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This update will be another lump job like the previous one. It is mostly ancillary tools and do-dads that make the road less bumpy.
|sharpening stuff is a bit on the lean side|
Having sharp tools is very important and I want to impress this on Miles. He'll be young enough that it will probably become second nature with him.
|hand power required|
The 1/2" breast drill (in the box) will be rehabbed and given to Miles. I had bought him a set of auger bits but I returned them. Out of eight bits, 7 of them had no threads on the lead screw. Useless, so back they went. I want to see the next set before I buy another. Undecided on getting him a small eggbeater drill. I saw one on the hyperkitten site and I didn't get it like an idiot.
|basic shaping and finishing set|
|flattened and shined the sole, the retaining bar, and the thumbscrews|
|I will have to strip and paint this now|
|Miles's Olsen coping saw|
|this is what won't stay put|
|the second drawer|
|last joint going together off the saw|
|dry square ok|
|snug fit between the slides.|
|cleaned the bench|
|a plug for Autosol|
|it's not twisted|
- I rely on my bench to be flat. I can check it for twist but I don't have anything 8 foot long to check it for flat with. I used a lot of critical eyeballing along with copious scratching of the bald spot to check it for flat.
|second dovetail job today|
|2nd one went together off the saw too|
|it's going where the second drawer is cooking away|
|it will be a tray for the top of the tool cabinet|
|this drawer is going away|
Did you know that the wheel on the game show 'Wheel of Fortune' is 8 and 1/2 feet in diameter?
Here's a small but very sturdy little bench I made a while ago being sold by a friend of mine. It measures 42" wide x 24" deep x 37" high and would make an ideal bench for a small workshop or as a second bench. The base was made from 4" square pine (I don't remember painting it that colour!) and the top is 2 1/2" solid beech. The two bench stops can be used in the multiple holes and making it ideal for hand planning. The low stretcher and relatively high top means you can work sitting down with your knees under, great for chopping out dovetails.
The wooden leg vice has a massive 2 1/2" diameter wooden screw (also made by me) which is a pleasure to use. You can see the E Bay listing here.
I’ve gotten back working on my version of George Washington’s partner’s desk. (I posted about scratch-stocks used on the legs and other inexpensive shop-made tools I’ve used.) Today, take a look at the setup and process to make George’s faux drawers, which are found on the ends of the original desk. In my version the back sections are also faux – if it were a true partner’s desk it would have functioning drawers on both sides.
This weekend we loaded up our belongings and moved onto the Science Park where our new and permanent home now is. It took over a year to complete the outside but the inside will take just a few more weeks. It was a mixed week of sad and happy emotions because we’ve made friends and […]
|good selection of squares|
|What I want to add to the square till|
|most of the layout/measuring stuff is in the top two tills|
I got hooked on the Lee Valley sliding square and it gets a lot of use in my shop. I traded a 6" Delta jointer for it. I think I got the better part of that deal. The only thing I gave him that I don't use much myself anymore is the 24" centering rule.
|3 marking gauges|
|both are single pin with dual beams|
|the only difference|
|he'll be getting one of these for sure|
|3" mortise gauge|
|has long length, sharp pins|
|the final part of the layout and measuring herd|
|first drawer bottom installed|
|it's now a C bend|
|prepping the stock for the second drawer|
|I need to find a home for this|
Did you know that a qubit in Quantum Computing is a two state unit of quantum information?
We posted this video yesterday just to help you see that it is simple to correct flawed output on new saws if the saw is resharpenablle which most push stroke back saws mad in the `uk are and most pulls stroke, Japanese-type saws are not. It takes me about 3-4 minutes to sharpen almost and […]
I was by Lesley Caudle’s sawmill last week and observed his latest Alaskan sawmill setup in action.
Lesley was our source for the workbench kit Chris and I used in Roubo Workbench: by Hand & Power. He is also the source for the materials for the Moravian workbench classes I teach. Lesley sells Roubo workbench kits and will ship them as well (firstname.lastname@example.org).
Lesley processes a lot of big logs that most mills can’t handle; the better ones become workbench tops and parts. The lesser quality logs will be sawn into railroad ties and pallet lumber. Some are live sawn into slabs for customers.
Lesley uses a band saw mill that does most of the work but for the really big logs to fit on the band mill he has to first saw them in half with an Alaskan mill powered by two chainsaws. This ain’t a kiddy set up either, the two power heads are Stihl MS 880’s, the largest saws Stihl makes (9 hp each). A 66″ double end saw bar connects the two.
I shot this short video of mill in action on a 48″ white oak, it’s quite a trick.
— Will Myers
One of the more recent additions to the WW18thC conference has been Ted Boscana’s crew from the CW housewright shop. I never fail to learn a lot from these presentation/demonstrations and find Ted to be enjoyable company when we are together. This year the Joiner’s Gang was reproducing some architectural-scale cornice moldings and I found their approach to be immensely engaging.
Ted divvied up the sections of the molding profile among his posse of Amanda, Peter, and Scott and they set to work.
Although the scale at which they were working lends itself to segmented work, they were also demonstrating some of the complex planes in the CW collection.
As a finale, with one of the large complex molding planes, Ted placed his full weight over the plane body and the posse pulled him along on top of the workpiece with a rope.
PopWood Playback is a series we started on YouTube at the beginning of the year where we share the best woodworking videos of the week. If you have a video that you made or a video that you are in to, leave a link in the comment section and we’ll consider it for next week! Congrats to the winner of the Bora Roller Stands – Douglas D. of Evansville, MN! Top […]
The post PopWood Playback #7 | Top Woodworking Videos of the Week appeared first on Popular Woodworking Magazine.
Feel free to chime in on anything you think I need to add or maybe take away. I am not shooting for getting every toy available but a decent starting set for him to learn and grow with. He can add/subtract as he wants if it keeps up with it.
|Miles's toolbox and tills|
|the big toolbox|
|it's on a rolling dolly|
|the saw till|
|I'll be putting the coping saw in the lid|
|rip and crosscut panel saws|
I think I'm set on saws for Miles. He should be able to build whatever he wants with this set. A couple of things I want to add to the saw till is a saw set and some files so he can sharpen these. He can make his own saw vise as a shop project.
|tote screw and a carbide bit to drill holes|
|the coping saw holder from my saw till|
|corners were too tight|
|screws punched through|
|room for another saw|
Tomorrow I'll post about the measuring do-dads I stuffed in the toolbox.
Did you know that the Great White Shark is the largest predatory fish in the world?
There is a point with every new house when it finally feels like home. Today is that day at 837 Willard St. in Covington, Ky.
Thanks to the help of countless friends, our storefront is officially a nice place to work. The clamps hang on the walls (thanks Brendan). The garage out back holds our few machines (thanks 347 people who helped with this project). And we have a coffee maker (thanks Nespresso).
On Saturday morning, we are launching the first woodworking class here at our storefront. We are vehemently not a school – we don’t have a name for it or a formal organization. This is just one of the many small things that we hope to do to give back to the woodworking community and Covington.
Interestingly, the tipping point that made the storefront feel like home had nothing to do with restoring the building, adding electrical service or draining my savings for two new roofs. Instead, it was the arrival of Megan Fitzpatrick and Brendan Gaffney as everyday co-workers.
In general, group shops can be tricky. There’s always a turd or 10 who ruin it for everyone else. Someone who clogs the dust collector and walks away. Someone who tilts the table saw blade 2° and walks away. Someone who dulls all your chisels. Or puts a cold drink on your finished project parts. Or…. I could go on.
I’ve been working with Megan for about 20 years. She’s a slob, but a thoughtful, empathetic rule-following slob. And so she is easy to work with in the shop. I’ve only been working with Brendan for about six months, and he’s an energetic woodworker who is – like Megan – simply a totally decent person.
Each of us has different way of making a living. I publish books and make furniture and tools. Megan is doing a lot of editing (for me and others), teaching and furniture making. Brendan is making furniture, tools and is working for Lost Art Press, helping with maps and technical illustrations.
In six months, this could all be different, but that’s OK. What I can say is that there will definitely be woodworking going on here, much to the bemusement of the 9th Street streetwalkers and the delight of the elementary kids who watch us everyday after school.
We’re also glad that our readers are part of this, whether they take a class, visit us on our open days (the second Saturday of every month) or commission a piece of furniture. Though furniture making is usually a solitary pursuit these days, it doesn’t have to be.
You just need the right people.
— Christopher Schwarz
The following is the list of events we will be participating in this year.
Issue Four Packing Party – March 23rd - 24th
This time around we have another bunch of people joining us for the big packing party for Issue Four. Slots all filled by now but we recommend you get on the waiting list if you have genuine interest in joining us (you never know what may come up). This will be the first party in our new timber frame workshop. We will be wrapping mags, filling ourselves with delicious food, and communing over craftsmanship. Read about the previous packing parties here.
Port Townsend School of Woodworking – April 23rd - 27th: “Table From Rough Boards”
I will be teaching a five-day class as an introduction pre-industrial (hand-tool-only) table making. We will be building a taper-legged table with a breadboard top and a drawer. Last I heard there were only a few spots left. You can sign up for the class here.
Lie-Nielsen Workshop - June 16th - 17th Workshop: “Build a Table with Hand Tools”
This is a hand tools meat-and-potatoes kind of class - an introduction to the hand-tool-only approach to building a table. I’ll bring period originals along for students to examine to help inform their working tolerances. The goal is to show how to work with pre-industrial efficiency. Sign-up for the workshop here.
Lie-Nielsen Open House – July 13th - 14th
Always a highlight of the year. Come hang out with like-minded hand tool fanatics. No cover charge. Also, join us for the Saturday evening lobster dinner. Maine, hand tools, lobster, and beer... What more could you ask for? More info here.
Pre-orders for Issue Five Open! – August 1st
Stay tuned for more info.
Issue Five Packing Party – End of September (Date TBD)
Stay tuned for more info.
Leonard’s Mills Living History Days Event – Early October
Every year my family interprets 1790s rural Maine life. I will have my portable Nicholson bench and a full chest of tools to demonstrate 18th-century cabinetmaking all weekend. More info here.
We’ll start taking orders for the Lost Art Press chore coat at noon (Eastern time) on Monday, Feb. 19. There are lots of important things to know about our chore coat, so we want to give you detailed information so that you can decide if this jacket is for you.
- We have ordered enough fabric for about 300 jackets. The price will be $185 delivered in the United States. For this first run, we are going to ship only to the United States so we can exterminate all the bugs in our system. I promise there are bugs.
- The price of $185 might seem high to some of you. Actually, it’s ridiculously low for this jacket. And this is the lowest price we’ll ever offer it. The fabric is soft and strong. The craftsmanship and the stitching is superb (from Portland, Ore.). And the design is 100-percent Tom Bonamici. Tom is a woodworker and designer who loves this coat form as much as I do. You’ll never find a better-tailored example.
- We are not a clothing company. We are making this coat the way we make furniture. Custom buttons. Custom embroidered label. Lots of handwork. So we want to discourage the unfortunate activity of customers who use clothing companies like a virtual dressing room. We will accept returns on the coat for 30 days. After that, we will accept returns only for a defect in the making.
- The jackets will be stitched in March 2018. We are ordering each jacket based on what you order. This is short-run, custom stuff.
- As a result, we can only afford to offer a limited number of sizes. If this run is a success, we might be able to expand the sizes we offer in the future.
- This is important: Before you order, you need to measure one of your favorite garments and compare it with our chart below to figure out what size is right for you. These jackets run a little lean, but they aren’t “mustache wax hipster lean.” I usually wear a size large, and I easily fit into a size medium for the photos for this jacket.
I know we cannot please everyone with this jacket. I also know that I do not want to run a clothing empire. As a result, we’re going to offer the sizes we can with the quality that makes us happy. I have said many times that I want to be buried with my Lie-Nielsen No. 8. Know that I’ll be wearing this jacket as I clutch my jointer plane.
So let’s get started. This is going to be fun.
Grab Your Favorite Garment
Don’t be intimidated. As a woodworker, you are eminently qualified to take a few measurements. It’s critical to measure a garment that you already own before you order your work coat. Take a heavy overshirt or light jacket (unlined, please), button or zip it up, lay it down flat on a flat surface and take the four measurements below.
SLEEVE: Measure from the shoulder seam to the end of the cuff.
SHOULDER-SHOULDER: Measure from shoulder seam to shoulder seam.
PIT-PIT: Measure from the armpit to the armpit. Don’t inhale.
LENGTH: Measure from the collar seam to the bottom back hem.
Now, think critically. Do you like how your garment fits? How do you layer other clothes with it, and how do you think you’ll wear your work coat? Chris likes to fit a sweater under his work coat, while Tom usually wears it with only a light shirt underneath and layers over the top. Compare your results to the chart (below) showing the measurements of our work coat, and make an educated decision.
A Note on Fit
Garments have to have a base pattern of “something-or-another.” We chose a “regular” fit, akin to a pair of Levi 501s – not too tight, not too loose. If you usually buy your clothes at Walmart, this is going to feel slimmer than normal. If you usually buy from Zara, then this will feel like a circus tent. The lesson? Measure and compare! Our base pattern was taken from a vintage 1960s-era French chore coat, and we tweaked it until we liked it.
A Note on Extended Sizes
If, after measuring and comparing as described above, you learn that you’re too big or small to fit this coat, please don’t order one anyway and hope that it will magically work out. If you’re tempted to email and ask why we’re not producing a XXXL Extra Short, or a Super Tall Super Skinny size, just know that we’re a tiny company with limited bandwidth.
Any time another size is added to a garment run, it adds a disproportionate amount of cost and complexity. So we’re starting with five sizes that are in the middle of the usual spectrum. And honestly, it’s unlikely we’ll get to doing “tall” sizes or “short” sizes anytime soon – the cost of pattern adjustments and inventorying unusual sizes is just beyond our means.
— Christopher Schwarz & Tom Bonamici
I installed the 2nd lock the other day. The first one was here – https://pfollansbee.wordpress.com/2018/02/08/locks
This one was easier because I was fitting it in a chest, not a box. I don’t often do these so I cut an entire housing in a piece of scrap first.
After taking some measurements from the lock, I scribed a centerline and then located the keyhole. When I bored it, I used a square to help align the bit.
One step I forgot on the box lock the other day was the housing on the top edge of the rail/box front. Here I marked it out with a chisel, then chopped & pared it. This notch is quite shallow, but helps snug the lock down into place.
Next comes sawing, chopping and paring to cut the multi-tiered housing for the lock and its moving parts. I scribed the limits with an awl & square, and marking gauge.
When chopping, I braced my hip/gut against the chest front to support it while knocking against it. I wish I had cut this when the parts were un-assembled…but if wishes were horses, beggars would ride.
It’s easy to cut the depth of this housing un-even. I kept chopping and then paring across the grain.
This is the housing just about done – it needs to go lower to reach down to the scribed line.
At this point, I got the lock ready to install, but first had to extend the keyhole. I scribed about the bottom of the key, and bored & chopped the rest.
Still not installed; I get it this far – then scribe the rectangle where the staple from the lid will fall into the lock. That wood needs to be cut away.
At this stage, I’ve nailed the lock in place, and added the escutcheon too. Its nails are quite short, if they are too long, they can interfere with the lock. Once it’s done, I lock the staple in place and mark the underside of its plate with a Sharpie/felt marker – then close the chest lid. And lean on it.
That leaves some impressions in the underside of the chest lid. Two divots from the feet of the staple. And a smudgy black rectangle showing where to pare the lid to engage the plate. I took a small carving gouge to hollow out a spot for the staple’s feet.
A benefit of a pine lid is that this operation is easily done. Well, still awkward up in the air, but it’s not oak at least.
Once I had it where I wanted it, I bored pilot holes for the nails. Reamed those holes, and drove the nails.
Then, test the lock & key. If all goes well, then you clinch those nails on top of the lid.
I wanted to see how the lock worked from the inside. But it’s very dark in there. If you’re going to be locked inside for any duration, I suggest bringing a light.
|Chhattisgarh Teak Forest|
The average Indian's ignorance of timbers, their type, variety and characteristics, is odd given that this country has a long tradition of using wood products. The Subcontinent's forests at one time were vast and contained innumerable species of excellent furniture grade tree species.
Writing in 1929, Hugh Trotter, forest economist at the Forest Research Institute at Dehra Dun, observed: "For high class furniture, cabinet-making and decorative panel work, there are several very ornamental and excellent woods in India. The chief characteristics required for these uses are nonliability to crack and split, retention of shape, ease of working, and good colour, figure and grain."
So important was timber and its uses in India that a forest products laboratory was set up in Dehra Dun in 1906. In the pre-WW II era it was "the largest, and probably the best equipped of any Forest Research Institute in the world, and the advice and experience of the many specialists employed there are always at the disposal of timber users and others, whether large or small, without any charge." [Trotter 1940]
The institute at Dehra Dun still exists and the use of wood is continuously rising in this country. Yet, general awareness about woods remains low. Poor quality factory made furniture, mostly of plywood disguised with layers of wood veneers, are hoisted as objects of desire. Few customers care to look beneath the superficial shine of chemical finishes or care about matters such as wood grain, figure or durability.
In the past, customers of fine furniture and cabinetry appear to have been far more discerning. This was particularly true of the country's European population They favoured a variety of local woods and much of the excellent furniture crafted here was also exported to Europe, chiefly Britain.
While some of the woods once so popular are well-known names even today, many others are long forgotten.
Of the 15 top cabinet grade woods of yesteryears listed in Trotter's invaluable handbook on common Indian timbers, only a handful continue to be well known to the public. These include Teak, Sheesham, Walnut and Mahogany. These woods continue to be commonly used for fine furniture and cabinetry.
Three of the woods in Trotter's list are now so scarce that they are either in the endangered list or are regarded as under severe threat. Chloroxylon swietenia (satin wood), for instance, a highly attractive and durable wood has virtually disappeared from world markets and is on the IUCN Red List. This unmatched wood is found in small quantities in south India and Sri Lanka.
The famous Andaman Padauk (Pterocarpus dalbergioides) too has largely disappeared although it is not officially protected. Similarly, East Indian Rosewood (Dalbergia latifolia) is on the CITES list and can only be found in the black market in small quantities.
Of the eight remaining woods, a few continue to be used and cherished by Indian cabinet makers. These include Toon (Cedrela toona) as well as the Sirish and Kokko family (Albizzia species).
The rest, including Betula alnoides (Indian birch), Chukrasia tabularis (chikrassy), Phoebe species (bonsum), Pteroearpus marsupium, Terminalia bialata (silver grey) and Terminalia tomentosa (Indian Laurel), seem to have gone off the radar, at least as far as cabinet making is concerned.
It's a pity that a number of excellent cabinet grade woods native to this country are no longer available or used. Some discerning woodworkers are, however, making a special effort to pick up and use local woods when possible.
16 February 2018
Some local woods used by woodworkers
Abid Ali (North India)
Indian red cedar or toon. This is wonderful wood to work with, very easy to plane takes finish well. Love the colour.
Walnut. The Kashmiri walnut when you can get some is pleasure to work on, I like this wood when the project demands a bit of carving.
Teak. Yes I know you will say who doesn't like teak. Simple fact that it's a very easy to work teak and you get excellent finishing results puts it in the top 5. The put off is price.
Indian rain tree/Sirish/ monkey pod. This is a wood I came across in guitar workshop amazing grain pattern, tough to work but it's worth the effort once you see the finished product.
Deodar. This is a amazing softwood. Excellent to work with, this wood is quite resistant to decay, insect attacks can be used for outdoor projects too. Only problem is availability outside of Kashmir and Himachal.
Toona Ciliata:, Common name Toon Indian Mahogany etc
Pros: Takes a very good polish, very easy to work, readily available, very good texture; Costs 1200-1400 per cft. Cons: Very susceptible to borer especially sapwood. This wood cannot be stocked for long time as sapwood will attract borer inevitably; This is not a very stable wood and bows significantly during seasonal changes. Contains some characteristics of mahogany family and interlocking grains sometimes pose challenge with hand planing (tear out).
Baadam (Terminalia cantappa). Indian almond is found primarily in the north eastern forests. Heartwood is golden brown and sapwood is white to yellow. Grain and texture are very similar to teak. Pros: Takes polish very well and after polish resembles teak; price tag is relatively low around 1400 per cft; termite resistant; relatively stable wood; machining and chiselling is easy. Cons: Heavy interlocked grain; heavy contrast between sapwood and heartwood poses challenge to staining; primary source is Assam and due to transport restriction, availability is restricted.
Bhola (Merbau): This is a wonderful wood respected by local carpenters who rank this wood after teak. Bhola is a very stable wood, used for window, cot preparation. Assam Bhola is best one, although it is also imported from Indonesia and Malaysia. Heartwood is dark brown and sapwood yellowish orange in colour. Doesn't have very distinctive figure as texture is usually dark. In my house, Bhola is used in windows and doors and has survived the humid weather for more than 30 years. Pros: A very stable wood, robust and heavy; very easy to chisel and plane; gives a good lustre after finish; termite resistant. Cons: Not a heavily figured wood and price tag is on higher side 2600-2900 per cft.
Champ (Michelia Champaca): A highly figured wood gives a fairly good competition to other figured species like teak and Sheesham. Available in north eastern provinces specially from Assam. Texture is greenish brown to yellowish brown. Used for window and doors frames and panels. Pros: Easy to work; finishes well, termite resistant and reasonably priced, Rs. 1400-1700 per cft. Cons: This wood takes a long time to season. Air drying should be carefully done to avoid twist and cups.
Black Sirish (Albizia odoratissima). This wood belongs to the Fabaceae family and should not be confused with Monkey Pod (Albizia saman). Also known as Kakur Sirish or Kakur locally. Heartwood is yellowish brown to dark brown in colour with black patterns of annual rings looks wonderful after polish. Pros: Relatively cheaper rate Rs 1000 per cft; pungent smell repels termites and other insects; Gives a very good surface; Very sturdy, durable wood used for tables, stools and benches. Cons: A very hard wood to work. Need to cover mouth, face and eye while sawing and machining, as smell is very pungent and some people may have allergic reaction to it.
Two more woods need worth mentioning, Neem and Acacia. Both are very hard to work but produces very durable furniture. People here make cots with Acacia wood, which gives decent surface polish and are economical substitutes for more expensive woods.
Vinay Oommen (South India)
The following are the woods that I use often though I am not sure if they are local. They are available in Vellore locally, but may be sourced from central India or Abroad.
Karuvelam: (Babool wood). This is a very hard wood, with beautiful grain. So hard that it is difficult to work with. But this is used in door posts etc. It is cheap in Vellore (about Rs 1250 per cubic foot). The problem with this wood is that it sometimes has fibres that are at right angles to the main grain (I am not sure of the technical term for this) but this this makes it difficult to get a good smooth finish and uniform stain.
Neem: This is again a hard, cheap wood (Rs 1200 or so per cubic foot). Very difficult to work with, but can be used for structural work. The tree is abundant in south India.
Mango. Not so commonly available, as I think people prefer the mangoes rather than the wood. But when it is available it is a light coloured, wood, and cheap (Rs 1250). This is also very fibrous with fibres running all over the place. I think it is used in Pepperfry.com type of furniture a lot to make shelves etc. I would use it if I get my hands on it, but the trees are not so common especially I think with people now going for hybrid mango trees.
Naatu Teak (native teak). This is cheaper than the Burmese teak or Nigerian teak. I think the native teak refers to the fact that it is Indian teak. The trees are usually thinner and so one only gets thinner reapers, sometimes with the soft wood also included. It is used to make teak wood beading. But this is far cheaper than the other teak varieties, so that if a project is planned with small thin strips, this is the wood I would go for.
Country wood: This is a loose term I think that is given to other trees that have little commercial value. This is usually handled by the smaller lumber mills. One of my students got a whole small tree trunk for about 1000 rupees or so, that he used to make a martial arts dummy.
The other wood that I use a lot but is not local is Vengai. This is more expensive (about 2500-3000) per cubic foot. At this range we also get Irulai, and some imported teak varieties. Padauk is also got at this range, but I hear it is imported now.
With the challenge of interpreting a decorated 18th century tool chest, the three maestros from the Anthony Hay Shop – Kaare Loftheim, Brian Weldy, and Bill Pavlak – took stage to discuss and demonstrate the paths that they had taken individually to fulfill the task. Soon the small stage was filled with tool chests old and new.
I found this to be a fascinating discourse on not only the organization of tools within the chest but the selection and availability of the tools themselves. Three makers, three approaches to the problem.
I think this was Kaare’s earlier replica of the Seaton tool chest.
Happy Chinese New Year! Hello Kitty and Giant Cypress wish you a prosperous Year of the Dog.
I grew up working in my dad’s custom woodworking shop standing in a pile of shavings on the outfeed side of a 24″ planer. Oh sure, we had dust collection, but we (me) frequently got too lazy to go empty the ten-foot-cubed collector into fifty-five gallon drums and drag them to the dumpster. So frequently I stood in a pile of shavings. Ah, the luxury of the good old days! […]
|starting to rust on the back|
|two patent dates and a rusting frog area|
|small parts out of the EvapoRust|
|rinsed and blown dry|
|came pretty clean with Krud Kutter and a blue scrubbie|
|inside doesn't look the same|
|sandpaper always works|
|this knob has had the snot beat out of it|
|shined on the buffer|
|Lee Valley sent another one|
|road tested my chamfer brace bit|
|filed it some|
|easier to make the chamfers|
|did a better job of filing it|
|far left hole is toast|
|tried it in pine|
|sticky 80 grit|
|it's pretty close to flat|
|Krud Kutter cut the crud|
|that is some nasty looking grunge|
Did you know that a kazoo is classified as a membranophone?