Published on 14 Dec 2014
Plans and project resources: http://www.thewoodwhisperer.com/videos/salt-cellar/
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December 20, 2014
Build a Wooden Salt Cellar
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October 25, 2014
Sharpening woodworking tools
Paul Sellers talks about the practical limits to sharpening woodworking tools like planes and chisels:
As I have said, we have become something of an obsessive bunch when it comes to the different elements of working wood; sharpness has become more and more obsessive. Now we are not talking about the violin maker seeking sharp levels for clear tone from the wood and who uses wood so soft, unsharp gouges and planes would bruise rather than cut the fine surfaces he strives to achieve. His standards parallel the levels needed for severing tissue by the surgeon’s hand, not the bench joiner chopping mortises and cutting a few dovetails.
It’s unfortunate that since the demise of ordinary craftsmanship we now turn to guru wood writers and not wood-wrights. Woodwrights are no longer there to give us our information of course. It’s true too that the sources of information become more and more questionable. Three recent sources of information teaching on sharpening techniques I tracked back to tool catalog and online sales people selling products for sharpening. Most of the information they have is not new but regurgitated. Each phase of sharpening change marks another saleable product and so we see Japanese water stones added to carborundum stones, Arkansas stones and Washita stones and then came diamonds and abrasive films, diamond paste and flattening stones. The list goes on.
We have survived the different gospels of scary sharp and micro-bevel methodology and are emerging to this very simple reality. As long as you start the cutting edge somewhere around 30-degrees and polish it out it will cut well. If you you sharpen to around 1200-grit it will cut most anything you need in woodworking. If you sharpen to a polished edge of around 15,000-grit you can slice the most delicate of materials effortlessly, but 98% of the time that’s far from necessary. What am I saying? I’m saying that we generally sharpen to task but often sharpen to a higher level because it’s not much extra effort. We all know after a few efforts at sharpening that the greatest effort comes at the start of the process when we have to regain ground to get through a fractured and dulled edge and back to a productive cutting edge. That said, it’s not a big deal, just a few extra strokes on the coarse diamonds gets you there. So, if that is the case, why do we sharpen to higher levels than are usually needed. Well, it is a fact that the more polished the two plains forming the arête for a cutting edge are, the sharper the edge is but the stronger the edge is too. As I said, the extra effort is worth the work because it’s so quick and effective. It’s not so much what we do to the edge to establish it but what we do to the edge after we have prepared it for work. Taking the chisel to the surface of the wood to work the wood begins an immediate process of edge reduction we now know is edge fracture but was once called wear. No matter the steel, edge fracture occurs at some level but some steels fracture more readily than others. What we often do not realise is that it is impossible to find a steel that both takes and retains an edge and at the same time has a level of durability we can rely on forever. All edges wear away by fracture and constantly need restoring.
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October 21, 2014
A different approach to building your own PC case
Published on 13 Nov 2012
In this video I show the features of my homemade silent wooden PC case, and how I built it.
Most silent PCs compromise on speed for silence, but not this one. Specs:
i7 2600k @ 4.4Ghz
GTX 460
24GB RAM
3TB HDD space + SSD
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September 2, 2014
Sharpening woodworking tools
I’m an occasional woodworker, but I’m always aware I don’t sharpen my tools as often as I should. One of the reasons I don’t is that it’s such a hassle to sharpen them properly: it’s not as simple as sharpening a kitchen knife, and you need to spend time to work through from a coarse grit (250 or so), through medium grit (1000) and into fine (4000) or even superfine (15000 and higher). This video by Paul Sellers has persuaded me that it doesn’t have to be that way for most of the woodworking hand tools I’m likely to use:
Published on 8 Nov 2013
In this video Paul Sellers shows that you don’t need to sharpen to 15,000+ grit on you planes, chisels and other woodworking tools. 250-grit works just fine for most of our woodwork. Paul addresses the myths and misinformation put forward, and challenges what we think about sharpening.
To find out more about Paul Sellers and the work he is involved with visit http://paulsellers.com
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April 1, 2014
Innovative new bench design for woodworkers
The deep thinkers at Lee Valley Tools have come up with a brilliant solution to a perennial woodworking problem:
H/T to Jon, my former virtual landlord, who said “I’d like to see someone do a legitimate motion study on this and prove that it would actually work”.
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March 3, 2014
Decorative wooden boxes from a steam-powered box factory
Published on 19 Feb 2011
The Phillips Brothers all Steam Powered Box Factory, founded in 1897, is family owned and operated and listed in the National Register of Historic places. This mill is believed to be the last fully operational all steam powered mill in America.
H/T to Roger Henry for the link.
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November 23, 2013
QotD: The evocative power of smell
I’ve read that it’s smells that humans remember the longest, or are the most likely to jog memories. After positing that, the pseudoscientists often talk about Grandma’s cookies. Let me tell you about smells.
It smells like exotic bread is baking near the dust collector when you put pine through the drum sander. You know the fine dust is giving you nose cancer and lung trouble so you’re almost immune to its charms. Almost. There was this smell once, when I had to renovate an apartment a guy died in. He was in there a good long time, too. It’s the smell of the mass grave. That was fun. But nothing can compare to the smell of the abrasive cutoff saw going through steel. It makes brimstone smell like French pastry.
You see, to cut metal like that you don’t often use a saw with teeth. It’s just an abrasive disc, and you send a shower of sparks and an acrid, burning blast of stink up your nose. It’s like snorting sand from the outdoor ashtray next to the door at the place they hold Alcoholics Anonymous meetings. I’ll never forget it.
“Strange Adventures In The Fall And Rise Of Sippican Cottage”, Sippican Cottage, 2013-09-04
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September 20, 2013
Not “lovingly crafted”, but made with craftsmanship
Sippican Cottage posted this the other day, and I have to admit I was vastly impressed with the skills of these workers:
That workshop has nothing that I don’t understand going on it it. It’s a very safe place to work, although the State of California would tell you that every single thing in it is known to give you cancer. But they say that about a glass of tapwater. The finish that the woman’s applying is shellac, which you can eat after is dries, and the glue pot is filled with hide glue, which is just horses that came in last, and most of the tools make wood shavings, not sawdust, and the sanding is done by hand, so the sawdust isn’t copious or particularly dangerous. No one in the video is missing a digit, or has any visible scars from working with their hands all day. They all have fans pointed at them, but that’s no doubt because it’s too warm for comfort wherever they are. That place is not full of toxic fumes. You’d pay money to smell the smells in there. Shellac and hide glue and wood shavings smell wonderful. I hear laughter in there, and people smile when a camera is pointed at them. It’s a sheepish smile I understand. They are not used to people being interested in their mundane life. No one is wearing safety glasses or ear protection, and no one needs them, either.
No one is LOVINGLY CRAFTING anything in the video, although the violins they make will be sold for huge money in Europe, and the customers will be told that their violins were… LOVINGLY CRAFTED. But then again, no one I’ve seen in five thousand LOVINGLY CRAFTED videos have one-tenth the hand skills I see demonstrated by everyone in the video. It’s important work to them, so they do it to the best of their ability. People that do things over and over get really good at them. I wish them all well — and hope on my best day, I’m as good as they are on their worst.
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July 6, 2012
If it’s being “rebuilt” to a different design, with different materials, it’s not the same Bluenose
Wooden sailing ships are subject to far more wear and tear than modern vessels: they’re like the old tale of the farmer’s axe (even though everything’s been replaced over time, it’s still the same axe). This means that heritage sailing ships need lots of careful maintenance throughout their lives, and major re-builds at long intervals. In the case of Nova Scotia’s iconic Bluenose II, however, it’s sometimes more than a “rebuild”:
She is a celebrity, immortalized on the back of our dime and presently parked beneath a big white tent in the Lunenburg Shipyard, awaiting finishing touches and the order to set sail.
Built in 1963, Bluenose II was effectively scrapped in the fall of 2010. A small percentage of the old boat, including the sails and masts and some of the mahogany and walnut from the hull, were saved for use in the rebuild. The bow-to-stern reconstruction had the legend at points looking more like a whale skeleton beached on the Lunenburg wharf, with her ribs exposed for all to see.
Some purists, including Ms. Roué, a great-granddaughter of William J. Roué — the naval architect responsible for designing the original Bluenose, which launched in 1921 and achieved lasting fame by hauling in massive catches on the Grand Banks and beating American schooners in ocean races — view the “restoration” tag as a semantic stretch.
They see it as a sham concealing the fact the boat being built and expected to launch this summer under the Bluenose II banner was not built according to Mr. Roué’s original designs. It is not the Bluenose II but a new boat altogether.
You could make the case that this is merely a look-alike, rather than a replica. In fact you’d pretty much have to say that:
The original Bluenose was made from Nova Scotia oak, while its second incarnation blended local and South American oaks.
The latest edition consists of laminated angelique, a bulletproof teak from South America. Meanwhile the engine bed, stern frame, floors and fasteners holding the whole shebang together are steel, where once they were wood.
Any boat, especially a boat named Bluenose, is more than the materials it is made of or the sum of its designs. It is a piece of living history and its identity derives from the stories attached to it and in the recollections of those that sailed aboard her, some accounted for, others lost at sea.
So, just to sum up: she’s being built to a different design (even though outward appearance is much the same), using different materials. In what way can you call her the same ship? The point made in the article, that the masts and sails were some of the “originals” being re-used is odd: those are among the parts that need replacing more often. And the mahogany and walnut saved from the last boat are almost certainly decorative elements, not structural ones.
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February 23, 2012
Reason.tv: Months later, still no charges in the Gibson Guitar raid
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December 28, 2011
Going beyond merely precut lumber for homebuilding
Precut – Modern Japanese Timber Construction from BAKOKO on Vimeo.
H/T to Popular Woodworking for the link.
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November 12, 2011
Still no charges in the Gibson Guitar case
An update in the Wall Street Journal just recaps the background to the case, and has an interview with Henry Juszkiewicz, the CEO.
On Aug. 24, federal agents descended on three factories and the Nashville corporate headquarters of the Gibson Guitar Corp. Accompanied by armored SWAT teams with automatic weapons, agents from the Fish and Wildlife Service swarmed the factories, threatening bewildered luthiers, or guitar craftsman, and other frightened employees. A smaller horde invaded the office of CEO Henry Juszkiewicz, pawing through it all day while an armed man stood in the door to block his way.
“I was pretty upset,” Mr. Juszkiewicz says now, sitting outside that same office. “But you can only do so much when there’s a gun in your face and it’s the federal government.” When the chaos subsided, the feds (with a warrant issued under a conservation law called the Lacey Act) had stripped Gibson of almost all of its imported Indian rosewood and some other materials crucial to guitar making.
The incident attracted national attention and outrage. Like Boeing — whose plans to locate new production in South Carolina are opposed by the National Labor Relations Board — here was an iconic American brand under seemingly senseless federal fire.
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September 8, 2011
Play it again, Gibson
Allahpundit posted the video clip above, saying:
If I’m understanding the applicable law correctly, Gibson is as much a victim of Indian protectionism as they are federal meddling. Watch the quickie John Roberts segment for the gist of it. The wood they use to make guitar keyboards is sufficiently rare/endangered that it can’t be exported legally from India unless it’s already been finished by Indian workers, and under U.S. law, if the export is illegal under Indian law, then it’s illegal here too. The governing statute, the Lacey Act, was passed in 1900, but only in 2008 was it expanded to include plants as well as animals, which is why Gibson’s now being hassled about the wood. All of which is jim dandy — except for the question of why Gibson seems to be getting so much federal attention vis-a-vis other firms. Roberts touches on that.
H/T to Jon, my former virtual landlord, who commented “I like the way he pulls the finished guitar fret out of his ass.”
Update: Speaking of Jon, he’s all over this issue with another link and extra commentary:
CHRIS DANIEL: Mr. Juszkiewicz, did an agent of the US government suggest to you that your problems would go away if you used Madagascar labor instead of American labor?
HENRY JUSZKIEWICZ: They actually wrote that in a pleading.
[. . .]
He’s even warned clients to be wary of traveling abroad with old guitars, because the law says owners can be asked to account for every wooden part of their guitars when re-entering the U.S. The law also covers the trade in vintage instruments.
As Jon points out, this is more than just an issue for the musical instrument makers and musicians:
It’s only a matter of time until this is applied to tools and furniture.
I wonder where [hand tool maker] Lie Nielsen’s politics lie — but he should be safe, using domestic cherry for his totes and knobs.
Lee Valley might have a problem exporting to the US, what with bubinga and rosewood components and being based in Ottawa, which is now a hotbed of hard-right conservative political thought. (A co-worker is wondering why I’m giggling to myself here).
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September 7, 2011
A bit more on the Lacey Act
The Economist has a brief mention of the Gibson raid:
Agents barged in and shut down production. They were hunting for ebony and rosewood which the Fish and Wildlife Service (FWS) alleges was imported from India in violation of the Lacey Act, a 1900 law originally designed to protect fauna from poachers. This law has metastasised: it now requires Americans, in essence, to abide by every plant and wildlife regulation set by any country on Earth. Not having heard of an obscure foreign rule is no defence. Violators face fines or even jail. FWS claims the ebony sent from India was mislabelled, and that Indian law forbids the export of unfinished ebony and rosewood.
[. . .]
Guitarists now worry that every time they cross a state border with their instrument, they will have to carry sheaves of documents proving that every part of it was legally sourced. Edward Grace, the deputy chief of the FWS’s office of law enforcement, says this fear is misplaced: “As a matter of longstanding practice,” he says, “investigators focus not on unknowing end consumers but on knowing actors transacting in larger volumes of product.” But Americans have been jailed for such things as importing lobsters in plastic bags rather than cardboard boxes, in violation of a Honduran rule that Honduras no longer enforces. Small wonder pluckers are nervous.
Original report on the Gibson guitar raid here. Rules like the Lacey Act are tailor-made for petty bureaucrats to exercise immense amounts of judicially unsupervised power. It’s hard to believe that this kind of rule is being enforced evenhandedly, and rather easier to believe that it is being used selectively as a way of paying off scores, providing a “service” to certain firms at the expense of others, and creating lots of opportunities for bribes, “protection money”, and the like.
March 15, 2011
A new way of looking at wood flooring
To state the obvious, trees don’t grow in nice straight lines. As natural creatures, they bend and sway in their environment — if they didn’t, they wouldn’t be able to withstand the extremes of weather. While this is great for the tree, once the tree has been cut down, the amount of useful wood that can be harvested is limited by many factors, including just how far from “straight” the trunk of the tree grew. Much of the wood that can’t be economically used for solid wood products ends up as chips, flakes, or fibres for manufactured “wood” products.
Bolefloors may increase the amount of solid wood that can be used for flooring:
Bolefloor technology combines wood scanning systems, tailor-made CAD/CAM developments and innovative optimization algorithms for placement software developed by a Finnish engineering automation company and three software companies in cooperation with the Institute of Cybernetics at Tallinn University of Technology.
Bolefloor scanners’ natural-edge visual identification technology evaluates “imperfections” such as knots and sapwood near the edges or ends so that floors are both beautiful and durable.
H/T to BoingBoing for the link.
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