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Showing content with the highest reputation since 06/14/2018 in all areas

  1. 10 points
    I don't chat much about it but, I'm just coming off limited duty due to some medical fun and games (the boards from my lumber run last December are still setting on my bench). Easing back into things (still limited on lifting) I thought to catch up on some small stuff. Picture frames can keep you occupied. I've got some maple 'filed' in the figured section of the plank sanctum but, it doesn't look like much from the outside. I rough cut some smaller blanks so I don't have to lift a lot to get it resawn. There is some decent stuff hiding inside. I also rip some thin face-side stock for the inlay. For small items I can often use up stock that is leftover from some larger piece. Here I laminate some long thin walnut spoil to eventually make the outer frame stock. I lay the birdseye strips into the top groove you see in the pic above with glue and clamp them face to face divided by waxed paper overnight. I clean that up with a hand plane to get my outer frame parts. Then . . . everybody gets mitered. Making multiple picture frames is about as close to production work as I get. Still lovin' the assembly/outfeed table. The inner frames look like so. Side note: These wide mouth Mason or Kerr jars are my favorite for holding finish blends for projects like this. Even for larger projects I will decant into one of these since it is easy to carry around (and get my hand into) while I am circling a larger piece. If there's a bit leftover, you can store it in these for quite some time. Cheap too. Back to the regularly scheduled program. Once assembled it starts to look like so. I did a pair with the birdseye for a set of mother/daughter presents and a couple simpler ones for LOML. The ones for LOML hold canvas applied photos that include her late son. The photos are treated to look like brush work. There's no-glare glass in all the frames. And LOML and her daughter each get one of these. It is the daughter's first born on LOML's lap. I got that shot by pure luck with my phone during a gathering some months ago.
  2. 8 points
    Well we are in the home stretch now on the Pekovich Cabinet. All thats left to do is make the kumiko, fit it in the door, and hang the door. To start the kumiko, I bought a 12" long piece of 12/4 basswood, and used my bandsaw to rip two 9/16 wide strips, then planed them down to 1/2." I make the grid the way Mike P shows in his Kumiko article in fine woodworking. Its a jig that I clamp to my miter gauge, thats pretty much a box joint jig. The distance between the cross cuts dictates the length and width of the finished kumiko panel. Its important to get this pretty close, test on scrap. I use a flat grind, full kerf blade to cut the grooves for the half laps. I want to mention that its important to use a full kerf blade. My first go around making kumiko, i didnt have one, only a thin kerf blade. The thinner pieces make cutting the angles difficult, and they dont like to hold together. The thicker pieces from the full kerf have more purchase when fit together. Then rip the individual strips out. I really have to flubber with the fence and scrap to get the fit just right. Its the most challenging part of the process, in my opinion. Then I cut the pieces to length with a hand saw and saw hook. I skimmed the ends on my shooting board to get them perfect. Then I can fit the grid together. Then its all about the inner pieces. First do the diagonals. They have 45 degree cuts on both ends. You really have to mess around with your jig to get the stop set just perfect. It is very helpful to have 2 jigs for each angle. Set one to be a little long, then have another jig set to cut the other side of the piece to length. Heres piece in the jig getting chiseled to length. And all the diagonals fit. Then cut a bunch of short little pieces and cut 22.5 degree angles on one end of each, with your 22.5 degree jig. Then on the other end of those pieces, use each of your 67.5 degree jigs to cut the pieces to length. With the 67.5 degree ends, you have to have one side cut deeper so the flat is bigger, its hard to describe ill post a picture of what it looks like. And those pieces fit together like so- I put the bigger flats together, im not sure if thats how Mike does it, but it works either way. I didnt take any pictures of the last pieces of the puzzle, but you get the idea now. They are just little short pieces with 45's on both ends, and they lock everything in place. Then after its all fit, pull it back apart piece by piece, and dab a little glue on all the ends, and the grid half laps, and put it back together. I actually did this as I went along, and not all at once. Heres the kumiko panel, before i fit it to the door opening. I just used a hand plane and shooting board to finesse the kumiko to fit the opening just right. I didnt glue it in, just slip fit it, and called it good. Its not going anywhere. And here we have it, the Pekovich Cabinet. I hope you enjoyed the journal, and once again, thanks for reading.
  3. 5 points
    To mount the bottom of the base cabinet up 1 1/2" I marked a line on the side and clamped the bottom with the underside facing up on the line. This works with biscuit machines as well as the Domino. Always watch your plunge depth settings. I'm using 6 x 40 tenons. So 15mm plunge downward into the side then 25mm into the edge of the bottom. The pictures are of my test cuts. I had the depth at 20mm and went through the side. Make test cuts and learn from your mistakes I cut the plunges down into the sides first . I use a scrap to support the machine from trying to tip. You can see the alignment mark on the underside of the bottom board. Then I cut the 25mm deep mortices into the edge of the bottom. The distance from the bit to the bottom of the machine down from the line and up from the bottom board is the same. So anywhere you can draw a line and clamp the 2nd part you can make a joint. Straight or at any angle the line is drawn. I use clamps from each side when working with the full size parts. The test fitted joint is propped up by the scrap. My 1 1/2" faceframe scrap is pulled away so you can see. Perfect fit requires perfect alignment when clamping before you cut the mortices. The fussier you are in getting the boards clamped the better the results. This can be the most time consuming part of making this kind of joint. Dry fitted the cabinet parts and called it a day. There is a 1/4" X 1/4" groove for the back to fit into . It's cut 3/4" in from the back edge. A 3/4" ply crosspiece goes behind the back to stiffen & square the case. We screw through the 1/4 ply & the crosspiece to mount the cabinets to the wall.
  4. 4 points
    So I thought I'd join the party. long time lurker, always enjoy the project journals and I esp enjoy chair journals. I seem to have an affinity to chairs, love the process and love sitting in something I made. This project journal is going to be two Sculptured Teaparty Chairs; plans from Scott Morrison. My back ground is that I'm self taught, grew up on a farm where my grandfather made furniture for his house and his son's families. He was never in it commercially. I started learning from him and have been woodworking off and on for the past 3 decades. After making all things with right angles and all things square, I took the leap and did the sculptured rocker using Marc's website guidance last winter and I haven't looked back since. Doing that project really got the juices flowing and I have since done the Maloof low back chair (2 of them), the bowtie stool from Charles Brock, and 3 sculptured barstools from Scott Morrison. My shop is well equipped and the biggest change for me the past 5 years was getting a quality bandsaw. This one tool has had more impact on the way I approach woodworking than any tool I've ever bought. All things square now are becoming all things curved and it's been fun and challenging. My wood comes from my family farm and my property. I harvest all my own wood and most is milled by me with a chainsaw mill. I mostly work in walnut and cherry, but have stashes of hickory, pecan, white oak, maple, sassafras, white pine, eastern red cedar, and some pear and holly. So I'm posting on here to challenge myself. I grew alot when I bought the Sculptured Rocker Project from Marc and I figured taking the leap to have my work critiqued and evaluated will only make me better. Please feel free to critique, the good and the bad, that is why I'm posting this. Here goes....... Here's the plan and the picture of the desired outcome Templates Seat blanks, one walnut and one cherry. The maloof joints are all cut, seats waiting to be shaped. The plan does not call for taking out a chunk from the middle board on the seat, but I've learned with other sculptured projects that this will greatly reduce the time shaping and the amount of dust . Leg Blanks, waiting for final sizing for width of maloof joint in seat. Dado's are the next step before we start band sawing shapes. So, that's were I'm at now, hope to be back with some progress shortly.
  5. 4 points
    Still a few details to clean up but I think we can call it essentially done for the purposes of this thread. Some lessons learned: The square portion of the legs above the pommels should be smaller. I went back to look at Gottshall and, sure enough, that's a detail I had missed. By that point in the build, though, I didn't want to re-engineer all the internals and decided to let it stand. It still needs some drawer pulls. Not sure what I want to do for those. The spacing of the two drawers visible on this face means that whatever pulls I make will be positioned in an odd place. Probably best to keep them as unremarkable as possible. It does indeed need a finial where the stretchers cross. Not sure what I want to do for that, either. Hardly a new discovery, but full-sized templates and patterns are always worth the time and materials it takes to make them. They also look cool hanging up on the shop wall. Black paint on a coarse, open-pored wood (aka the dreaded "Pottery Barn" finish) seems to help keep the attention on the prettier cherry below. This will eventually get a white fabric runner so it won't be a giant black plate forever. Working with "rustic" lumber (aka Cletus wood) adds tremendously to the build time. All the work of stabilizing cracks with epoxy and trying to get this stuff flat enough for work. This project used up a little less than half of the wood I got from this tree. For all that, I'm happy with how it turned out. This room is slated to be upgraded with better flooring and the table will look better once it's on something nicer than Pergo.
  6. 4 points
    Made some progress today. Ran in to a few minor hiccups but should be able to work through. Plan called for seat dados to be 2 1/4" wide, then the video simply said to use a paired Maloof router bit set to finish the joint. Not thinking I grabbed the 1/2" rabbet/roundover combo I used in the sculptured rocker and completed the seat side of the joint. I then moved on to the legs. The legs blanks are BIG and I had roughed them out to about 3" x 4" wide and planned to take the down to 2 7/8" to fit the leg joint (as the plan and video called for). Then I realized my leg joint is already 3.25" wide because I used the 1/2" rabbet. I have another Maloof router set that has a 3/8ths rabbet bit, and I quickly realized that was the bit I should have used because that would have given me the 2 7/8" width. So... Quick reset, the stock I glued the legs up with was 10/4, I had resawn that to slightly over 6/4 for my leg glue up. I grabbed the resawn pieces and glued one of each back to each leg giving me enough stock to fit my larger seat joint and creating a pretty invisible glue joint. But this will keep me from having the original glue joint centered in the leg. Morrison stressed this in his video, he said to try and keep the glue joint for the leg centered for a more harmonious look. That's a look I will not achieve and the only way to achieve that would be to toss out the seats and start over. I couldn't make my self do that so here are some pictures of some of the "off" centered glue joints. I think I can live with that. Also I've noticed with other sculptured pieces I've done that when you do these types of glue ups they even become more invisible with the shaping. I did a glue up in the rocker headrest and the plans called for glue ups for the arms in the low back chair and the arms for the barstool. They look remarkably good. I will touch back on this mistake as I progress and we'll see if it was a good decision to move on. Here are some other photos of what I got done today; Outlined my legs on my now wider leg stock. Trying to follow the grain as best as I can. Think I nailed that here. Leg joints finished and start roughing out seats. Kept away from the seat joint areas in my rough out, simply wanted to start blending together the three seat boards. Legged up with HUGE leg blanks. Boy there is a lot of waste with these legs. Cut the legs into rough shape with the band saw, now it's starting to look like a chair. Next will be to start shaping the legs and fine tuning the fit of each leg to set joint. I'm real close on everything but I've got a little fine tuning to do for one or two joints. Everything comes real tight with clamps, but too tight to put together without clamps.
  7. 4 points
    Also requires twine.
  8. 3 points
    My wife's niece asked for a large charcuterie board. Picked this small slab up a while back and decided to try flattening the back so I could put some dovetailed cleats on it for a base. Can't say enough about the 16" capacity of this A3-41. Smooth sailing.
  9. 3 points
    Finishing up the bed! Was a fun project and the wife's pretty happy to have this room finished up..
  10. 3 points
    Got back out to the shop today, first up was to clean up the edges of the veneer Then I worked to determine what made the best looking panels Once I decided on the best layout, which took waaay too long, I cut them to size with a veneer saw Then rinse and repeat. The inside panels are at the top not as nice as the outer ones but they are on the inside so I figured they were ok. After marking them for layout so I didn't make a mistake during glue up I mixed up some cold mold glue. Hope it works I have never used this stuff before but followed the directions closely so we shall see. Then I did a dry run on the first door Everything looked good so I glued it up...and 6 hours from now we'll know if it worked While waiting for that to dry I touched up the feet curves on the spindle sander Then glued them on Next up see if the door worked, if it did glue up the other one...if not order some more bendable plywood from Lee Valley
  11. 3 points
    Drawers drilled and pinned. 1/4" poplar dowels off the shelf at the BORG and, just to be whimsical, some bamboo skewer stock for contrast. Make things flush and smooth. Spray with finish. Stand on back patio staring at things while thinking very loudly, "Dry faster...dry faster...dry faster..."
  12. 3 points
    As my next build will be a side table for my wife’s side of the bed as as she doesn’t wear socks, and as I don’t care if she gets dust on her drawers, I’m not going to add them either.
  13. 3 points
    This project represents several firsts for me - 1) First acoustic guitar from scratch. I've replaced tops, backs, bridges, saddles, nuts, done inlay, repairs, etc. but this is the first one from scratch - resawed the wood, bent the sides, etc. 2) First time to do a French polish from the start and not just a repair. 3) First time I've made this many mistakes in a project and kept going, trying to figure out how to successfully fix what I've done and trusting it's still going to work out ok. So here's the sanding tip I learned a long time ago and I have no idea if it's something I read, something I figured out, or even if it's common knowledge - It takes twice as long sanding with the next grit as you spent sanding the previous grit. What do I mean by that? If you're sanding a finish, or even bare wood, with say 220 grit and you move to 320 grit, then if you sanded for 5 minutes with 220 then it's going to take 10 minutes of sanding with 320 to remove all of the 220 grit scratches. Right now I'm wet sanding the guitar that has a very thin film of shellac and when I wet sand with 320 it takes no more than a minute to do the back twice. When I switch to 400 I sand for about 2 minutes although I don't time it. Basically I sand the back twice, wipe the slurry off, blow it dry to see if I have even coverage of sanding, and then switch to 400 and do the same thing. Only now with 400 I do the back about 4 times. When I switch to 500 I'll do it 8-10 times. When I get to 600 I'll be doing it at least 15 times. By the time I get to the 1200/1500/2000 I'll probably keep going until it looks right and then switch to Micromesh. I haven't made it past 500 yet because I keep seeing where I'm getting too close to burning through to the Mahogany so I've had to stop and shellac again several times. So when I get to the finer grits it's necessary to judge how much finish is left so I don't go through on the polishing later. Anyway, it's a sanding tip I've passed along to lots of folks so while I'm waiting on shellac to dry it seemed like a good time to post this (only takes a few minutes to dry before I can sand again). Wet sanding Fresh shellac David
  14. 3 points
    Yeah, yeah. The guy got 30 years, I like to think that he got 28 years for the robbery and 2 years for screwing up my days off.
  15. 3 points
    You're making my head explode. Excellent work young'un.
  16. 2 points
    First off, kudos for using a test board and not experimenting with your finished piece. This is not often the case for reasons that escape me. I mix Transtint with water or with alcohol but, not with both. Was there a reason for this? From the Transtint website (their CAPS not mine): "TO USE AS A DYE STAIN – Mix with tap or distilled water for an economical, non-flammable stain. OR mix with alcohol for a fast-drying, non-grain raising stain." Moving on, dye will color everything but, the absorption rate due to material density can still make things appear blotchy. Don't get me wrong, I use dyes to avoid blotch or to match inconsistent tones if I use a colorant at all. I would try a lighter mix and choose alcohol for the fast dry time/non-grain raising characteristics. Each application should darken the area to the point where you reach saturation of the color of the dye. That is, a light brown dye will not become a dark brown dye no matter how many applications you make. All that being said, I proclaim myself to NOT be a finishing expert . I do think Transtint "walnut" is too dark a dye for making cherry look pre-aged. Walnut has a bit more blue than a natural cherry color for me. Watco makes a cherry colored wiping finish that I have had good luck with when wanting to sun tan cherry without setting it out in the sun (I have had too many failed attempts at this). I should also say that a few years back I started using dyes to set walnut at the color it has when oil finished. I do this to retain that rich just oiled look and avoid the natural lightening of walnut over time. For cherry you are doing the opposite but, remember that it will continue to darken with exposure to light. Mildly treated areas can actually end up darker than your darkened areas after a couple of years. All this blathering is just my opinion and others will have their own.
  17. 2 points
    To me, that looks like moisture or other contaminant prevented the stain from adhering to the surface, and it wiped away as the poly was applied. In any case, I doubt that the color will be correct, even if "leaching" of the moisture is successful.
  18. 2 points
    I think Drew has you on the right path with a small trim router. Even if you don't presently own one it would be worth the purchase. Small price to pay for the time savings and you will find it useful down the road, I am sure. Welcome to the forums Robbie.
  19. 2 points
    Unless you are forced to liquidate the equipment you've got the ability to pursue whatever opportunities nessacary to bring in some cash and pick up small woodworking jobs whenever possible. I've got a " Repairs & Modifications " page on my website. Broken cabinet doors, changing the size of appliance openings or building an island to match an existing kitchen can be quite profitable. Most bigger shops won't bid on jobs like those so it's easier to get the work on your terms. A set of new kitchen cabinets is subject to tight budgets and competition. Another thing I offer is unusual sizes & shaped cabinets, stuff that production shops tend to pass on building. Good luck !
  20. 2 points
    Excellent journal and super nice build! Great job!
  21. 2 points
    You already have the CT vac Coop. A ETS 150 sander really is an excellent way to sand. The 3mm orbit does super fine prep for finishing. The 5mm orbit version cuts a little faster but can leave barely visible fish hook lines. With finer grit paper I can't see them with my ETS150/5. I've got both sanders & 2 vacs to speed up all the sanding before we can finish a job. Sorry for the high jack, we return you to your regularly scheduled program, back to Davids high gloss guitar !
  22. 2 points
    It allows me to fine tune how far the drawers slide into the openings. Trim the tails of the drawer sides to make positive contact with the back of the opening and you've got a good way to ensure the drawer lands where you want it. Beyond that and in this case, I simply goofed. The drawer bottoms came from a 4'x2' sheet of 1/4" ply that's been kicking around the shop for forever. I made my first rip and found I was off by a 1/4". Clearly, I can't math. Now that entire strip is useless. I worked it out but the drawer bottoms came out noticeably shorter than the full depth of the drawers. Still turned out big enough to hold a remote control. So that's all that matters.
  23. 2 points
    I’ve always done what I saw and read and used the pencil lines and when they were removed, I considered myself done. And in doing so, each progressive grit usually takes me half the time of the previous. Now you’re telling me I need to spend twice the time behind that exciting dust producer? I shall play like I never read this.
  24. 2 points
    I haven't heard it stated that way before but it is definitely true. Skipping a grit is not a good idea. It take 6 to 8 times longer to remove the scratches when you skip a grit. I charge 35-40 % more for a high gloss finish because every tiny flaw turns into a obvious crater ! It always takes far more finish, time and abrasives to achieve an acceptable appearance.
  25. 2 points
    There is actually a lot of this in wood working, maybe not to this extent but it is there. When you go to this kind trouble in making a nice piece, some times you just need t spring for the Brusso hinges or the Blum drawer glides or in my most recent experience in Arts and Crafts style, two sets of hinges and two door pulls in oil rubbed brass finish, total cost... $$$. But it is worth it. You don't want to get close to the finish line, then trip and fall on your face.