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Found 220 results

  1. I'm building some walnut bedside tables with 24" circular tops. For visual interest...and because it'll be fun... I'd like to use 12 alternating maple and walnut angled segments in a sun burst pattern. Ive gotten far enough to understand that the angles need to be 30°...I think. Do I cut each angle side at 15° ? Please help a mathematically challenged old man. And, muchas gracias!!!
  2. Yesterday son and I made some Pull Out Shelving for mama, see proceeding link. And while cutting down the panel for the shelves, we had to do some cross cutting of ply on my Shopsmith. I was pleasantly, actually, very very happy, to see the quality of cut that was produced on the smith with the blade I used. Also this cut was made without a zero clearance insert, I just had on the factory insert, and the quality was perfect, I was very impressed. I don't remember getting this good a cut even on my 12" 5hp Grizz cabinet saw using an 80 tooth Amana Blue melamine blade. I am not sure what happened here, but really, I was not expecting such a great cut, so there are several factors in play here. And I'll list them. Quality of ply, the ply we are using is excellent, prefinished maple ply Made in the USA. Just great stuff. So the finish is binding the maple veneer which may be preventing tear out. Shopsmith 60 tooth 10" blade The variable speed on my smith, I had it set at "R" or 3500 RPM, (not sure if that is arbor speed or tooth speed) Given that, I am sure the factors created a concert for a perfect cut, I'll have to test the cut on some less desirable ply, and see if that makes a difference. But boy was I happy. Again, no zero clearance insert here. Something really cool about the smith, is the variable speed, so I could have done some test cuts, and played with the speed a little to get the best cut, but in this case the first cut was perfect. I just used the Shopsmith speed chart, they did not list ply in the chart, so I chose the setting for softwood thinking ply is equivalent possibly to soft wood. My Shopsmith keeps giving me surprises like this frequently, just when I think I have pushed the limits of the smith, something like this happens, and it just makes me feel better about giving up my dedicated machinery as I had, and the smith in its place. I am not advocating the idea that the smith can take the place of dedicated machinery, I don't wholly agree with that, machinery made for a specific use is going to be much better and more efficient, typically, but for those who are considering a Shopsmith in order to save space, or you moved to more confined quarters, or just to add one to your arsenal of machinery, the cut quality on ply, may not have to be a concern during your deliberations. That being said, for my use, and my tight quarters (car in garage at night) I could not imagine another machine in my shop, or needing another machine, I have had this machine for two years now, while I needed to adjust my brain around it, and the sequence of work, yes there was an adjustment period, and a honeymoon period, and a disappointment period that was due mainly to my own ignorance on how the machine works, and its capabilities. But at this time after using it for two years, and learning its operations, I am happy. And it keeps surprising me, pleasantly. Image below is the top side of the cut Image below is the underside of the cut I used this Shopsmith 1 1/4" arbor 60 tooth cross cut blade. The blade below is from their website, but I used this exact same one.
  3. Just completed,...horn is by Bill Smith and myself. Tiger maple base plug.
  4. Pauley

    Silver maple

    The largest platter I’ve ever turned. A 15 inch silver maple platter. I turned this on my Laguna Revo 1216 lathe on the outboard side. A bit nerve racking doing it. First I used the worm screw in the chuck and I probably should have used a face plate...once I had the bottom done and made the tenon for the chuck, it was easier hogging out the inside. I’m pleased with the way it came out...and so is my wife! I sanded up to 4000 grit, then used triple e and finally Aussie oil. Hope you folks like it...
  5. Haven't figured out what it might be but at least I got the wood prepared and the pattern glued on and cut out with the scroll saw... I got to figure out what it will be as I start grinding stuff away!
  6. Here's a Join or Die and BFranklin snake on a flatty,.......snake only on a matching primer. Horns by Bill Smith and myself. Base plugs are tiger maple as usual
  7. I made 5 of these shaker oval boxes. They’re #3s and are made from Curley maple. I’ve made about 30 of different sizes before and we’re all cherry, but I wanted to try some maple to see how well it bends...and it was great. Sanded to 220 and still need to add a finish. I think I’ll use some watch danish oil...wait three days and apply some poly. I’m actually going to try and sell these, but not sure how much to ask. I was thinking 20 buck a piece.
  8. Pauley

    Rolling pin

    Well, this is my first rolling pin of any kind. When I do something for the first time, I jump in and try the most difficult thing. This was “supposed to be a Celtic knot rolling pin. It looks more like a drunken knot...ha ha....I thought turning the taper would be difficult, but it wasn’t to bad. I know there must be a way of doing it....anyhow here is a photo of it. It’s Curley maple with walnut inlays...
  9. John Morris

    Curly Maple Chest

    From the album: 18th Century Connecticut Blanket Chest

    Installing the mortised lock was interesting, having to do it after the entire chest was finished was a tad stressful to say the least. But it does lock, and looks wonderful.
  10. From the album: Shaker Furniture

    If anyone has an critiques regarding the photography of this chair, please share, I want to learn how to photograph work like this. Thanks!
  11. From the album: Shaker Furniture

    The seat is checkerboard weaved, with 5/8" fabric tape available at Shaker Chair Tape WWW.SHAKERWORKSHOPS.COM Copyright © 2019, Shaker Workshops
  12. From the album: Shaker Furniture

    This is the first time I have played with actually photographing my work in a more professional way, with the help of my kids, I think we did pretty good. This chair was another fun build, I just love these chairs.
  13. Related Topics Shaker Transitional Rocker Part 1 (Curly Maple) Shaker Transitional Rocker Part 2 (Curly Maple) Shaker Transitional Rocker Part 3 (Curly Maple) Shaker Transitional Rocker Part 4 (Curly Maple) Today I was able to get back in the shop and focus on this chair that has been lingering for some time now. What spurred this, is we need money. My oldest daughter who is in her senior year of college is going to be heading out next summer on missionary work overseas. So hopefully I'll be a little busy in the old shop over the next 10 months or so earning some extra funds to help pay for this big trip. She is giving violin lessons as well to pay her way, but I want to help her. We are very excited for her, yet at the same time apprehensive, the nations they are talking about going to aren't the most pleasant nations, but most locations that missionaries go too aren't, otherwise their wouldn't be a need. So, once I finish the chair, it'll go either to two locations, if the students get a fundraising auction together I'll donate the chair to the auction, if not, I'll sell it, and move on to another. Today I worked on the seat. You'll see just a few of the things needed for seat weaving in the image below. A chair that needs a seat of course. Scissors for cutting the tape and filling, No.3 upholstery nails, and a shuttle to feed the tape through while weaving the woof (explanation to follow) So in seat weaving there are two facets to weaving, and they are obvious, you need to weave from back to front first, and then cross weave from side to side last. For square shaped seats it may not matter, but it is tradition to weave front to back first, then side to side in any checkerboard, herringbone and diamond pattern weave. Please see a couple definitions below. Warp - The WARP is one length of tape wrapped around the seat rails from front to back. Woof - The WOOF is one length of tape wrapped around the seat rails from side to side and woven under and over the warp in a checkerboard, herringbone or diamond pattern. To start the Warp one end is placed at the back inside corner of the side rail, and nailed in place. I first set the No.3 nail with a slight tap of a small hammer as I had in image above. Then with a pair of channel locks I squeeze the nail in place, instead of hammering it in place. Some folks will hammer the nail in place but I like the method of squeezing it in place, I'd rather not beat on the chair if I don't have too. After the first nail is in place, I simply feed the roll of tape over and under the back and front seat rungs, this is the easiest and quickest portion of this job, since we don't have to be concerned about actually weaving, just wrapping, it goes quick. In image below the Warp is in loosely. You may notice my seat rungs are not finished, that was on purpose, unfinished seat rungs tend to grip the fabric tape more, and hold it in place. You'll see in image below I measured the distance from the front leg to the tape, and I'll make sure the distance is the same on the other side as well. So we have about 2 5/8" on both sides, close enough for this work. After grabbing each and every Warp and giving it a firm pull to tighten them up, I clamped the last front Warp to the front seat rung, to hold it in place while I nail off the last Warp to the other side seat rung. All tightened up and nailed off. Next I fit and cut to size the batten for the seat cushion. In the old days they used feather filled pillows. Some folks still use a pillow filled with their choice of softness, I am using polyester fill batten from JoAnne's Fabric. I have seen other weavers use small already made pillows available at JoAnne's Fabric as well, my next chair I will use the pillow, I like the idea of the pillow. The book I read to learn how to build these chairs by Kerry Peirce, he uses the method I am using, so being the student, I just followed his example. After I sized the batten, I stuffed it carefully between the Warp. There it is, all in place. Once the Woof is woven, you won't see hide nor hair of the batten, it will be locked in place and hidden. So tomorrow I plan on getting the side areas filled in for the Warp weave, they have to be separate strips cut to length, and then nailed in place to fill in the side triangle areas, then I can start weaving the Woof. Here is an interesting tidbit of word play. EDIT 11-11-19: See the continuation of this seat process at the REPLY.
  14. Pauley

    Lidded box

    I just finished turning this lidded box on my new Laguna Revo 12/16 lathe. What an awesome lathe it is! this is a Curley maple lidded box with a bloodwood top and maple finial. I’m thinking I should have made the finial a little thinner, but not sure. I sanded from 80 grit to 4000 grit. Then went over it with Triple E and then used Aussie Oil for the final finish. This is the first time I worked with bloodwood and it is very hard, which surprised me as I thought Purple Heart was extremely hard...but the bloodwood is probably just as hard. But it finishes beautifully. Feel free to criticize...especially on the finial. I’m not to good at doing them...
  15. Local habitat store had some dowel rods for a buck a piece. Got these Maple and Cherry ones in my stash now.
  16. Years ago I made a cabinet for a local customer, who became my friend. I have the cabinet in our gallery here. I put out the call on Facebook to see if any of my local buddies had a truck leaf spring I could have to build a Froe with. My buddy who I made this cabinet for answered back with a big yes. He is restoring his 1942 Ford Jeep he's had since he was a teen and he purchased new springs. He's 69 years old today. My son and I went over to his home this morning to pick up my leaf spring and while there I found the cabinet I built right where I installed it a few years ago. Just thought I'd take a couple pictures of it this morning and show it off here, I still love this piece. This project was one of those times I really hated seeing one leave my shop. He collects Pewter Molds among many other interests. Curly Maple purchased from Bob Kloes Lumber, dyed with Transfast Colonial Maple, one coat of BLO, one coat of shellac, and one coat of oil based varnish. I don't remember the cut of shellac I used, and I don't remember the varnish brand.
  17. My latest woven basket illusion, a ceremonial basket design that I call Navajo Rain Cross. The cross symbol can also be found on Navajo rugs and pottery and is often used to represent Spider Woman, the first Navajo deity. The basket is twelve inches in diameter and the wood is maple. Beading, pyrography and ink were used to create the basket illusion. It was donated to the SWAT 2019 Symposium and selected as an auction item.
  18. Found these at a local repurpose store. They are drawer rejects from Kraftmaid & the person had one job, cut the slot for the bottom of the drawer. Measures 7.25" x 22" unfinished maple. For $1.50 each they were hard to pass up I cut off the dove tails & the mistake and that left me with a 6" x 20.5" board. Set up a jig in my drill press and drilled a 1/4" hole 3.5" deep. Realized after the first hole that it doesn't matter how long the bit is, the travel on the drill press is still only 3". Finish that with a hand drill. Cut a tapered slot on the table saw to accept a cheese slicer. Soften the edges with a round over bit & routed an area were you can put some crackers or olives. A butcher block finish was applied Rubber feet and hardware installed. These had some knots I needed to remove.
  19. I guess it is overdue that I posted some pictures of my builds. Critique is always welcomed, as I like to learn from experience. The most recent piece is this, The Harlequin Table, which is a side table I built for my wife ... The case is Hard Maple from the USA. The drawer fronts are Black Walnut, figured Hard Maple, and pink Jarrah (hence the name, Harlequin). The drawer sides are quartersawn Tasmanian Oak, and the drawer bottoms/slips were made from Tasmanian Blue Gum. Finish was, initially, two coats of dewaxed UBeaut Hard White Shellac (the very faint amber adds a little warmth), followed by three coats of General Finishes water-based poly (this remains clear - does not yellow the maple - and appears to have some UV protection. It is hard wearing, which is necessary for a side table). The build features mitred, rounded dovetails and bow front and back. Eight drawers featuring compound dovetailing to match the bow front. Drawers are traditional half-blind dovetails at the front and through dovetails at the rear, with drawer bottoms into slips. About 2 months to build, mainly on weekends. Here is the rear of the table (which will be seen through the windows, which run floor-to-ceiling along the family room ... The pulls were shaped from what-I-believe-to-be-some-type-of Ebony ... The obligatory dovetails ... Do you think that anyone will notice that the drawer bottoms run sequentially? A last look ... Details of the build are on my website. Scan down this page to Harlequin Table: http://www.inthewoodshop.com/Furniture/index.html Regards from Perth Derek
  20. Another new bowl. If you haven't guessed by now I love to turn bowls. This one is around 12 inches in diameter and 4 inches thick. It is maple, purple heart and blood wood. The finish is beeswax. Thanks for looking.
  21. RustyFN

    Bowl

    I made a new bowl. I am pretty sure the lighter wood is Maple and the rings are Cedar and Bloodwood. It is around 7 inches in diameter. I sanded it to 800 and finished it with beeswax.
  22. From the album: John Morris's Hand Tools

    I built this square from left over Walnut from some project eons ago, and the Curly Maple is scrap from a Shaker Rocker I am currently building. The two pins are of Walnut as well. They are through-pins.
  23. From the album: John Morris's Hand Tools

    I got in the shop a little and decided to make my own layout tools, starting with the ever so useful 6" square. Since it's the most used size in my work, it's a good jumping off point. Then I'll create a smaller 3" followed up by a few larger squares. I love how this one feels, and you know what? No more accidental scratching or marring of wood surfaces like you may get with steel squares.
  24. Related Topics Shaker Transitional Rocker Part 1 (Curly Maple) Shaker Transitional Rocker Part 2 (Curly Maple) Shaker Transitional Rocker Part 3 (Curly Maple) The Finish Well folks, as were the others this subject was getting a little long in the tooth so I split this topic off from the 3rd entry. We'll show the finish and the seat weave in this topic. Today I was able to get out in the shop and get some finish on our rocker. I don't have really any images of the finish prep, there wasn't much to it, unless you like viewing a man holding sand paper. But mainly what occurred today was much hand sanding. I was able to leave the back slats and rockers alone, since I scraped them before installation, the figure really popped after the scraping and I was satisfied with that. And, the spindles came off the lathe sanded to 600 and then burnished with wood shavings, so the level of prep on those items were satisfactory enough to just go over once again with some 600 grit. Really I could have left all the spindle work as was, accept there was some grain raising around the joints as I cleaned up the glue with water during assembly. Also, over the course of time that I started this project, two years ago, the spindles all had a darker patina from just sitting around, than the flat work pieces of this chair. So in order to even out the patina I knocked it down by hand with 600 grit. A thing about hand sanding, this is just my opinion, when you are doing solid work like this, furnishings with parts that are many shapes, sizes, and point in various directions, I feel you must hand sand. You could hit the work with a detail sander, sure, but you are missing one very important item, the details. When you work a piece like this with power sanding, you are visually (or at least for me) kind of viewing the overall project as a whole surface, whereas if you hand sand, as you are sanding in any specific area, your eyes are drawn to that narrowed view, and you are focused, and you are going to catch many more unsightly surface features than if you powered through it all with an electric sander. Also by hand sanding, for me anyway, it's very peaceful. I had my chair out in my back patio area, it's late Spring, the trees are rustling in the wind, and the birds were chirping, and all you could hear from me was the shhhshhhhshhhhshhhh of my sand paper with the natural sounds in the background, it was really nice. I have learned to slow down my work considerably, and just to enjoy each process of the work, and not to rush anything through. This type of work lends well to that philosophy, because I really can't rush this anyway, because of the various components of a chair, my body mechanics must slow down, along with my mind, and consequently, my thoughts, and a peace builds up and the project is just fun, and relaxing. Sure you could do everything I have done on this chair with power, but why? Just so you can say you got it done faster? And with a bunch of noise? And therefore missing much of the happiness that surrounds these projects. So, I set my chair on the bench and shaped some tin foil into a bowl and poured about half a cup of Boiled Linseed Oil in the tin. I like using my home made tins, I can just use up the oil, and throw it away, there is no need to clean the bowl or container. With a white cotton rag nearby to apply the oil with we are ready. My dog Woody is nearby as usual now, as you may know by now by my other topics, he is deaf now, and he loves the shop! I love this part of the chair-making process, especially when using curly figured wood, all the efforts that were made to ensure the joints are tight and clean, the hand planing and scraping, the carefully placed wedged tenons, and chair leg pins, the pillow rail, the curly figured arm rests, it all comes alive in a crescendo of color and natural figure when the first swoop of the towel soaked in oil hits the chair, it's like Christmas all over again. I love this part. With my Appalachia music on in the background, and my dogs nearby, and my warm bench I am working off of, the chair comes alive. Something we have not discussed in prior chair topics, is the use of Ash for the top rungs that the seat is weaved around. You'll notice the Ash rungs, Ash is used because of its incredible strength, the Ash will hold a lot of weight without breaking or cracking. After I wipe on the first and only coat of oil, I'll revisit the chair several times today to wipe down the leaching areas as the oil resurfaces and beads. Typically I find about three to four times I have to revisit the chair, and wipe off the access leaching. This was a perfect day to start finishing my chair. I learned a trick a few years ago that I use often still, I can't remember where I saw it, or where I heard it from. With my chair projects, and virtually any project that you may want a darker patina built into the project before the finish goes on, you can set the project (chair) out in the sun, and let the sun do it's job for half a day or all day if you can work it out that way. I set my chair out in the sunlight for a tan, that's right, I let nature have her way with the chair in the sunlight, the sun will darken the chair a couple shades, and even bring out the curly figure a little more. Back in the day, I used to do this trick with with the project in its bare wood phase, pre-finish. But then one day I got the idea to use this technique after the first coat of oil is applied, I figured if it works on humans at the beach who want to oil up and get that sun tan, that it will probably work on my chairs, and other projects. So since then, I oil up my project, set it out in the sun for a few hours, and wipe it down as the oil will leach even more significantly when heated. A darker patina is created, and it's beautiful. Image below is the chair set in the sun immediately after the oil has been applied. A couple hours later, I don't know if you can see but the curl is actually darkening a shade. This is 5 hours later, in real life I can visually see the difference, the picture does it no justice, but perhaps you can see a change in color? So folks, the chair now has it's first and only coat of oil, and the wood has darkened a bit and the curly figure is popping, and I have wiped the chair down a few more times, and now it is back in my shop, awaiting for me to have a little more time for the final finish. I will apply one coat of General Finishes Gel Topcoat, then I'll wax the chair. Then, the seat will be placed. Thank you again for following along!
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