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Last month my long time acquaintance RichardB organized another field trip to JerryR’s shop and examine again the ripple molding cutter his dad Irv made a jillion years ago. Both Irv and Jerry made/make exquisite clocks and incorporate(d) the moldings into their designs.
The catalyst for this gathering was the visit of KurtN who has built his own version of such a machine and was, like me, continuing research on the topic. We were also joined by tool historian and collector extrordinaire BobR for a grand day of fellowship and exploring the elegance of craft technology.
I found it useful to once again spend time with the machine, as it was extremely helpful in formulating and refining the strategy for the upcoming gathering to manufacture a ripple molding machine at The Barn late next month. In fact we have enough folks coming that we might try to divide into two working groups to make two machines.
Here’s a gallery of the day.
This is an excerpt from “The Woodworker: The Charles H. Hayward Years: Volume III” published by Lost Art Press.
CROSS HALVING WITH HOUSED SHOULDERS
The cross-halving joint, with notched or housed shoulders (Fig. 1), is only rarely used in actual practice. In ecclesiastical woodwork it is occasionally seen on a cross, and at times (though less frequently) in outdoor woodwork framing when the timbers are fairly stout.
The cutting of the joint is shown at X. The notching (or shoulder) is never more then one-sixth of the width, and is sometimes less. Although the cross piece is slightly weakened by the shouldering, the joint is really a strong one as in gluing there is an extra hold at each side. The joint moreover is a neat one and has been used effectively for high-class joiner-made estate gates.
For this Joint (Fig. 2). the name “saddle” is distinctly obvious, especially if it is turned the reverse way; the V-shaped aperture in the post fits saddlewise on the triangular projection in the notching. The joint is used to connect upright posts to sills, or to the head horizontals of similar framing.
In everyday outdoor work it may be hardly worth the additional labour, but for indoor joinery it is a good joint. It weakens the framing much less than a mortise and tenon joint, and there is little effect of shrinkage on it. Its great advantage is that the saddle (the V) keeps everything in alignment. Depth of notch in sill should not exceed one third or two-fifths of the thickness of the timber.
DOVETAILED SCRIBED OR HALVED JOINT
This (Fig. 3) is a joint which, in former days, was used in better class interior woodwork when pieces of timber had to be lengthened.
When accurately marked and cut the double dovetails ensure against any gap showing. In Fig. 4 the separate parts are shown in plan and elevation. Sections at both ends of the joint (A and B) are also indicated. From these diagrams the setting out of the joint can be followed. For general building the double dovetail involves too much work to justify its general use and it is rarely seen. In the Handicraft Centre, however, the joint has often been used as an exercise, and the home worker who has a flair for accuracy in marking and cutting would enjoy a couple of hours on it.
THREE-WAY HALF-LAP JOINT
The rather complicated three-way halved joint at Figs. 5-8 is one of the most troublesome to mark out and construct with flawless accuracy. It has always been widely used by pattern makers, chiefly for the lap-jointed arms of pulley patterns.
In former days, however, the village carpenter knew it and used it for barrow wheels. Fig. 5 shows a wheel with built up rim (the joints probably bridled). Fig. 6 shows the three arms, or spokes, lap-dovetailed to the rim and “three-way lapped”, or, as it is sometimes termed, one-third lapped, together. The separate arms cut and ready for assembling are shown at A, B, C, Fig. 7. For clearness piece C is shown reversed—that is, upside down.
If the centre joint part of Fig. 6 is drawn full size it is worth while setting out the parts. Take the width of arm as, say, 2 ins., and the thickness 1-1/2 ins. Two points may be noted as a guide.
On the width face all the lines can be set out with T square and 60 degree set square. The thickness (1-1/2 ins.) is divided into three in order to get the three planes or steps of the joint. Hence the term “one-third” lapped.
Fig. 8, in conjunction with Fig. 7, will show how the parts are assembled. The “step” of piece A is 1/2 in. thick, the edges of the cut part above being 1 in. Over this B lies at an angle. It covers the flat step of A, but leaves two little triangular gaps (x) (Fig. 8) which are later filled by the corresponding triangular steps marked on C, Fig. 8.
Piece C (shown reversed) rests at the correct angle on the halved upper face of B, the little mid-step projections fitting into the gaps (x) left on Piece A. The piece C is the same as A except for these extra triangular steps (x).
When the parts are glued it will be seen how firmly they are interlocked. Incidentally, if the reader can lay his hands on a medium-sized turnip, it is an interesting study to make a small experimental model joint with a penknife. The parts need not exceed 1 in. by 3/8 in. It is not the first time that turnips have been used for model joints.
— Meghan Bates
Filed under: Charles H. Hayward at The Woodworker
Matthew Burt has long been one of my favourite furniture designers. His impressive new workshops are backed up by this shop, run by his wife Celia, all in the lovely Wiltshire village of Hindon just off the main A 303. I pass by on the way to the Yandles show so great to see what's new.
There are two well stocked rooms with all kinds of lovely modern pieces.
You can see more on their website http://www.matthewburt.com/#home
This is a fascinating new design, a wall mounted consul table. The half cone shape was made up from 16 tapered coopered oak staves, rounded after glue up and the top is a veneered cross section from across the trunk. It doesn't have any shrinkage cracks which must have been hard to achieve. the design is beautiful and simplicity at it's best.
This circular jewellery cabinet is one I've admired in the past, it has a turned barrel hinge and looks stunning in this tightly rippled olive ash.
Here is the interior revealed.
Here is the entrance to the third room (which doesn't exist) it gets me every time. It's a semi circular table fitted against a mirror, very clever.
Matthew makes some great chairs and I have long admired the Tricorn chair, here it is in hand stitched padded leather, very nice.
The solid wood seat on this version is very comfortable and supportive and nearly half the price of the hand stitched leather. I left the shop with this chair and it will take pride of place in my office.
The lovely village of Hindon is well worth a visit one it's own with a couple of nice pubs...
..... and of course a fine old church.
When traveling, there are many times when I wish for a toothed planing stop, especially when installing stuff where I rarely even have a bench. Enter the Whipple Hook from Lee Valley Tools. This early 20th-century patented $9.50 gizmo turns any wooden surface into a functional planing stop with the addition of two screws (so don’t use this in your hotel room). This week I installed it on the corner […]
I’ll make a statement that will get me in trouble. When I hear woodworking instructors say they teach only the best techniques, I think they really mean that they teach only the techniques they are intimately familiar with. In other words, they haven’t opened their minds to the all the wild ways we can transform a tree into something useful.
Completely agree. After all, if woodworkers truly were committed to following best practices, we would all be using Japanese tools.
In all seriousness, learning how western hand tools work helped me a ton in understanding how Japanese tools work.
After talking with Asa Christiana for a few 360 Woodworking podcast about building projects using minimal tools and things found on the shelves of home-center stores, I decided to test his beliefs. (The first podcast went live today.)
I strolled up to my local store to walk the isles taking in what was there and what I could put to use in my woodworking or shop. Yea, that’s right. I don’t have anything else to do with my time!
Look for the new “Woodworking Legends: Garry Knox Bennett” video in mid-May (it will be available at ShopWoodworking.com). On it, fellow furniture making giant Alf Sharp chats with Garry about his life, his work, his woodworking philosophy and more. On this excerpt (rated PG-13 for language), Alf and Garry take a walk through Garry’s shop to take a look at his impressive collection of “old arn” – including a 30″ […]
As I blogged earlier I will be selling many original First Edition 1772/1774 Roubo l’art du Menuisier prints at the upcoming Handworks 2017. I bought these prints at an auction featuring a huge inventory from an antiquarian bibliophile who had mutilated scores of exquisite ancient books by cutting out the print images from the bindings. As unfortunate as this act of barbarism was, it did bring these masterpieces to the marketplace.
The only other option for me to examine them closely would have been to purchase a complete set of First Edition l’art du Menuisier for perhaps $10-15k or travel to Ft. Mitchell KY to see Chris Schwarz’ excellent set. Since the latter remains an option to me for the foreseeable future, I’m jettisoning most of mine.
If you have ever wanted to own a genuine piece of Rouboiana, this is your chance. I will be selling my prints to Handworks attendees 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.
Roubo was the draftsman for all the prints, and the engraver for a large number of them. All these were hand-printed intaglio prints on hand made rag paper, almost certainly personally overseen by Roubo himself.
This is the first of the prints which I will be presenting in the order of their print numbers, Plate 222, “Illustrations of Many Ancient Chairs.” This image of chairs from the 7th Century through the 15th Century was both drawn and engraved by Roubo himself. The print is one of the rougher of those I purchase, with the left edge being pretty irregular as the removal from the binding was, shall we say, inelegant, and the page itself stained especially around the perimeter, reflected in the price of $100.
If you have any questions about this print you can contact me here.
Thank you, Heart of Texas Goodwill My visit to Texas last winter was something of a cathartic visit. With over two decades of my family and work life in the Lone-Star State, I made many wonderful associations with people and entities at many different levels. The purpose of my visit was to shed myself of a …
I’ve finally gotten around to edit the final video of the build. In this video I do the tongue and groove, mould a bead with a beading plane, make stopped angled chamfers and finally the glue up. All of this is several hours work edited down to 3mins the shortest project video I have ever done. The background music is Australian colonial folk.
Today my only day off to work wood I went ahead and blew my tendons in my leg, even with the enormous pain I’m holding true to my word what I said in my previous post of reaching Kung Fu. I limped but still worked wood.
In this episode of 360 with 360WoodWorking we catch up with former Fine Woodworking Magazine Editor, Asa Christiana.
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. But the conversation is always information packed and lots of fun.
If you have topics you’d like covered in future episodes, click here to send 360woodworking an email.
|putting in the pencil tray|
|the blue tape defines the outside edges of the tray|
|went with it set back|
|almost done here|
|finished the last #4 iron|
|did a spokeshave iron|
|raised my burr on the coarsest stone|
|found my waterstones|
When I was using the waterstones I do remember them cutting well and giving up a better shiny bevel than my current setup. I also remember the mess they made so I'll be making something like Richard has to contain it. I only have a few thick A2 irons (and a two O1's too) so maybe this won't be too much of a PITA to use.
|got time left to try out my ebonizing stuff|
|preconditioned the poplar|
|it's been about 3 days (?)|
|from Wally World|
|not black but more brownish|
|the end grain is jet black|
|tried the iron solution on these|
Tomorrow I'll put on another coat and I'll start on the bookshelf.
How many players on there on men and women lacrosse teams?
answer - men 10 women 12
It’s going to be a busy weekend at the Fuller Craft Museum in Brockton, Massachusetts. I’m heading there Saturday as part of the audience, to see Terry Martin & Zina Burloiu. http://fullercraft.org/event/deep-collaboration-demonstration-show-and-lecture-from-terry-martin-zina-manesa-burloiu/
I remember reading about Zina’s spoon carving and her chip carving, way back when in the old Woodwork magazine. I still have the article, it tells a fascinating story about her first trip from Romania to the US, where she took part in a turning conference. Must have been the 1990s, if I remember right.
The next time I saw her work in “print” was on Robin Wood’s blog about the first Täljfest at Sätergläntan. There she is, showing Wille Sundqvist her chip carving…and when I saw this, I remembered the Woodwork article.
Then, when our friends at Fuller Craft began talking to Plymouth CRAFT about an exhibition, I was barely paying attention – “yes, of course I’ll be a part of it…” Then my friend Denise Lebica mentioned that the same weekend, Zina Burloiu was going to be there. I jumped at the chance to see her & her work in person. It’s not just Zina’s work, of course. I don’t want to short-change Terry Martin, her collaborator for many years. Here is a link to Terry’s site, which includes the background of their collaboration: http://terrymartinwoodartist.com/new_direction.html
Terry kindly sent me a couple of shots of Zina’s chip carving:
Then on Sunday I’ll be back as a participant in the opening of the Plymouth CRAFT exhibition, “Living Traditions: The Handwork of Plymouth CRAFT” – http://fullercraft.org/event/living-traditions-the-handwork-of-plymouth-craft/
The day includes a reception and a panel discussion in the afternoon: http://fullercraft.org/event/opening-reception-for-living-traditions-the-handwork-of-plymouth-craft-and-ellen-schiffman-the-52-box-project/
So a couple of round trips to Brockton. I’m spoiled with my new commute of 15 steps outside the door. I’m going to have to get in the car for this…
My biggest arguments while at Popular Woodworking Magazine weren’t about hand tools vs. power tools, Shaker vs. Arts & Crafts, Grizzly Industrial vs. everyone else. Instead we fought about a question you might not think about: Isn’t so-and-so woodworker full of crap? When you get experienced woodworkers around a table and throw them an article from someone new, the reaction is: This dingus doesn’t know how to cut a dado. […]
I’m nearing the tail end of a long term project involving in part the sawing and preparing, and ultimately using, mahogany crotch veneers. Given my skill is not yet Roubo-esque I sawed the veneers to a fat 1/8″ because I had no room for error, in other word I would have to begin all over again with another piece of lumber if I could not get this to work out right.
The weight of the veneer made it a delight to work with, that is until I had to thin it down to the final thickness.
Working squirrely wood like this is less amusing than you might think. The grain was so wild I came down to only two real options; aggressive toothing plane work, which I did plenty of, or using a handled luthier’s palm plane. This latter step was immensely helpful once I got the tool tuned up. It reminded me of a lesson from the foundry pattern shop; to really hog off material in a hurry, use a small convex spokeshave that is sharper than sharp.
The tool in question was probably cobbled together but had real possibilities. The iron was adequate for nibbling at straight grain wood, but needed to be upgraded considerably in the sharp department. Given that the iron was barely larger than my pinkie fingernail I spent a couple minutes trolling in the shop for help.
Then I found the perfect tool, my jeweler’s hand held vise. With the tiny iron securely held in its jaws I could sharpen it effortlessly just like it was a narrow iron four inches long. Piece of cake.
It sharpened to a brilliant mirror and uber sharp cutting in literally three or four minutes.
Putting it to hard work was a pleasure. It hogged off stock like a pro, and all it took afterward was some time with one of my toothing planes to get it ready for application.
And all because I went shopping for just the right holding device in my own toolbox, allowing me to get the teeny iron sharper than sharp..
If you’ve ever wondered who would win an epic battle between an 18th-century French joiner and a mutated lizard…. well you can keep on wondering. We don’t condone such things.
But my daughter Maddy has now turned 21 and clearly is working the fighting lizard circuit in central Ohio. Here her boyfriend’s bloodthirsty gecko is shown with one of the stickers Maddy peddles to our readers.
Would you like stickers for your lizard or fighting marmoset? It’s easy.
You can order a set of three from her etsy store here. Yes, she accepts international orders.
Or, for customers in the United States, you can send a $5 bill and a SASE (self-addressed stamped envelope) to Maddy at:
Stick it to the Man
P.O. Box 3284
Columbus, OH 43210
She’ll put the three current sticker designs in your envelope and mail them back to you. These are nice, 100-percent vinyl weatherproof and lizard-proof stickers. After our civilization is gone, cockroaches will collect them. They’re that durable.
— Christopher Schwarz
Filed under: Uncategorized
There are many ways to cut this popular edge-to-edge joint. by Bill Hylton from the April 2005 issue A tongue-and-groove joint is an edge joint with a mechanical interlock. The edge of one board has a groove. A matching tongue is formed on the edge of the mating board. The tongue goes into the groove, and the boards are joined. You probably are most familiar with the joint’s many applications […]