joe mendel

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Everything posted by joe mendel

  1. Use a marking knife which is lapped flat on one side and score a line. No thickness of a pencil line with which to contend.
  2. You are dealing with end grain, and cross-grain conflicts, the glue will do very little to keep the joint together. A well fitting joint will suffice if the legs are made with stable material lacking in twist or bow.
  3. Simply use a crosscut handsaw and a sharp chisel and cut to the line, take off the waste little by little from each side to avoid blow out. It should take you twenty-minutes to do four 3/4" wide, 1/4" deep excavations. It just take way too much time, money, and resources to make a jig, and the process is exponentially safer to your hands. Make your period table in the same manner as the period furniture maker created the original. It is way easier than you think it is; do not over-think the process.
  4. Thank you. Please pass along the YouTube for me. It helps to bring in business.
  5. joe mendel

    Cherry Rocker.jpg

    Over the past decade this was a reliable seller from the shop. I make them in cherry, walnut, and walnut with curly maple spindles. I don't like to deviate from those species because they fit into my supply of "green" materiel and works well in my business model. I make them twice a year and I make two of each species variants. I have a quasi assembly line production worked out so I can get six of them done in a month. There is a small process photo album in the Advance Woodworking section of this site of a walnut & maple rocker being built.

    © Chair & Photo by Joe Mendel

  6. joe mendel

    Picture 026.jpg

    It is a Frankenstein. Elements from various Connecticut Windsor examples.
  7. I use 1/16" veneer. It is thin enough to bend and it will take less sheets to achieve the desired thickness. You just have more layers to glue. For a bent lamination the West System of epoxy is the best which I have used.
  8. Ha thanks! My lovely wife thinks there is a smig of crazy mad scientist in me somewhere.
  9. There are great deal of apparatus which were conceived but not implemented. I would make the base just 18" tall which would offer two more levels, and use six legs rather than a column. I also would do a solid dome instead of the ogee brackets and place a more predominate rotunda. I would also make the inlay on the tiers more complex. I am happy with the bracket clock, I might up size the carcass from a 8" x 8" x 4" to a 10" x 10" x 5" cabinet. Oh well, maybe during the next pandemic...
  10. Thanks. Next one that I will build I won't hold back on the design.
  11. By detractors I am referring to those whom pointed out my internet faux pas in regarding to how I posted information. There is a whole lot of internet protocols which I am, (without malice or intent), ignorant too. I really do try not to have a misstep, but I still find I have to scrap shit off of my shoes now and then. It takes me an inordinate amount time to photograph a process, and even longer to sift through them and make them tell a story in pictures. My photos are for an audience with zero to less than zero knowledge of the craft. In this forum I am addressing those who have some level of mechanical aptitude, however, I did not take the time to alter my presentation to a knowledgeable audience. that is a miscalculation on my part, and I should have taken the time to cultivate a message catered to working person's level of interest. I am glad that the video was worth your time watching. I am not Francis Ford Coppola, but at least most of the scenes are held steady. Honestly, I struggled on taking pictures and video of this sculpture because I purposely designed the M7 so the viewer had to look around and underneath elements to see the hidden aspects. I wish I had had the fore site and funds necessary to hire a real video photographer.
  12. I consider going to the lumber yard, hardware store, and the drafting table as work hours, but tumbling the project in my mind all day does not increase the total. Considering those activities as well as making sawdust in the shop, this took me 1,500 hours, or the whole time I was in COVID lock down. It was a great way to ignore the whole pandemic and still be productive while being told I could not interact with people.
  13. This is the final post of my M7 Clock. To my detractors, I am sorry that I posted this project in multiple posts. I posted over 200 pictures over the past few weeks, and I thought that one post would be too large. I am not sure that posting as I have with this project is the way I should have shared this information. I am not a professional internet influencer, I am a woodworker and I am just trying to share my work. The attached YouTube video was filmed by myself, also I am an amateur photographer , and a first time user of a GoPro. I do hope that the video is representative enough of the complex action of the sculpture.
  14. This is the sixth side of the M7 along with a list of the woods used in the construction.
  15. I hone the edges almost constantly on a strop. I found that the polishing compound sold by Tormex works great on a flat leather strop. I only use the Tormex wet grinder if and when something goes terribly wrong with my edge. Most times a few passes on a white, then black Arkansas oil stone, regenerates my chisel edges.
  16. This side hosts the only painted element of my entire design. The bridge is made from 1/16-inch maple veneer that I glued up into shop fabricated plywood. I needed there to be zero voids in the plywood, and I wanted to manage the overall thickness and trustworthiness of it having a minimum of seasonal wood movement. As a woodworker I prefer traditional furniture styles, methods of construction, and finishes, which is why the bridge was finished with white milk paint. I have used Swiss pear wood in projects in the past because I completely appreciate the color and the grain texture. This was the first time that I carved the material, and I was very pleased with the response of the wood. I am planning on carving the same design on a larger scale for a wall mirror, again utilizing Swiss pear wood.
  17. I have taken your obvious constructive criticism into considerations, and I do appreciate the feedback. A main part of the reason for sharing all these pictures and text is to try to show part of my mental processes that went into this plan. In my own head as it was being designed and built was to think of each side as a pathway which all originate from the same geometric central point. I have been showing each side as a top-to-bottom linear explanation. I look at the project in terms of line segments. The SIDE ONE album of pictures in my thinking is line segment A – B (each post), and the point of origin as point C (Archimedes Screw). My full-size plan view drawings of each level hold a PIE SLICE of each of the six areas as where my challenges take place. All my documentation, penned and photographic, has been categorized as six distinct, yet interconnected subsets of the larger whole. I guess since that is the way I have been thinking about it since day one, I never thought about its representation in any other manner. I tend to think, and problem solve in a linear process in most of my daily life. As confusing as it may be to some viewers to see these pictures as a moving functional contraption, it was much more difficult [for me] to develop a plan and an explanation in my own mind’s eye as the invention was becoming a tangible component. Thanks again for your suggestion.
  18. I thought having one long thread would be even harder to follow. Each of these post each contain ten to 24 photos. I am surprised that I have not exceeded some quota. This is a hard project to describe, photograph, and to explain. I am trying to pass along some [hopefully] useful information which some else could use to inspire themselves, and possibly find a way to use some of my methodology in one of their creations. I hope that I am be useful and not overwhelming the forum. I would be willing to answer any questions you, or anyone, may have in regards to any aspect of the construction of this or any of my past posts.
  19. For the first few weeks of the 2020 pandemic, I had tried to comprehend the increasingly ominous COVID news from New York City in ways that would not keep me separated from my piece of mind. I hardly ventured outside for the first few weeks. After that time, I took to driving fifteen minutes to my workshop for late night hours when I was certain to not encounter people. Given this unexpected time to be creative, I thought to honor this free time by making this sculpture incorporate a timepiece. As bad news dominated the days, it was hard to not reflect on my life, and the things in my past and present that occupy my time. I kept the people, places and things I missed present in my mind through this project. I devised a specific idea for the overall structure of the clock tower. I then formulated a design which would look architecturally pleasing, but also told a story inside of the clock design and within many of its elements. When people visit my gallery and workshop, I am often asked if I sign my work. Clients see a personally signed piece of woodworking as having a sign of a crafts person’s pride, and it also adds a providence to the piece. This kinetic sculpture has multiple signatures and significant milestones that are uniquely about my life. This clock is in part a biographical representation of my life. The places where I have lived are commemorated, the birth of my twin sons is celebrated, and my love of baseball and my favorite team is well symbolized. My name appears cryptically in a variety of places and methods; this is my “signature” piece. Using an orb to pass through places I have been, and little symbols of my life seem quite appropriate. Since I was incredibly young, my preferred toy as a child was various types of balls. In my life I have thrown, kicked, blocked, rolled, dunked, hit with a bat, used as a projectile, and spiked balls of every size and shape. Using a spherical shape and my woodworking abilities is a great combination for this biographical piece.
  20. I have to admit, I almost set it on fire when I was about 3/4 of the way through the project. It was so frustrating at times to get things to do what I wanted the marbles to do.
  21. What can be more important than getting to a proper ninety degrees?
  22. This edition of photographs will show the final elements of the first half of the M7. Since we all are woodworkers here, it is from this view that you may be able to interpret that this design can only be assembled and disassembled in a properly devised approach. This whole project was built in that developed manner. For every gadget I built, first there was the mental concept which rolled around in my head for hours throughout my day. From thought the idea then went to paper, first a rough sketch, then a full size three view architectural drawing. Even with the full-size drawing, I still needed to make a mock-up to fill the space which the apparatus would occupy. I have what I think is a good spatial awareness, but I needed to see how my idea would fit between the other inhabitants of the M7. I would use Styrofoam insulation, cardboard, scrap wood, often with a photocopy of the drawing glued to the dummy piece. Virtually every one of the mechanisms which I included, had a plywood or MDF full-size operational predecessor to the finished device. Every path of the steel balls had to be 100 percent correct before I would risk using prime materials or spend the time it would take to add inlay or carving to the device. Replications were anticipated. This was a process, and design opportunities were plentiful. Patience was the only way to improve. The multitudes of moving parts could not in any fractional measure be susceptible to seasonal wood movement. Throughout the construction various preventive measures were taken to nullify these issues. The steel balls are mere playthings to the forces of gravity making them plummet within the confines of the tower. The switching from one maze to another had to be flawless to keep the balls traveling. There were extensive considerations in the finishing process of each element. I feel that I have made allowances which should have this clock moving marbles smoothly for an exceedingly long time.
  23. This Sunday update is of the second of the six sides of the M7. Do not judge too severely on the mini checkerboard. The squares do not mesh as they should. The pieces were from a game table I made four years ago, (that is why the table photo is being displayed). When I made the game board for the table these bits were left over from trimming the rows. I glued the pieces up and it this mini board laid around the shop for years before I recycled it into this project. To convey some of the purpose of this design, I uploaded pages from the documentation book which went to the buyer. I hope that the dimensions given clarify the overall size and scope of the venture. Side three pictures will be uploaded in my Wednesday post.