joe mendel

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Everything posted by joe mendel

  1. This is a mirror based on a England piece from the 18th century. Curly maple, dyed using Lipton tea bags, wafer thin coat of BLO, blonde shellac as a top coat. The back was constructed from ten pieces of poplar in a ship-lapped fashion. It came out as good as I wanted to upon completion. I really like it when my craftsmanship reflects nicely back at me.
  2. The veneer was hammered and hide glue on the curved surfaces, and the center drawer and two center doors were hide glue and veneer press.
  3. Berkshire Veneer in MA is the best experience that I have had consistently. When in a pinch I will drive the thirty minutes to Certainly Woods in Aurora, NY, but the mgr there Greg Engle is not the most accommodating of salesman. It is like I am putting him out by stopping buy to purchase; it must be they prefer mail order customers to do-drop-ins.
  4. The book you have is Good Better, Best. The color version is Good Better, Best, Masterpiece. Both are indispensable when trying to get a client to see things, " my way is the right way." I also made the people who worked my gallery for me to know the book, and more importantly, how to convey quality to a perspective buyer.
  5. There is a long toothed rookie trying to make a name for himself this upcoming baseball season; he has special needs on his personal bat style. Hopefully he doesn't break the bat.
  6. People often think I am joking when I say that I can not afford my own work. I have been fortunate to have cultivated a clientele which allows me the opportunity to use my apprenticeship, formal education, and creative desires. All of my best work sits in others homes, but that affords me a home of my own.
  7. I made a pair of sideboards based on a piece in Good, Better, Best , Masterpiece by Albert Sacks. They are mahogany, with holly, ebony, lacewood and poplar. The finish is about 15 coats of super blonde shellac, which were rubbed out with pumice and rottenstone, and then obviously waxed. I am sorry to have to watermark the pictures, but photos of mine that have been on this forum have been used by someone who claimed my work as his own. Pictures when I am in the shots have no watermark, and I hope that the other pictures are not obstructing the view of the work. The hardbound book that I
  8. Aspiration is easy, it is the perspiration and frustration you need to prepare to encounter. I knew that I was taking photos for instructional purposes, so I adhered paper to show the lines more clearly. It is not cheating to simply carve over the paper template, in lew of pencil lines on Honduran mahogany, which are hard for some eyes to distinguish.
  9. There is three times as much thought process as the actual physical process. My wife thinks that I'm flashing back to the 70's sometimes when I am deep into thinking and staring into space. Thanks for the props on the work.
  10. I sat on the idea for about 15 years before I had a break of time to do the project.
  11. OK, I am giving away a shop secret here folks; go put me put of business. This should be self explanatory in the photos. There is a continuity issue which should be easy to overlook, I was making multiple boards with varying design differences. The main concert of how to set up jigs and fixtures for productions runs is the point of the upload. I hope it helps your future needs for a jig or a process. Go forth and sawdust...
  12. A whole lotta dovetails, and a whole lotta hand rubbing on the finish, and a wee bit o' carvin'. It is a small box filled with even smaller boxes, so paying top dollar for some sweet grain mahogany was an easy purchase. The project was nothing but putting in the time on the 274 dovetails, and then rubbing out the endless coats of shellac finish with pumice and rottenstone. Careful decision making on where on the boards each piece would be cut took mild but some consideration. Ya gotta love mahogany.
  13. This table was considered to be enough to win the 2017 Craftsman's Veneer Challenge at AFWS in Las Vegas. The close up shots of the boards hopefully show the details well. A close up of the Parchessi board is on the forum from two years ago. I ton of fun to make, a ton of hours as well.
  14. Pros are very particular about their bats. Ted Williams used to go to Louisville each off season and go through the lumber yard and hand pick the lumber he wanted: Straight grain with no long grain run-out, and the annual rings had to be all less than 1/8" apart and running straight parallel to each other. Too Picky? The man hit .406 in 1946 and he went 6 for 8 on the last day of the season to do it. He may have been on to something. I spray all my bats with a catalyzed lacquer.
  15. Yep, Northern White Ash out of Ohio.
  16. Got a call from Sandy Alderson in New York. Seems like the Mets have a long-in-the-tooth rookie named Hobbs on the way up from the minors and he needs custom bats. Evidently, this new guy has a flare for the dramatic about breaking his favorite bat, so they need some in reserve---FIVE DOZEN! Lets Go Mets!
  17. I cut the crests and lobes on my scroll saw. There was very little saw kerf and zero burn-good feed rate and proper toothed blade made it easy. What straying off my line that I may have encountered was corrected with Grobert files and a card scraper finished off the edges. No sand paper was used. I try to only use sandpaper and other abrasives on spindle turnings and during the finishing process on projects. I tend to old school it with planes and scrapers.
  18. Thank you for the kind words. I am just a furniture nerd. I started in the shop when I was eight. My father was a general sales manager for Delta/Rockwell, so we had one heck of a wood shop out in the barn. I also grew up in a town where a career in the arts was a highly considered profession. We had artist all over town. My next door neighbor back in PA was George Nakishima, he taught me quite a bit. Also I have apprenticed under some other very talented men and have paid tens of thousands of dollars to "gits me sum wood lernins." I have done restoration work on hundreds of true anti
  19. The mirror is a reproduction of an English mirror c.1760. I didn't want to change anything other than the original had a lesser color to my taste. The carvings was plagiarized from a table I was in Wallace Nutting's first volume.
  20. The legs are 16/4 stock that was kiln dried. The board that the legs are turn with had awesome swirling grain, but not so much as to lend them to warping.
  21. Couple of pages here from the 17th century style drawing tables that I made for a client. Nineteen days of labor to complete the pair.