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Chad Stanton built an awesome Hall Table with simple tools and wood purchased from the home center in his latest episode of I Can Do That! This video will walk you through, step-by-step, the entire build. Chad uses a very modest tool set – this project is within everyone’s grasp! If you’re not familiar with our I Can Do That series, check out Christopher Schwarz’s post on how we got started with […]
The post VIDEO: How to Build a Hall Table with Simple Tools – I Can Do That! appeared first on Popular Woodworking Magazine.
|last hinge option came in|
|it would have been a coin toss|
|these #6 screws are too short|
|bought some metal cutting countersinks|
|got a small and large 82° countersink for wood too|
|these are toast|
|chewed up the big one and it's toast|
|the small one|
|this worked and didn't work|
|got the box ones done|
|cutting this one isn't going to be easy|
|worked better this way|
|much better looking end on this one|
|cleaning the burr|
|trying another way to cut the tubing and rod|
|the best looking end cut so far|
|two half inch pieces|
|sawed off the captive pieces|
|epoxying the tubing is batting next and I'm not using the 5 minute stuff|
|tubing epoxied in place|
|both rods are square to the box.|
|the final steps tomorrow|
What is the relationship of the man and woman in Grant Wood's painting "American Gothic"?
answer - according to the painter it is father and daughter, not man and wife
What do you do when you need something for your shop? Do you spring for the new tool or machine you need without worrying about the cost? Probably not – few can afford outfit their shop with such wild abandon. But you’re a woodworker! Surely you can build some of the stuff you need, right? That’s the attitude James Hamilton, creator of the popular Stumpy Nubs website, has about outfitting the […]
Last week I got a note from “Mister Stewart” that the original tool shelf from the back of the H.O. Studley workbench had been found, shipped to him, and installed on the bench.
Piece by tiny piece the puzzle is filling in.
|the top screw is on the outside edge of the insert|
|swapped out the hooks|
|the 1/8" brass rod will be inserted into the brass tubing|
|slips over it very easily|
|for the lid|
|hinge holes laid out|
|for drilling square holes|
|filed a vee groove in the tubing and snapped off my pieces|
|rounded over the back of the lid.|
|chamfered this edge|
|chamfer is now twice as large|
|couple of more coats on the bottom and it'll be done|
This had it's debut this month in 1930. What was it?
answer - the first animated cartoon with audio
So what cave have I been living in that I never heard of Beth Hart (and Joe Bonarossa) until this week?
My pantheon of Jennifer Warnes, Eva Cassidy, and Deborah Holland may be getting a new member
When I joined the Popular Woodworking team I had 14 years of editing and publishing experience. My woodworking experience was a bit more lacking – let’s say… level zero. But, I was eager to learn and Megan knew it. She asked me what I wanted to build first. I think the first thing I told her was a grandfather clock. Only not just any grandfather clock – my clock was […]
With the long-term desk and workbench projects finished, I took a few hours to do what I normally do after finishing big projects; clean the shop a bunch, and bring more assets on-line. One of the prominent additions was my mondo water wheel for grinding and sharpening.
Since moving one of the tools whose inactivity I noticed the most was my 16″ water wheel, given to me by a farrier friend who had no use for it. It had been set up in my basement shop of the old house but I just never took the time to do any more than get it moved and in place in the barn. I was always so busy that I never set aside time to get it working again.
Part of this procrastination was that I had mis-placed the gearing sheaves to bring the wheel speed down to my preferred 100 rpm with the wheel turning away from me. As you can see from the picture, I did find that rig and dug out the motor so now it is up and running perfectly.
In the picture you can also see the rod with the diamond dressing stone for surfacing the wheel when necessary (attached to a jig, laying under the machine).
One pretty remarkable feature of the wheel is that the axle is linked to an arm-and-cam assembly that moves the wheel about 1″ from side to side when in use. Sometimes I have this hooked up, sometimes not. I just depends on the task at hand.
Obviously I did survive without this machine for three years, but I must say that since getting it back up and running I seem to use it at least once a day. Since I mostly camber my plane irons by hand on a 220 diamond stone I thought I could do without it, but I might have been wrong. I still camber my irons by hand, but there seem to be a multitude of tasks requiring a slow turning giant water wheel that hogs off material in a hurry.
In this episode of 360 with 360WoodWorking, Bradley McCalister shares his views on woodturning, including a bit of his history and the path he traveled to become a woodturner, his opinion on why working on a lathe has grown in the past decade and what trends are showing up in the craft at this time. Then we turn the discussion to how to get started woodturning – his answer may not be what you expected.
|2 came in today|
|2 1/2" hook and eye|
|what I was worrying about|
|found some #6 oval head brass screws that fit|
|tried the replacement screwdriver|
|A Paul Sellers cabinet|
|it works well|
|started with the small drawer|
|chiseling off the dried glue|
|planed the slips flush|
|repeat the same steps for the large drawer|
|the fit of drawers didn't change|
|had enough plywood for the bottoms|
|large drawer is square (small drawer too)|
|I have a slight gap at the front|
|bottom is solid|
|where are the brushes|
|bigger gaps on the small drawer bottom|
|this will be my glove drawer|
|sawed out both finger holes|
|go cart at the top and a Rolls at the bottom|
Who were the opening and closing acts at Woodstock in 1969?
answer - Ritchie Havens opened and Jimi Hendrix closed
Today, birds and birds. This first one in American sycamore (Platanus occidentalis) – is going to get painted on the outside, then carved through the paint.
This tiny one, split out with the guidance of Dave Fisher, is birch – I forget which one. No paint, just carved today. Some spoons getting finished up in preparation for this weekend’s Lie-Nielsen workshop – full this time. More spoon carving classes to be announced through Plymouth CRAFT soon.
Then, some photos plucked off the card. Down river:
Red-winged blackbird (Agelaius phoeniceus ) I assume juvenile male turning to adult. The female doesn’t usually show the red, I believe.
yellow warbler. (Setophaga petechia) they are quieter now than in the spring, so I just happened to notice this one skulking around.
Let’s start with a confession. I did stuff around with some of the photos in this post. It is the first time that any of JNSQ’s photos have been altered, as far as I can remember anyway.
The previous posts in this series can be found here.
In this edition we will take a look at some of the joinery and the first phase of preparation of the top for finishing.
The first bit of joinery I attempted was to fit a small block to the top of each leg construction. It will be the point that fix the centre of the leg to the centre of the top. All the other connection points will allow for wood movement, but these two will not. This means that the top will be able to move freely with changes in humidity, but the centre will remain fix to the centre of the legs. I think this is called a T-bridle joint. One feature of my Langdon mitre box and saw that came in handy here was it’s ability to set the depth of cut. Obviously you can simply do this by hand, which would also be much quicker. Where the mitre box might have an advantage is when you need to do heaps of these joints with the same dimensions. In this case it was an opportunity to work out how to set the mitre box for a job like this. That way it will be easier next time.
A router plane works well for the cheeks of the bridal section. It was a bit of a challenge to hold such a small piece while cutting the cheeks to depth. The solution was two dogs and a Veritas gadget. That could be a good name for a progressive rock band or a retrogressive gin mill (Two dogs and a Veritas gadget), come to think of it.
Next up were the slots in the top of the legs.
The two aprons are also jointed to the legs by means of T-bridal joints. Here I am marking the exact location of the shoulders using the leg.
That was followed by the same sequence involving the mitre box, router plane and careful chisel work to perfect the shoulders.
So then on a crisp and bright winter’s Friday morning I started to flatten the bottom side of the top. Seeing that it is the first table top of this size in Kershout that I am doing by hand I thought that the bottom side would provide an ideal opportunity to work out which method works best. The major challenges posed by this top are the schizophrenogenic nature of grain and the extreme hardness of the wood. As every self-respecting JNSQ Woodworking reader should know by now, we deal almost exclusively with feral boards from the ancient Knysna forest. Each of the trees that the boards for this top were sawn from would have been over 500 years old.
If you deal with wood like that it is my opinion that one has a real responsibility to do the best possible job of allowing the story of the tree to be told. In my estimation that means a delicate balance between careful surface preparation and leaving certain imperfections that relates to the history of the piece of wood. George Nakashima’s immortal oeuvre of work (which inspired this design) lends itself perfectly to getting the most out of feral hardwood such as what I chose for this top. How much and which imperfections are left to tell the story is of course in the eye of the beholder.
Anyway, I started experimenting with various different tools to see what might work best in flattening such a challenging top. The techniques I tried included a belt sander, a low angle jack plane with a toothed blade, a standard no.3 smoothing plane (45° frog) with a back bevel of 25° creating an effective pitch of 70° and a shop made fore plane with a blade pitched at 50° (aka York pitch).
The belt sander has always been one of my least favourite tools. It makes noise, it is all over the place and seems to be the best possible tool to turn a flat surface into the famous Valley of a Thousand Hills. What I found was that it is less harmful in such hard wood, but still not an option if you are aiming for a superior surface. The low angle Jack plane (12° bedding angle + 38° micro bevel for an effective pitch of 50° and a tight throat) worked diagonally to the grain clearly had the measure of the wonky grain, but would have taken too long for what would suffice for the bottom side of the top. I did not aim for a perfectly flat bottom side.
Next up was the back-bevelled smoothing plane. It worked even better (in terms of finish) than the low angle plane, but was difficult to push due to the high effective pitch and therefore even slower at removing material. It is also important to mention that this strategie seize to be effective in difficult grain when you try to take a fat shaving.
So I rolled the dice and tried the shop made fore plane (50° effective pitch) diagonal across the grain. It wreaked havoc in a semi controlled sort of way. This particular blade has a fairly substantial camber and it took no prisoners in the process of removing the necessary material in a timely fashion. In the pictures below you can see the characteristic scalloped appearance of a surface smarting from such treatment.
This is one of my attempts at manipulating the photos to highlight the pattern left by the plane.
The wooden plane in the picture below enforced the above damage. Of note in the picture is the bottles of water I consumed during this arduous labour of bellicosity.
Here we have an example of a part of the history of the tree that is often neglected to be told. Yes I know some of you will think I have lost the plot. Probably something along the lines of: “The #%$@&* hippy has been smoking too much pot.” The reality for me is however that the wood I in my collection have all sorts of imperfections and it would be impossible to create anything of reasonable size without these imperfections exposing themselves. I have therefore made peace with having to incorporate imperfections and try to design in such a way that the eccentricity of the stock enhance the aesthetics of the piece I am building.
Here are a few more tweaked pics with an array of tools that were used to tidy up the bottom side of the top.
Then finally it became time to employ some of the lessons learnt on the bottom side to the face side of the top. It took me three full days of planing at 45° to the grain with a toothed blade in a low angle jack plane to get the top as flat as I wanted it. The two pictures below were taken after the first day.
The dogs on my assembly table came in quite handy during this brutal process.
The toothed blade created these beautiful patterns in the areas that were approaching flatness.
This was the end of day two.
Once the entire (well almost) face side were in the same plane I removed the bulk of the rhombi left by the toothed blade using a no. 112 scraping plane. It was the first time I used this particular tool for a huge job like this. I prepared the blade the way that is recommended by my woodworking icon David Charlesworth. In my case a 45° main bevel, 50° polished micro bevel with a 75° burr set up in the plane with the blade leaning forward at 20°. The plane is an absolute joy to use when set up like this. You have to make sure you take very thin shavings of course. Some sanding with my shop made sanding planes took care of the rest of the rhombi.
While grappling with the rhombi I took short breaks to tidy up the cracks in the top. They all had lots of loose splinters of wood and other ancient bits of debris inhabiting their depths. This task was mainly accomplished by using a very old pocket knife that used to belong to my grandparents.
At this stage I shaped the curved ends of the top. As you can see I marked out two lines using my fingers as a fence. These lines guided the removal of waste to create a very gentle yet quite wide bevel. Once the bevel were established, the end grain area were rounded off ever so slightly using the same technique. My no. 9½ Stanley block plane did most of the donkey work and was then followed by a low angle smaller block plane, which was in turn followed by gentle sanding.
When I got a bit tired of the top I continued to chip away at the last bits of joinery.
Once the two aprons were fitted to the legs with very precise bridal joints, I started working on the massive beam that connects the legs at floor level. The Witpeer beam was laminated and squared up more than a year ago. It gave the wood a very generous time frame within which it could settle all possible disputes the fibres might care to raise (so to speak). It turns out that a very dense laminated beam like this stayed pretty much dead straight in all it’s dimensions, but managed to go out of square by what appeared to be a full mm. That was fixed by hand planing a face side and face edge perfectly square with each other and using those reference surfaces to square up the others with my electric planer.
I transferred the inside measurements of the joinery from the aprons to the beam.
Using the above reference point I took the beam to the Windsor leg to mark out the exact location of the other side of the fairly complex stopped bridal joint (my own name not necessarily correct terminology) which will marry these two structures.
This is how far I got with this joint at present.
It was now time to break in my precious polissior that one of my favourite woodworking personalities and über craftsmen Don Williams (of The Barn on Whiterun fame) sent me earlier this year. That entailed rubbing the heads of the grass/straw on a rough piece of scrap wood and tidying up the appearance on a spindle sander.
I can thoroughly recommend reading Don’s article on this epic tool from the past.
I used the Polissior to burnish the top after perfecting the finish with gradually increasing grid sander paper on a orbital sander. I went all the way to 600 grid and did two rounds of wiping the surface with a damp cloth to raise the grain before sanding it back down with the 600 grid. You can see the effect of the burnishing in the pictures below.
Aoife helped me to apply a tung oil/turpentine mixture. We kept the surface quite wet for 30 minutes by reapplying the mixture where the wood absorbed it and then wiped it down with a clean and dry cloth.
As you can see it was one of those unbelievably satisfying moments in woodworking where the wood rewards you for months of painstaking elbow grease. Kershout is simply one of the most beautiful species of wood on the planet. I want to reiterate that there were no pigment added what so ever. This is what it looks like after tung oil mixed with turps were applied!!
The top will now rest for two weeks before we will apply beeswax with the polissior. Stay tuned my brethren!!
A few weeks back I began a rather involved project that has legs that have stop-flutes. After posting about my shop-made scratch stocks, I hoped to do a majority of the work using a router with a fluting router bit only to clean and straighten up the flute portion with the scratch stock. The bead area had to be fully scratch-produced.
As you can imagine working with a router bit and a couple of scratch stocks, the surface of my stop-flutes needed to tweaked to be smooth.
Deep Discounts on 3 Print Titles – Building Arts and Crafts Furniture, Make a Windsor Chair and Hand Tool Fundamentals
We’re clearing off a shelf in the warehouse for new titles, and as a result, have three good books (the print versions only) available right now at a deep discount. The first is “Building Classic Arts & Crafts Furniture: Shop Drawings for 33 Traditional Charles Limbert Projects,” by Michael Crow. Right now (and only at shopwoodworking.com), it’s $7 (75 percent off the cover price). I think we mis-titled this one; it […]
|planed with the 4 1/2|
|this was the side with the big gaps|
|no problems at all|
|flushing the bottom batted next|
|I did the top yesterday|
|drawer fits except for the last 3'4"|
|this top side gap isn't as large|
|right side of drawer|
|the other side is the same|
|fits and it is up against the back wall|
|used this yesterday on the small drawer - hooked it at the back and pulled the drawer open|
|need four more spacers|
|did the big drawer first|
|this one was bit tricky|
|large one curing on the tablesaw aka a horizontal storage surface|
|steel wooled it but......|
I settled on how I'm going to attach the lid to the box. I wasn't particularly fond of using a wooden pin nor was a metal one giving me a warm and fuzzy. This box is pine and over time the pin will elongate and oval out the pin hole. I ordered some parts from McMaster-Carr for the box and while I'm waiting for them to come in I can get the finish built back up on the box.
|one more coat on|
|one of 5 came in|
What US City sits aside the Miami River?
answer - it isn't Miami, it is Dayton, Ohio
Last week en route home from Mordor on the Potomac I had the good fortune to visit Steve Voight, music composition professor by day, planemaker by night. I became acquainted with Steve in the past couple of years and have come to enjoy immensely his company and his passion as a gifted craftsman fashioning wooden bodied planes in the style of 18th Century English hand planes. At one point in his life Steve was a skilled machinist and that attention to detail has carried over into this new chapter of life, in part teaching students how to construct music and also providing us with exquisite tools to construct furniture.
We spent a couple of delightful hours discussing woodworking in his charming, spare, beautifully bright garret studio above the kitchen of his (and the lovely and delightful Mrs. Steve’s) house. Tell me those windows and the light accompanying them does not instill some jealousy. Go ahead.
I continued my admiration of his products, and noted with anticipation some new items coming to his inventory soon. We also discussed the possibility of him making some custom tools for me soon. Cross your fingers.
The money time was the hour or so spent with him demonstrating the method of setting up a double-iron plane to get the most superior results. I know how to sharpen tools pretty darned well, but his tutorial on setting the second iron was an eye-opener to me.
Steve’s first step confirmed his facility as a sharpener as he tuned up his iron in about 30 seconds.
Thus far I’d been setting my chip breaker around 1/25″ from the tip of the cutting iron but learned that my spacing was far too great, and the best setting is somewhere in the territory of .006″-.010″. Steve starts his set-up by resting the tip of the cutting iron on the bench and then placing the chip breaker on top of a .010″ feeler gauge leaf.
Then he brings it home with the resultant spacing between the chip breaker and the cutting iron being nearly invisible.
Setting up the plane itself with eyes way better than mine, Steve showed me the results.
He explained that a properly sharpened and set double iron plane almost literally shoots the shaving out of the throat. I was surprised that they did not curl, they were straight wisps of gossamer wood (this one was a bit heavy and rippled, but photographing him work is a challenge because his motions are so confident and rapid).
Who knew? Well, not me!
Steve definitely gave me something to think about and aim for, which makes our time together invaluable.
How to Repaint Numbers & Graduations on a Steel Ruler: Restoring John Walters’ Rusted Starrett Ruler
After finding a rusted old Starrett ruler in a ‘Free stuff’ pile left by a neighbor, I decided to restore it and repaint the numbers and graduations. First, I placed it in a tray and covered it with a 20% vinegar solution for an hour or so. Then I scraped the ruler with a bread clip and #1000 grit wet-dry sandpaper to polish the surface. After washing and neutralizing the […]
I pretend I exist in a bubble or cocoon. Each day I’m at home, I get up & have breakfast with the family, and then make my way out the back door to the workshop. Open up the windows to let in the sounds of the birds, check the river – tide in or out? Coming or going? And then sort the day’s projects – am I cutting these mortises, carving which pieces – most of my concerns are about really great quality oak, sharp tools, and learning from studies of period pieces…
And it goes like that day in & day out. Which hatchet? Are these bowls dry enough for the next step? Ah, I figured out what design to carve for that panel. Then, time to clean up the place and re-set the bench…
All the ordinary stuff is an intrusion – have to go to the dump, the bank, did I pay the bills? I just want to get back to work in the shop. All of that is just like the rest of us.
Every so often, I traipse out into the world to teach a workshop, deliver a lecture/demonstration – that sort of thing. And those audiences are pre-disposed to receive what I have to give. An interest in woodworking, furniture history, spoon carving – they’re already converts. But I know although we have woodworking interests in common, there can and will be things we don’t have in common. And that’s usually fine with me. I can get past a lot of stuff, and concentrate on our shared interests. And it has always been a great kick for me to come together with people I might otherwise not connect to…
This year, it’s been tricky, with the political climate in America and the world. I have specifically stated in many of my classes – “No politics, please.” Just to avoid the issue. Trying to be polite…and it has worked thus far.
Like I said, I can get past a lot of stuff. But…not racism. Not Nazis marching in the streets of 21st-century America. That shit doesn’t fly. Everyone should be against that…none of this “many sides” crap.
So…in the hopefully unlikely event that some of my readers are sympathetic with the KKK, Neo-Nazis, White Supremacists, etc that were on display down in Charlottesville this past weekend, – if that’s you – please un-subscribe to my blog. Please stop following me on Instagram, FB…please don’t come to my classes. Please don’t buy my book, videos, spoons, etc.
I want nothing to do with racists.
Back to oak now.
The drawers for the finishing cabinet are now at the fitting stage. I have to clean them up, do the drawer runners, make a bottom, and fit a bottom in place. I kind of did a 90/10 thing tonight with the most calories going to the drawers.
|the front of the small doesn't fit the opening|
|large drawer fit|
|the gaps are still there|
|the other side|
|flushing the top of the big drawer|
|one side fits|
|sawing off the wild|
|flushed the bottom|
|top flushed up|
|cleaned up the sides and the back|
|in about a 1/3 of the way|
|2nd trimming and I'm about 1/2 way - planing just the top|
|third trimming and I'm done|
|I'll plug this after I get the bottom and slips installed|
|flushing the tails|
|epoxy and filler|
|4 coats of shellac|
|squared up one end of the slips|
|the back of the slips|
|the front look|
|the way I'm leaning|
|slips aren't as proud this way|
|works better than this way|
In what Baseball World Series was the Star Spangled Banner first played?
answer - the 1918 series