Matt Estlea
Published 3 Sep 2020Cutting the tenons is a fairly easy and forgiving process, mainly due to the fact that 90% of the joint is hidden within the mortise. However this concept is only true if your marking lines are accurate, so make sure they are accurate!
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_________________________________________________________________My name is Matt Estlea, I’m a 24 year old Woodworker from Basingstoke in England and my aim is to make your woodworking less s***.
I come from 5 years tuition at Rycotewood Furniture Centre with a further 1 year working as an Artist in Residence at the Sylva Foundation. I now teach City and Guilds Furniture Making at Rycotewood as of September 2018.
If you’re interested in studying at Rycotewood, view their courses here:
www.mattestlea.com/rycotewoodI also had 5 years of experience working at Axminster Tools and Machinery where I helped customers with purchasing tools, demonstrated in stores and events, and gained extensive knowledge about a variety of tools and brands. I discontinued this at the start of 2019 to focus solely on video creation and teaching.
During the week, I film woodworking projects, tutorials, reviews and a viewer favourite ‘Tool Duel’ where I compare two competitive manufacturers tools against one another to find out which is best. I also have a Free Online Woodworking School which you should definitely check out!
www.mattestlea.com/school
I like to have a laugh and my videos are quite fast paced BUT you will learn a lot, I assure you.
Lets go make a mess.
September 6, 2020
Cutting and Fitting the Tenons | The Cabinet Project #15 | Free Online Woodworking School
Tank Chats #78 Cruiser Mark I A9 | The Tank Museum
The Tank Museum
Published 21 Jun 2019The Tank Cruiser Mark I A9 is an interwar British tank. Tank Historian David Fletcher talks through the very first cruiser tank to go into service.
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QotD: The process of writing fiction
Like most writers, when I am in the throes of composing fiction I don’t actually think about my work’s future readers. All my attention and mental energy are focused on the immediate task in front of me. Scene by scene, I have to hold in my head who these people are, what they’ve just done in the prior scene and their prior lives, what will happen next (which, depending on what they do right now, can turn out to be something quite unexpected), their relationships to each other and how they are developing, and scripting the dialogue — or choreographing it, since characters’ conversations sometimes feel more like a dance than like a play, and are definitely a form of action. What should be in the next scene, the next paragraph, the next sentence, the next word — oh, not that word, this one would work better, that bit of syntax needs rearranged for clarity, and oh dear that sentence is far too long, better cut it in half and restructure it … The process of writing is like sandpainting in a windstorm.
Adding in a consciousness of the audience while doing all this would be like the tap-dancing centipede, who did fine until he started thinking about where he was putting all those feet.
Lois McMaster Bujold, introduction to the Taiwanese edition of The Curse of Chalion by Fantasy Foundation/Cite Publishing, 2020-03-25.