniture pop and snap as the wood gives in to the dryness? As we move into Spring, the air again gains in moisture and often you can hear your furniture swell back toward fullness. These are drying times.
The same thing happens in the shop. Although because most shops are not as airtight as our living spaces, the trip from overly dry to moisture-laden can be more dramatic.
Editor’s note: One of the ridiculous and wonderful things we did for Joshua Klein’s book “Hands Employed Aright: The Furniture Production of Jonathan Fisher (1768-1847)” is to commission a painting of Fisher in his workshop. Klein came up with the idea as a way to show Fisher in his habitat, surrounded by many of the tools and objects connected to his life. After reading the first draft of the book, the painting is a delight to explore. In this blog entry, artist Jessica Roux explains how she created the illustration for the book.
As an illustrator, I love tackling exciting projects that combine lots of texture and old world beauty, while offering an opportunity to learn something new. When Joshua Klein contacted me about recreating a workshop scene for his upcoming book on Jonathan Fisher, I knew this project would be just that.
My work is not just drawing a picture; it involves researching, learning and translating articles and stories into compelling visual messages. I’ve worked for a variety of clients, from distilling complex economic concepts for the Sunday Business section of The New York Times to working for Smithsonian magazine on a piece about Abraham Lincoln’s funeral. I love learning new things, so when I’m presented with an opportunity to explore something I’m unfamiliar with, I take on the challenge.
The initial inspiration board Joshua put together for me was compelling. Many of the images had beautiful, rich atmospheres of golden light and warm brown colors (see above). He also provided a rough sketch and lots of reference imagery, including a lot of Fisher’s own tools.
From there, I created a sketch digitally in Photoshop, taking the technical imagery and translating it into my own drawing style. I had some help from my husband, who was kind enough to let me use him for reference in his own shop. He also showed me some of his planes and old tool collections so that I had a better understanding of size, proportion and detail.
After nailing down some more technical aspects of the sketch, we were ready to go to final. I create my finished illustrations by first creating a graphite pencil drawing, then adding color by digitally painting in Photoshop. The graphite drawing allows for a lot of texture to be added, fleshing out the contour sketch into a more realistic, dimensional space. I also really love drawing wood grain, so it was especially fun to work on a piece that incorporated so much of it.
Once the graphite pencil drawing is complete, I scan it in at a high resolution so that it can be reproduced at a larger scale than the drawing itself without loss of quality or detail. Next, I digitally paint the image in Photoshop. I first do a simple color sketch underneath the graphite drawing in order to get a sense of light and to establish the color palette.
Then I block in the colors underneath the drawing and add additional highlights, shadows, details and contrast. I like to move around the illustration going from object to object, getting the details just right, then moving onto the next item. I add adjustment layers when the piece is finished to brighten it up and give a more cohesive feel to the illustration.
I’m pleased with how the final illustration looks – it has a similar feel to the inspirational images, and it ultimately captures a sense of who Jonathan Fisher was and how he worked.
— Jessica Roux, http://jessica-roux.com
Filed under: Hands Employed Aright, Historical Images, Uncategorized
These past few weeks have been totally crazy. In the front of our shop, we're busy building three workbenches and their accoutrements for Handworks in Amana next month. In the back of the shop we're busy making saws and other stock for the show. This coming Saturday is the massive Festool Roadshow (free food, drink, gift bags, etc. - check it out) and that requires tons of legwork too. We also started a new blog of videos we found on various woodworking topics that we think others might find interesting too.
While all of this is happening, I was seriously concerned I would miss the "Small Wonders" show at the Cloisters.
I have been going to the Metropolitan Museum since my youth I grew up a few blocks away in a small tenement that is now the parking garage for a fancy building. Im also a big fan of The Cloisters, the Mets affiliated museum near the northern tip of Manhattan. The Cloisters is made up of cloisters excavated from French monasteries, indoor chapels and contemplation gardens filled with plantings of fruit trees and medicinal herbs that would have been used in medieval Europe. I like to visit the Cloisters every year or so and take in the ambiance of the gorgeous architecture, tapestries and other art.
The first and still favorite book of carving I ever owned (when I was about 8) Whittling and Woodcarving by E. J. Tangerman, which had a picture of a miniature boxwood carving from the late 15th/early 16th century from the Met's collection. It's about 2" in diameter. When I visited the Met regularly as a kid, I made it a point to search out the carving. As an adult I would regularly stop by to see it at and I'd always be filled with wonder. So I was determined to catch the show about these boxwood carvings,"Small Wonders: Gothic Boxwood Miniatures." The show is a joint project organized by the Met, Torontos Art Gallery of Ontario and the Rijksmuseum in Amsterdam and will be held in all three museums (and maybe others). The micro-carvings include prayer beads, altarpieces, coffins, skulls and other tiny creations. They are shockingly intricate and shockingly tiny. Some open up to reveal intricate tableaux. The next time I see a walnut shell, Ill be disappointed if I dont see an elaborate carved crucifixion within.
The carvings were both popular and mysterious in their own time. Henry VIII was a fan, as were many other rich and royal collectors. But the artists, and their techniques, were largely unknown. As a Dutch collector in the 17th century complained, It is regrettable that the maker of this ingenious piece has not made himself known with any sign. More recently, conservators and historians used CT scans and other scientific tests to analyze over 100 of the micro-carvings, and learned some interesting things about the carvers techniques. The most complex carvings were made in layers, with a given layer containing different figures of the tableau. The layers were then installed with tiny pegs and glued, but made to seem as if everything were carved from a single block of wood. If the carver needed access to a hard-to-reach area, he incorporated slits through which he could pole a tool through, then artfully concealed the slit in the artwork. Conservators discovered less careful, even somewhat shoddy work such as multiple holes, in some of the carvings undersides.. But peeking behind the curtain is possible only to those who dismantle the carvings, leaving the rest of us to marvel at the illusion of perfection.
According to a New York Times article about the exhibit, The original woodcarvers used foot-powered lathes, magnifying glasses made of quartz, and miniature chisels, hooks, saws and drills. The works were so detailed that individual feathers are visible on angel wings, and dragon skins are textured with thick scales. Crumbling shacks are shown with shingles missing from their gabled roofs. Crenelated spires have scalloped molding tucked along their doorways, and there are deep grout lines between bricks. Saints robes and soldiers uniforms are trimmed with buttons and embroidery, and there are nearly microscopic representations of jewelry and rosary beads.
For me, aside from my longstanding interest in one of the beads - in fact the the very one that the curators disassembled for the show - the amazing realism of the miniatures is one of the most exciting aspects of the carvings. There are also many other thrilling aspects. They have remarkable grace and fluidity. And although everything is off limits to grubby hands, some of the components within the dioramas, such as doves displayed in birdcages, can move around.
This coming Sunday (the day after the Festool Roadshow) I am going back to the Cloisters to hear a talk on these carvings by David Esterly, a scholar and master carver. I am looking forward to his insights on these miniatures. In part two of this blog I expect to have something interesting to report back.
Recently I watched a video of a Japanese woodworker using a glue called Shika TP-111 with great results. I have looked around for a supplier without luck. Have you seen this product or know where to get it? Thanks brad hanson
I’m not familiar with that glue. From what I was able to Google (and I bet you did the same thing, with the same results), it doesn’t seem to be available in the U.S., which isn’t a surprise, since there are lots of things that are made overseas that don’t make it here.
I did find this page which describes the glue as an “isocyanate type wood adhesive”. Isocyanate adhesives are used in woodworking, and they appear to require a curing agent. It seems that its primary use is in making particleboard, OSB, and MDF, as opposed to joinery. The only suppliers of isocyanate adhesives that I could find are commercial agents, who don’t seem to be set up to sell to individuals.
That page also mentions this tidbit: “Since the curing agent reacts with moisture in the air, seal it immediately.” This makes this adhesive pretty similar to cyanoacrylate glues. There are some CA glues for woodworking available today for hobbyist woodworkers, so you might want to give that a try.
But I always say that liquid hide glue is the best.
|these two suck|
This is the 4th application going on these and so far only the walnut is showing promise for matching the cell phone holder color.
|1600 the same day|
|the ash piece is already better than the last attempt on the right side|
|I don't know about this one|
|out of sequence pic|
|about 6 minutes after the iron went on|
|53 inches long|
I've been trying to find out what the difference is between a side bead and a 'regular' beading plane. They both make the same profile and the only thing I can see is the side bead plane has the bead at a slight angle. The regular beading plane has the bead straight up and down. There must be a reason why the side bead is tilted and why it has the name side bead.
What is a curricle?
answer - a small open carriage pulled by two horses side by side