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This is a collection of all the different blogs I (try to) read. A whole bunch! If you have any comments or suggestions feel free to use the CONTACT page to get a hold of me. Thanks!
Boxes. we use them around here for everything – textiles, papers, stuff in the kitchen like candles, batteries, phone chargers, books, collections of shells & bones, who knows what else… I’ve made lots of boxes like these. Lots.
I hate the phrase “think outside of the box” I often think of the song “Little boxes, little boxes” and of course, “a box of rain to ease the pain…” (whatever that means)
I finished one of these desk boxes for the video (it will come out when Lie-Nielsen puts it out, is the answer to “when will it be out?”) last week. I have another 2/3 done. I have to shoot it for real soon…but these two quick shots give you an idea of what it looks like.
BUT while we shot that process, I added in some “regular” box stuff too. So in that case, I built this medium-size oak box, with pine lid & bottom. Maybe 15″ wide, 12″ deep. 6″-7″ high. (the blog title is to distinguish this box from the slant-lidded desk above)
And then there’s the Alaskan yellow cedar box I made while teaching up there.
I’m over-run with the things, I’m going to photograph some, and post them for sale soon. Meanwhile – there’s several chances for students to come learn how to make your own.
First is a 2-day version – in this Lie-Nielsen class, we’ll bypass splitting the log into boards and go right to carving, then joinery (rabbets & pegs) – it’s coming up in early June. We have spaces left, so if you have just a little time, this is a good choice. It will be a small class, so we’ll have some chances to get some details in… https://www.lie-nielsen.com/workshop/USA/61 I brought up some outrageously good white oak last week – I might even make another box just because the wood is so good.
The full-blown, split-the-log-make-the-boards-then-make-the-box version is a 5-day class. http://www.newenglishworkshop.co.uk/ In England, it’s happening twice – July 13-17 in Warwickshire College then the next week, July 20-24th at Bridgwater College in Somerset. I’m hoping to get out & see some oak carvings while in England, it’s been a while since I was there. 10 years…carved pulpit detail
Back in the States, the full-bore class is happening in October at Marc Adams’ school – http://www.marcadams.com/ Oct 19-23. My first visit here…
“Here come old flat-top, he come groovin up slowly…”
It’s coming up on a year since I left my job as the joiner at Plimoth Plantation. While I was there, I often taught workshops during my vacations and other time off. Lie-Nielsen, Roy Underhill’s place, CVSWW, Country Workshops – but in that format, I only had a few weeks (or weekends) each year available to travel & teach.Matt riving w Plymouth CRAFT last weekend
When I announced I was leaving the museum, I got offers to come teach in various places, in addition to the usual outfits. When I arranged my schedule last winter, I had no idea how it would work – on paper it seemed fine, once or twice a month, travel to teach. One long, maybe one short class each month. Now I’m in the midst of it, and while it’s great fun (Alaska! Are you kidding?) what I didn’t compute is the time between to unpack, decompress and then turn around & get ready for the next one.
I’m not complaining, just saying “here’s why there’s little on the blog these days…”
I was thinking, I’m home now for 3 1/2 weeks, before I head down for to Roy’s. Except this coming weekend I’m at Connecticut Valley School of Woodworking, then next weekend I have a one-day presentation with the Plymouth CRAFT group, then the weekend after that, I’m back at my 2nd home this summer – Lie-Nielsen for making a carved box. THEN, I have to hit the road & go to North Carolina!Connecticut Valley School of Woodworking
The plan is to do some woodworking tomorrow & shoot some pictures. I’ll let you know what happens.
How am I supposed to get some birding in? I haven’t even had time to ID this warbler from Maine…
After almost a week of silence, due to my consuming activities with the life-changing dream-come-true HO Studley Tool Cabinet Exhibit, I am back on the, er, air? Over the next couple of weeks I will be reminiscing about the exhibit, but there is something you can help with.
I was sorta busy all the time since mid-week last, and actually managed to not photographically document my activities very well. Especially the public hours of the exhibit when I made over two dozen presentations to the roughly one thousand friends I was able to share it with. So, if you were there and have a *few* pictures you could share with me, please drop me a line here. Pictures of demonstrating the guts of the tool cabinet or of the docents interacting with with visitors or visitors studying the collection intently would be especially appreciated. Also pics of the LAP booth/tables where the book was sold, or where Jason was selling tickets and polissoirs at Handworks.
Your selfies? Not so much.
In the last year my tool sales have doubled, so something has to give. I took my last six bench planes to Handworks and they were gone in a few hours. I won't be making any more.
In the past seven years I've made about 800 planes, it's a shame it has to end.
But all is not lost. I've long been an admirer and user of the HNT Gordon planes from Australia and a few months ago I started selling their spokeshaves and shoulder planes. I now have in stock their palm smoother which is a very handy little plane for small areas and rounding edges. Some of the stock features beautifully figured gidgee, first come first served! Price £99.
I also have on order their high angle block plane and jack plane which should be here in a few weeks.
Though I can’t attend the mid-year conference of the Society of American Period Furniture Makers in Knoxville, Tenn., next month because of family obligations, I urge you to check it out. The program, which runs June 11-15, is pretty fantastic.
Check out the full listing of events here. Of course, the historical stuff is great, including the house tours and inspections of period pieces, I am most interested in the presenters who are discussing the nitty-gritty how-to.
At the top of the list: Al Breed. You might not find a better living, professional cabinetmaker today. His work is as good as I’ve seen. And he’s a great instructor. Al will show how he veneers curved surfaces and might have time to show some of his carving as well.
Don Williams (you know Don, right?) will be there to step back into the finishing realm after finishing up the exhibit of the H.O. Studley tool cabinet and workbench. Don’s true passion is on historical finishing methods. Just ask him. No, strike that. You don’t even need to ask. Just stand near him and it will all come out.
Don will show his methods for making new finishes look old. Expect cool chemistry stuff.
And then there’s Jeff Headley and Steve Hamilton, who will show how to construct a Shenandoah Valley Tall Case Clock. Even if you have no interest in clocks, do not miss a chance to see Jeff and Steve work. These guys are fantastic, smart and hilarious. I’ve seen them present about five times and could go another 100 times.
There’s tons of other stuff going on during the four-day weekend, so check out and get registration information here.
And if you aren’t a member (I am), please consider joining. It’s a great group of dedicated woodworkers.
— Christopher Schwarz
Filed under: Personal Favorites
When building furniture it’s pretty common to have a series of operations that together will make the final component part. As an example, the legs for the table I’m building involved first prepping the rough sawn stock, then making the stepped mortises, adding in the square holes for the ebony plugs, cutting the indents in the bottom of the legs, shaping the tips of the legs and finally doing the inlay and finish sanding.
At any step in the process it is possible to make a mistake, and some of these mistakes are difficult to recover from. Careful work and some specific techniques can help prevent mistakes. Skill and experience help, and techniques like carrying an extra part along in the process can help. In making the legs I had enough stock for two extra legs, so I was able to quickly recover when I put the mortises in the wrong place on one leg by making another replacement leg from the extras.
Sometimes mistakes still happen, even with skill, experience and careful work. When cutting the slots on the inside of the skirts for the top attachment buttons I had a serious problem. The spiral up-cut bit I was using was (apparently) not tight enough in the router. On one of the skirts it pulled loose and climbed through the skirt effectively ruining the skirt. I could try and fix it, or make another skirt. I chose to repair it by drilling a shallow hole with a Forstner bit and putting in a face grain plug.
I don’t know what the moral of the story is, other than stuff happens when I’m in the shop. And I’m probably not the only person that has things go wrong. It’s what happens after that matters, both in repairing the mistake and learning from the mistake.
I get a lot of questions about hand tools. When you get past the “should I buy this or that” or “what should I get first” questions and get down to the usage questions where a woodworker is struggling with a tool or getting uncertain results, invariably they can all be answered the same way:
Go sharpen your blade
Sure there might be something else at play and those noble and patient folk who spend time restoring old tools to use may have a variety of other things awry. I’d be willing to bet that even with a broken handle, out of flat sole, and tar and feathers still trailing off the back of Ole Stinky Pete the mining carpenter’s best plane, it will work with a freshly sharpened blade.
So you’re not getting shavings with your fancy new smoothing plane? Go sharpen the blade and be amazed what happens. Getting tear out from your tight mouthed, 10 lb infill plane with the GPS positioned 55.467 degree bed and built in Atomic clock? Go sharpen the blade. When the blade is so sharp it glides through the wood, there is little force placed on the fibers to make them want to tear or crumble away.
Are you struggling to saw a straight line with that rip saw? Go sharpen the blade and be amazed at how straight it cuts because you’re not forcing the teeth through the wood and introducing deviation along the tooth line.
Do your dovetails have gaps? Go sharpen your chisels and be amazed how the chisel cuts right on a line without crumbling fibers.
In fact any question relating in any way to after market upgrades to a tool or guide to ensure accuracy should first be set aside until the current blade has been sharpened. The fact is we live in a wonderful age of beautiful hand tools manufactured with more precision and love than perhaps there ever has been. We also are a society of gadgets and gizmos and solutions so innovative as to shock and amaze. We firmly believe that our woodwork will be better if only we had more features. We focus on features! Saw tooth geometry is like some mystical alchemy that once unlocked will create the Midas sawyer whose every cut is lined with gold. But if you augment that geometry with a custom handle and a hang calculated with a sextant during a harvest moon on a Tuesday in August while standing on your dominant leg with a scrap of the Schwarz’ woobie tightly grasped in your hand, all your sawing dreams will come true.
I’m purposely being glib here obviously and I myself own some beautiful saws and planes and chisels that have many of these additional features and “bling”. But you know what? Many of these additional features only help to cover up when a blade needs to be sharpened.
A tight mouth on a plane and a closely set chip breaker can indeed control tear out but they will also make a dulling blade cut like one that is sharp because they force the shaving to break and restrain the wood fibers that want to tear away. A saw going dull will still cut true and cleanly when a rake angle or optimal hang angle can compensate for the additional effort required to drive that less than sharp tooth through the wood.
The additional features fool us into thinking we work better with them and are the secret to our success. Ironically we have even found features to fool us with our chisels.
What could possibly stand in the way of a simple beveled piece of steel? It either cuts cleanly or it doesn’t. Well the steel itself of course. As new kinds of steel hit the market manufacturers rush to tell us that this steel will cut cleaner and longer and with less morning after remorse. Maybe this is true to some extent because I must admit some of the modern steels are pretty impressive with how long they hold an edge. But this also makes us lazy, thinking we can dovetail an entire chest of drawers without sharpening.
Which brings me back to my original point. Go sharpen your blade, it will fix any problem you’re having.
But am I sharpening right?
Sigh…that’s the rest of my inbox in a nutshell. Come back tomorrow and I’ll address that can of worms then.
The next traditional saw on my list to build is a frame saw. You might remember that I have completed a 12″ bow saw and a 700 mm Roubo-esque cross cut bow saw already. After some research I decided to use Tom Fidgen’s (The Unplugged Woodshop) design as inspiration for my version. Tom is an icon of note as far as I am concern and that was enough reason for me. He produced two excellent videos on how he built his frame saw (see the link profided if you are interested.
For this project I chose Kershout (Pterocelastrus tricuspidatus) which is ridiculously hard with a specific gravity of > 1 (it sinks in water). The third picture show the end grain of a small piece. I tried to count the year rings and got to about 120. This gives you an idea of how slow it grows and why it is so dense.
The usual lamination process I have to endure to make up stock with appropriate dimensions.
The rough stock before work started.
Living in Africa means I have to cobble together my own hardware for the saw. A scrap piece of mild steel angle iron seemed to fit the bill. As you can see I am no welder, but we all have our little problems.
My shop built Jack plane came in handy to square up the parts.
I have been struggling to saw off smaller pieces of stock like this perfectly square. Since I received my holdfasts I tried this approach and it improved my accuracy immensely being able to see the two lines you are sawing. You then flip it over and repeat on the other side.
Dual tenon design, ala Mr. Fidgen.
I like making a small notch with my chisel to start the crosscut saw.
My shop made bow saw removed the waste between the two tenons.
Dual tenons necessitates dual mortises.
Now the fun part will start. Shaping the saw will be the topic of the next riveting installment in this series.
I’ll be the first to admit that the internet has been invaluable in helping me learn about woodworking over the years. I know that without the internet, I could not have found out about Japanese tools to the extent I have been able to, and the internet has been invaluable for me to learn about more general woodworking information as well. I don’t think it’s an overstatement to say that the internet has been a game changer in terms of making it easier for folks looking to get into woodworking today.
Even so, one thing that will always remain true about woodworking is that this is a physical activity, in the sense that we work with real objects, using tools to shape wood and other materials to make our projects. Woodworkers are constantly drawing inspiration from other woodworking projects, and these days Google image searches seems to have taken the place of Chippendale’s design catalogues.
Photographs can only get you so far, however. The way an object is represented in a photograph depends on so many things: lighting, the choice of lens and focus point, the angle of the shot, and so on. And although access to photos can be invaluable in terms of providing a broad overview of other woodworking projects, sometimes you have to see the object in person to really understand how it appears in real life.
My first encounter with this was a few years ago when I went to Woodworking in America in Pasadena. I went to that particular WIA because I had the chance to see Greene and Greene furniture in person. I like Arts and Crafts furniture, but I’ve always liked Stickley more than Greene and Greene. I thought that the design elements found in Greene and Greene furniture were a bit ostentatious, what with the ebony pegs sitting proud of the surface, and inlays that also protruded from the wood.
I thought all these things until I saw a Greene and Greene chair in person. And then I realized that the photos I had seen of Greene and Greene furniture all lied to me. Whether it was due to the angle of the photo or the lighting, the photos of Greene and Greene furniture I had seen all exaggerated the degree to which the ebony pegs and inlays were proud of the surface. Even the photo I took above makes the contrast between the inlay and pegs and the background wood look more pronounced than it is in real life, and I wasn’t trying to do that. I came away from that WIA with a new appreciation of Greene and Greene furniture, although I still like Stickley better.
At the top of this post is a photo of bench planes made by Old Street Tool, taken at Handworks 2015. You can get a lot of information about these planes from looking at the photo, but there’s so much about them that you can’t tell, from simple things like how the mouth is configured, because you can’t see the mouth from the angle of the photo, to more tactile things like how the handle feels in use, which you will never get from a photo.
Seeing the Studley tool chest this past weekend was a very similar experience. Like many woodworkers, I’ve looked at the poster, looked at photos, saw Norm explore the tool chest on video, and thought that I had a good idea of what the tool chest was like. When I saw it in person, I realized how wrong those impressions were. All those photos and video did not compare to looking at the tool chest in real life. There are aspects to Studley’s design and execution that can only be appreciated in person, walking around this three-dimensional object, and seeing it for real.
Not to mention that the live shared experience with lots of other woodworkers is something that the internet cannot replace, even with internet-based methods of communication like forums, social media, and text and video chats.
It’s sometimes asked whether making a trip to see an object like the Studley tool chest is worthwhile. (After all, $25 is a lot of money.) It can be argued that there are already plenty of photos of that object. It can be said that this is mainly a social event, not an academic one. One may decide that they would rather look at something else; maybe Frank Lloyd Wright is more their cup of tea. But if the argument is made that there is zero value to seeing an item like this in person because there are alternative ways of getting that experience, although I don’t often state things in absolutes, I would say that that idea is completely and demonstrably wrong. And it will continue to be wrong as long as woodworking is about making physical objects that live in the real world.
Joe McGlynn has been posted a few blogs (here) about risk and workmanship. He is risking ruining 1 or more legs with doing inlays. Me, I'm risking turning a table top into kindling. Both of us are balancing doing an unknown act against the risk of getting it correct. It's been a very long time since I dragged my feet on doing something like this.
I have two long rips and two cross cuts to make on the table top. There isn't a safe way to do it on my tablesaw so that isn't an option. I also don't have a circular saw to do these with a guide so that means I'm using handsaws. This is the first time that I'll be attempting to do such a long rip. I've done long crosscuts before but 7' long rips done reasonable straight and square is a new thing for me. And I have to do a second rip reasonably parallel to the first one. But before I did that I did some busy work.
|ran an errand first|
|cauls are off|
|boards are still proud|
|stuffing for the hole|
|cherry shavings and hide glue to the rescue|
|top all flushed up|
|first coat of shellac on the base|
|flipping the table|
|get one end on the bench- making sure this is the side to be worked and push|
|ready to rip|
|3/4 of the way done|
|cut on the opposite side|
|the top is skewed a bit|
|opposite cut done|
|two offcuts side by side|
|first cross cut done|
|few degrees off plumb|
|risk part one is done|
|I picked two|
I'll be doing that tomorrow. All of this I had planned on doing tomorrow. I did it today because I only have about 24 some odd days before I have to deliver this.
What is poliosis?
answer - graying of the hair
After visiting the H.O. Studley tool chest in Cedar Rapids on Saturday, I found myself with nothing to do. I knew I was going to head back to Hand Works 2015 in Amana but not until later in the day. I was there all day on Friday and was tired of crowds. Things should clear out by 3:00 PM or so.
After considering my options, I decided to see if by chance there were any antiques shops in town. As luck would have it, there were. Enough to keep me busy for a few hours.
In one handsome Victorian turned overstuffed antiques shop, I found another tool chest. This one is smaller and at $55, more affordable.
Do not be too quick to dismiss this chest. It does have some professional quality features. Like an English pattern layout square:
A European style smoothing plane:
And an assortment of o other useful tools:
It’s all there. A wooden mallet. A pair of slip joint pliers. Zig-zag rule. Abrasives. I know the screw drivers will work equally well as chisels or pry bars.
Not as nice as the Studley but how many tools do you really need to fit piano keyboards?
The window was created around 1240 - 1250 AD. It shows Christ carrying the cross through Jerusalem and a man standing by, hammer in hand.
The hammer obviously has a claw, not unlike a modern hammer. Almost looks like an Estwing brand.
I find that interesting. . .
We have to be careful about what we think we know about the past. Those old boys were pretty smart.
Ratione et Passionis
I started making things from wood with nails to hold the pieces after seeing my dad clutching a handful of 4” ovals making me and my siblings a go-cart from an old mahogany table. Clenching the pointed nails now protruding over and sending them back seemed the cleverest thing to me and two three-foot pieces gave use a five-foot chassis in a matter of a few hammer blows. Two cross members, one fixed and one pivoting on a bolt in the centre held two sets of pram wheels and I knew freedoms I’d never known before. No, not on the the four-wheeler! It was the hammer and nails, my introduction to woodworking and the power of nailed wood.
From there my go cart made frantic trips to the bottom field and the tip (city dump) where the trucks lined up filled with thee worlds rubbish. Loaded with everything from old wardrobes to new offcuts of plywood I loaded my cart and wheeled it home and my dad and I nailed stuff together to make ‘furniture’ for the house. I’d found two cans of gloss paint, light green and pink and he taught me to paint too. From these all too brief encounters I became the happy maker of things from wood and the painter of things from wood. At fifteen I entered into my apprenticeship and 50 years later I’ve made hundreds of thousands of hand cut dovetails, mortise and tenons and many more joint types; possibly as many or even more than any man living. I’m not claiming that, but it’s possible in today’s world were machines have indeed taken over.
This last week I watched different people being trained or who I had trained working in my workshop and thought how amazing to have seen 5,500 people standing at my benches being transformed and changed to think differently about wood. I remembered some of how it began and seeing men standing with sons waiting by a bandsaw ready to cut out shapes and wondering why. I took them to my workbench and introduced the mallet and the chisel and a tenon saw and suddenly the line and queueing stopped and the fathers and sons engaged in the real work of real woodworking and real relationships with wood and one another started developing. These are the ways that young people become woodworkers and fine furniture makers. Dad’s engage with their children when they use hand methods that, yes, they have dangers, open doors at the right age in the right place just when it’s needed. What I teach today began with a handful of dads trying to connect with a generation that many are losing all the more to two thumbs tapping smart bits of glass and plastic in pretend worlds everyone would have seen for what to really is at one time. When some pursue dreams of wealth and prosperity, others discover their hands were made to create something real. Relate to the real world, reconnect when their little and one day you’ll make a go-cart with them or a cello. One day you’ll see them making coffee tables as wedding gifts for their brother’s wedding gift, wooden spoons, mallets and workbenches for a living and a guitar, a violin and a cello they can play. No matter how good the computer and the the smart phone apps, they are not smart enough to compete with what I enjoyed in watching my sons around me in the workshop for these past 30 years.
Do you start a kid (or kid at heart) down the woodworking rabbit hole via hand tools, power tools or both? The more time I spend teaching woodworking, observing students learning and contemplating the woodworking teaching process, the more I’m leaning toward the idea that power-tools should be eliminated, or drastically reduced – particularly for young woodworkers. I am not against power tools at all. In fact, I’ll only give […]
you'd kinda be right about that.
But I'm also using my downtime from docent duty to focus in the laser on this little medieval book of mine. After all a few weeks ago I gathered some incredible research and I'm ready to start filling in the initial framework.
There is still more research to do along the way, but yesterday evening I had a small but satisfying break through.
The bed shown in the Morgan Bible has been an issue for me since just after identifying the thirteen instances it shows up. Why is it so problematic? The bed clothes hide most of the bed in nearly all the instances. The best you get to see is the feet.
It's a little maddening in the fact that it doesn't show anything much for me to work from. But research is magic. Tonight I was reviewing my notes and I found a trail to follow. Under my research on beds I'd written "Famous example from Chartres" Offhand I wasn't sure what Chartres was.
The power of the internet is great and soon I'd found that Chartres Cathedral is a medieval Gothic cathedral built near Paris France around 1194 and completed around 1220. It is nearly complete in it's original state, almost untouched by hardships. And the stained glass windows are exquisite. In a stained glass window panel called the Charlemagne panel. There I finally found a solid answer.
My research has concentrated on other illuminated manuscripts, now I'll have to spend some time with stained glass windows as well. It's a heavy burden. . .
Close in geographic proximity. Falling very close to the span of years in which the bible was made,
The bed without the bedclothes is fairly close to what I was picturing in my head and planned out on paper. Still, I wasn't close enough, I'll start the measured drawings again from scratch once I get back to my drafting table.
A lot of those who've studied the Morgan Bible note how the artistic interpretations inside are different from other manuscripts at the time. The popular speculation is they were actually mural painters, based on recollections of similar murals that had been painted at the time and preserved until the 20th century.
I have a different speculation. Not possessing the advantage of witnessing the murals, I see similar artistic quality and work in the stained glasses of Chartres Cathedral and Sainte Chapelle.. What does a stained glass artisan do when the work is light? or they cannot travel for a while to work on a new cathedral? Settle down for a bit and work for a Scriptorum creating manuscripts.
I wonder if the idea has been entertained.
I will have to leave it for the moment though. For the rest of the day I get to help pack up and wrap up the Studley Tool Cabinet, Workbench, and all the tools for it's return journey to the owner. Yet another burden. . . .
Ratione et Passionis
Donald Culross Peattie, A Natural History of Western Trees, 1953
Just arrived, two sets of Engelmann Spruce guitar tops!
I purchased these tops from Simeon Chambers out of Highlands Ranch, Colorado. I have heard good things about the tonewood his sells, so I decided to see that for myself.
Click here for his website and better yet, click here for his eBay store.
The order arrived within three days of placing it. Mr. Chambers did include four pieces of brace wood, enough I think for the transverse bars and fan bracing!
As you can see the wood is gorgeous, Mr. Chambers states that this wood is comes from trees that were killed in a forest fire back in the 1940's.
I want to pair one of these tops with curly hard maple back and sides...oh, so much work to do!
Scott Landis, The Workbench Book, 1987
A deadline is fast approaching and I have at least one more French polish session to do on the bearclaw Sitka spruce/granadillo guitar for Kyle Throw, an up and coming young classical guitarist in Denver, Colorado.
The trickiest part about French polishing a guitar is where the sides join the heel, you have to really smash down your polishing pad to get the shellac in the corner of the junction. And you can't work the area too much at a time or you will soften the shellac you just put down.
A bench mounted vise holds the guitar by the head stock or neck when I French polish, one problem with this is I have a limited view of that junction. Really, I can't the bench light just right to reflect off the shellac so I can see how much I am putting down.
I decided to remedy that problem today, I decided to make a guitar body holding box that can be mounted to the bench apron.
I got this idea from Scott Landis's The Workshop Book. Turn to page 31 of his book and you will see a photo of the workshop of Jeffery Elliot and Cyndy Burton. In the photo you see Jeff working on a guitar that is being held in a box.
There was a handful of ponderosa/lodgepole pine boards in my other workshop, just right to make the box. No plans needed, I figured two inches wider and deeper than the guitar box. The rest I "eagle eyed".
A battery powered drill, some screws and the box quickly went together...
I marked the location for the holdfast holes and drilled them with my trust Stanley brace and Irwin drill bit...
and the hold fasts, well, um, hold the box tightly to the bench apron.
In this above photo, the redwood/Indian rosewood copy of a 1961 Hernandez y Aguado guitar sits well in the box ready for more alcohol/pumice pore filling.
The beauty of holding the guitar in such a box is the quick access to the sides on either side of the heel joint. It means a better job of French polishing!
Now, get out to your workshop and make something!
Some day I will learn.
On to making drawer fronts and a small wall cabinet.