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Mark Arnold on North Bennet, SAPFM & Sgraffito – 360w360 E.229

360 WoodWorking - 1 hour 36 min ago
Mark Arnold on North Bennet, SAPFM & Sgraffito – 360w360 E.229

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.

Continue reading Mark Arnold on North Bennet, SAPFM & Sgraffito – 360w360 E.229 at 360 WoodWorking.

At Handworks: Original Roubo Prints

Lost Art Press: Chris Schwarz - 2 hours 45 min ago

Roubo_web_lo

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:

Roubo Print 249

Roubo Print 248

Roubo Print 245

Roubo Print 239

Roubo Print #238

Roubo Print #234

Roubo Print 224

Original Roubo Print # 222

— Christopher Schwarz


Filed under: Uncategorized
Categories: Hand Tools

it's better.......

Accidental Woodworker - 4 hours 35 min ago
I woke up late this morning and I threw on some clothes and motored off to work. I didn't even stop to think about my back hurting. When I did think of it, there was nothing to feel. My back felt normal again. I did get one teeny twinge at lunch when I moved a bit suddenly but that was it. And I think that was mostly due to inertia working against me. Putting all that fat in motion, it takes a bit to slow it down. I took another day off in the shop for just in case.

sink J clip
These are are the only type of sink clips I was familiar with. There are different styles of these but they all work on the same principle.

one of the better J clips
The top of the screw has a plastic cap that keeps the screw from dimpling the sink. Especially so on the thinner gauge ones. I speak from experience on this.

the clip
This fits over a lip on the sink bottom.

the J part
The clip grips the sink. The screw bears down on the bottom of the sink and the J part is caught on the underside of the counter. This action pulls the sink down securely to the counter top. Usually two per side and maybe an extra one on the front and back, is all you need.

the nut
Once you have the sink secured the nut is run up to the bottom of the J.  This keeps the clip from loosening up. The only bad thing about these is the slot for a screwdriver at the bottom of the threaded rod that tends to break, like this one did.

plates for the plate rail
These are some of the dishes for the plate rail. These belonged to my wife's maternal grandmother and I am not involved in what plates get selected. She has also made a circuit of the local antique shops looking for other plates to display too.

this determines the plate rail groove
what I came up with
I have a soup bowl, a saucer and small plate and I measured each one from the box wall to the front of each dish.

I think I'll go with 3 grooves
Since I don't have a warm and fuzzy about what dish, plate or platter is going to be displayed, I think 3 grooves are prudent.

the before pic
The orange rust looking stuff is from the iron. I sanded this down lightly and put on the tannic acid. I am going to let this dry before I put on the iron. This is the way I did it back in December and I got good results that way.

new book came in
$98.86
I could have gotten a cheaper book but I selected this one. The Seller said it was clean, no pages missing, no notes or any writing on the pages, and the cover was intact with no damage. The lesser cost books all had some of what this one was missing.


second edition
I am no bibliophile in the true sense of the word and a first edition isn't that big of a deal to me. As long as the second edition has the exact same info that the first one has I'm ok with that.  Now that I have volume I, I can start reading it. I have been resisting the urge to read vol II until I got this one.

new tool catalog
I counted the catalogs I have now and with this one, I'm up to 14.  I now have a new obsession hobby to feed. Joshua from Hyperkitten tools sent me this one free. I ordered one from him but he had sold it and forget to remove it from the for sale list. He sent me this one to make up for that boo-boo.

I bought two more side bead planes from Josh too
I bought a 3/8" and 1/2". The 3/8" doesn't have the removable fence that is removed to make a deeper bead or to use the plane against another molding profile. Don't think it will be something I'll miss at this point.


4 beading planes
When I bought these, this is what they were called. The far left one is the newest and I got it from Caleb James. The boxing on the outside of the bead is parallel to the outside of the plane body.

my three side bead planes
These 3 are called side bead planes. The smallest at a 1/4" (left most one) has solid boxing and all 3 of the boxings are at a slight angle to the outside of the plane. Other than this, the planes are basically the same. The beading planes made a bead on the outside edge of the stock. The side bead planes put the bead slightly inboard of the edge. At least the 1/4" one does that and I'll have to wait to find out if the 3/8 and 1/2 inch ones do too.

debating on getting the 5/16" size
I found a tool site that has a London made 5/16" side bead plane. It has the removable fences and all the pics of it look pretty good. The price includes S/H but I'm on the fence with this one. I can't see how a 1/16" will make that much of a difference. I'll sharpen these two irons and road test them  tomorrow.

my wife bought this for me
My father dropped my sister and I off at this orphanage when I was two in 1956 (so I have been told). We stayed there for almost 4 years but I have very few memories of the place. The Nun that helped former residents with info about their stays here pasted on so I have no way of finding out when I got there, how long I stayed, or when I left. I found this in with my tool catalogs and I do remember the habit the nuns all wore.

accidental woodworker

trivia corner
What is a coutelier?
answer - a knife maker

Honey Dipper-000-Lathe Project 

Hillbilly Daiku - Wed, 04/26/2017 - 7:00pm

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.

Greg Merritt


Categories: Hand Tools

Pole Lathe Notes-3

Hillbilly Daiku - Wed, 04/26/2017 - 5:25pm

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


Categories: Hand Tools

@Handworks 2017 – Roubo Print 251

The Barn on White Run - Wed, 04/26/2017 - 4:14pm

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.

$250

Welsh Stick Chairs: a timber yard guide

Lost Art Press: Chris Schwarz - Wed, 04/26/2017 - 3:40pm

Over the Wireless

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.

_DPP3323

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…

View original post 437 more words


Filed under: Uncategorized
Categories: Hand Tools

wainscot chair assembly

Peter Follansbee, joiner's notes - Wed, 04/26/2017 - 3:09pm

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.


Hardcover Edition – Shop Drawings for Craftsman Furniture

Bob Lang's ReadWatchDo - Wed, 04/26/2017 - 12:25pm
One way to judge the merit of an idea is to see how long the results of that idea stay around. A long time ago I thought it would be a good idea if somebody published a book of measured … Continue reading
Categories: General Woodworking

Dutch tool chest build 6, painting and thoughts about the build.

Mulesaw - Wed, 04/26/2017 - 11:06am
There are some adventurous woodworkers out there who will make their own paint, I have tried that before with various success, but I felt that there was no need to stretch my luck anymore on this project. So I decided to go for the sure thing and find a bit of grey oil based paint.
A small DTC doesn't take much paint, so if you need to buy or mix paint yourself, a small portion wil get you a long way.

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.

For a simpler version,  the chest can be made with rabbets instead of dovetails for the side to bottom assembly, and the fall front and the lid can be made with regular battens nailed on instead of sliding dovetails and breadboard ends.
Similarly the project can be made more complex e.g. by using stopped dados or sliding dovetails for the shelf, and using breadboard ends on the fall front or perhaps use a frame and floating panel construction for the lid and the fall front. 

As I have demonstrated, the chest can be made out of reclaimed dumpster wood or pallet wood. Using this kind of wood can give some challenges in preparing the stock, but after all, it is a tool chest, and not a jewellery chest, so I can live with a less than perfect surface, as long as the chest is sturdy.

I have to accept the fact that the project was a bit too large for me to do out here. I mean physically too large. I had difficulties planing the lid and the sides due to their size, and that pestered me during most of the project.
Having completed this project, I now remember one of the reasons why I normally make smaller items out here.

I haven't added any handles to the chest, but I think I'll do that once I get home, and can use some of the handles I already have in my shop.

Painted and decorated Dutch tool chest

Newfoundland dog and gambrel roof

Scrub planed back.

Template.
 
Precision paint brush.




Categories: Hand Tools

CNC Skills: Origin Points – Part Three: New Techniques

Popular Woodworking Editors Blog - Wed, 04/26/2017 - 8:28am

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.

Categories: General Woodworking

These Are Drying Times

360 WoodWorking - Wed, 04/26/2017 - 5:31am
These Are Drying Times

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.

Continue reading These Are Drying Times at 360 WoodWorking.

The Making of a Workshop Painting

Lost Art Press: Chris Schwarz - Wed, 04/26/2017 - 4:24am

blogpost-image7

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.

blogpost-image1

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.

blogpost-image2

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.

blogpost-image3

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.

blogpost-image4

blogpost-image5

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.

blogpost-image6

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.

blogpost-image7

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
Categories: Hand Tools

OMG - 16th Century Boxwood Miniatures PT1 - and other news

Tools For Working Wood - Wed, 04/26/2017 - 4:00am

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.

Some background:

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

Giant Cypress - Wed, 04/26/2017 - 3:08am

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.

still hurting....

Accidental Woodworker - Wed, 04/26/2017 - 1:33am
The pain in my back has lessened some and my flanks don't hurt anymore. Both sides migrated the pain to the right side of my spine and it comes and goes. It is annoying having it come and go but I guess it is better than having it constantly throbbing away at me. Maybe tomorrow I'll be pain free.

0300
These 3 pieces are coming along ok. They aren't turning black as quickly as I would like, but they are getting there.

these two suck
The two pine pieces are better looking than these two ash ones. The ash has tannin in it and I expected it to be as black as the edge of space now. I put another coat of tannic acid and iron before I went to work.

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
 These 3 look good compared to the cell phone holder on the right. Forgot to snap a before pic before I put the tannic acid on them.

the ash piece is already better than the last attempt on the right side
They look good because they are wet from the tannic acid just being applied to it.

I don't know about this one
I am starting to think that maybe there is some kind of a finish on this stopping the tannic acid and iron solution to fully develop. The first clue is that circle that is still clear.

out of sequence pic
before I put on the tannic acid, I lightly sanded all the pieces with 600 grit sandpaper.

about 6 minutes after the iron went on
I put on the tannic acid and iron and they are drying up. I can see a orange rust color on the pieces that I remember from the xmas ebonizing adventure. I am feeling better about this and 4 out of 5 isn't too bad to take.


53 inches long
This took me over 20 minutes to do. I couldn't take a full swing with the plane without feeling a twinge in the back. Instead I held the plane and leaned to my left to plane a short length. Repeated this in baby steps down the length until I was done.

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.

stopped here
I was going to make the corbels but realized that would be a mistake. I haven't rounded over the edge and that needs to be done first. This was a good place to shut the lights out too.

accidental woodworker

trivia corner
What is a curricle?
answer - a small open carriage pulled by two horses side by side

Picture This CVII

Pegs and 'Tails - Tue, 04/25/2017 - 8:47pm
Harlequin tables initially enjoyed popularity from the second quarter of the eighteenth-century. Several examples are known to have been made by John Channon and Thomas Potter – both esteemed London cabinetmakers. The tables’ tri-fold tops (fig. 1) successively open to … Continue reading
Categories: Hand Tools

lie-Nielsen Event in Madrid

Toolerable - Tue, 04/25/2017 - 12:44pm
Today I had the pleasure of taking the fast train to Madrid for an LN event at Comercial Pazos in Madrid, Spain. In Europe, there aren't a whole lot of businesses that sell woodworking hand tools, so it was neat to visit the single one in Spain.

The shop itself is not big, but it's crammed to the gills with cool stuff. I'll definitely go back.

Cutis Turner was the LN representative, and his knowledge of woodworking was fascinating to all who attended. He was hosted by two Spanish woodworkers, Lorenzo and Israel.

Here are some photos of the day.






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