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Our Patriot Turners- You might remember @RustyFN taking us along on his journey when making his basket illusion vase. He entered the vase into an art center showing and came home with second prize! Here's more on what we all thought- We had activity this past week on our "What's Off" post. @calabrese55 shared his knowledge on some of the various types of acrylic resins along with images of what he discovered about the turning characteristics- Some great information for those who do resin casting/hybrid turning. Also posted was a John Beaver style wave bowl with a recessed wave. Made from spalted sycamore. I was not impressed with the wipe on finish. Multiple applications did not produce a smooth surface. Probably should have saturated with CA or used a non-film finish. New material and comments start here- While not strictly a turning topic, but most turners use "Super Glue" at some time or another. Thanks @kmealy for this link to an informative video on how CA glues work- What’s Coming Up- Last Friday, Cindy Drozda had another Tool Talk. If you missed it, she posted the video on YouTube- For The Newbies- Another tool rest tip from Tim Yoder- Woodworker's Journal no longer publishes the weekly email newsletter but they have made available the articles/projects online. For turning projects, tips and ideas head over to- https://www.woodworkersjournal.com/category/how-to/woodturning/ An essential skill, for any turner, is the ability to turn coves and beads. In this video, Tomislav demonstrates how it's done. Expand Your Horizons- Watch Richard Raffan turn a flat bottomed sewing tray. Flat bottom turnings are deceptive. Looks easy but ain't! Turning Time With Easy Wood Tools- One of the attractive characteristics of carbide tools is the shallow learning curve. First time turners can create items with relative ease. This is especially enjoyable for younger turners who may not have developed all the motor skills necessary to manipulate traditional HSS tools. A short video of a Dad introducing his two children to the joys of turning, using Easy Wood Tools- Kids Learning to Woodturn.mp4 This week's demonstration. If you are in the Oklahoma City Area, check it out! The EWT email newsletter has some great deals and sale savings, but you gotta sign up- https://www.easywoodtools.com/ New Items- Everything Else- From Ron Brown's newsletter Accepting a Commission So, you've decided to take on a commission. Good for you. You've convinced someone that your particular brand of artistry, be it with a brush, a chisel, or a lathe, is precisely what they need to adorn their life. And they, in turn, have decided to trust you with their vision, and perhaps more importantly, their hard-earned cash. It sounds simple, a straightforward exchange of skill for currency. But like most things that appear simple on the surface, this transaction is a good deal more intricate once you start peeling back the layers. When an artist or craftsman agrees to a commission, they're not just agreeing to produce a physical object. They're accepting a responsibility. You're essentially promising to translate an abstract idea – often someone else's abstract idea – into tangible reality. This requires a unique blend of technical prowess, creative interpretation, and, dare I say, a touch of mind-reading. You have to understand not just what they say they want, but what they actually want, often before they fully grasp it themselves. It's about delivering on a promise, not just with your hands, but with your intellect and your integrity. On the other hand, the customer, having placed their trust and finances in your hands, arrives with a set of expectations. These can range from the crystal clear, "I want a cherry wood bowl, 12 inches in diameter, with a fluted rim," to the delightfully vague, "Surprise me, but make it artistic." It's your job to manage these expectations, to clarify ambiguities, and to ensure that what you deliver aligns with what they envision, even if that vision is still a bit hazy around the edges. And this is where the cautions come into play for both parties. For the artist, it's the danger of overpromising and under-delivering. It's the risk of misinterpreting the brief, or worse, not having a clear brief at all. It's the temptation to take on a project that stretches beyond your current capabilities, perhaps out of financial necessity or an inflated sense of self. For the customer, the caution lies in unrealistic expectations, a failure to articulate their desires, or an unwillingness to grant the artist the necessary creative latitude. It's the risk of micromanaging a creative process that thrives on a certain degree of freedom. Then, of course, there are the liabilities and consequences. If you fail to deliver the agreed-upon piece, or if it falls significantly short of the agreed-upon quality, there are repercussions. It's not just a matter of hurt feelings or a tarnished reputation, though those are certainly significant. It can involve financial penalties, the return of deposits, and the kind of negative word-of-mouth that can cripple a burgeoning career. Conversely, suppose the customer repeatedly changes their mind, refuses to provide necessary input, or defaults on payment. In that case, the artist also faces consequences – lost time, wasted materials, and a frustrating experience that sours the well. Ultimately, accepting a commission is an exercise in mutual understanding and trust. It's a professional agreement that, at its best, culminates in a piece of work that satisfies both the creator and the client. But like any worthwhile endeavor, it requires a clear understanding of the responsibilities, an open dialogue about expectations, and a healthy respect for the potential pitfalls. It's a dance, really, and both parties need to know the steps to ensure a graceful and successful performance. Over the years, I have managed to build over 1,000 custom pieces, mostly furniture and cabinets, many of which are made from solid walnut, cherry, and oak. I’ve also been blessed with my share of commercial projects, including period-correct bookcases for one of the halls at the University of Georgia in Athens. One of the food vendors for the Georgia Bulldogs football games contracted me to build rolling food service stations. That one took 40 sheets of plywood and 30 sheets of black plastic laminate. It was an incredible amount of work, and in the end, everyone was pleased. I’ve learned to paper everything in as much detail as possible and have the customer sign it. My delivery dates for completion are always set well beyond when I actually think I can finish. Just saying. . . Commissions are mostly great fun with the occasional trial and tribulation thrown in. If you ever have a request for a commission, I encourage you to consider it seriously. Safe turning
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I was watching the jam chuck piece by Mike Peace in Lew's Wednesday post. I know what they are and have made one or 2, but not very well. But i'm wondering, does a vacuum chuck take the place of a jam chuck in most cases? I have a vacuum press and could use the pump to power a vacuum chuck easily enough but have no idea of how useful that would be.
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I was just watching a video where the poster modified Rockler Bench Cookies and hold downs to fit into another manufacturers track. It got me to thinking about all of the different brands of T-track and how they differ. I don't ever remember seeing any type of a comparison chart or discussion on which is the best brand of T-track to use. The real question is this, if you were building a shop which T-track would you standardize to use for your tools and fixtures? Which brand would be the universal go-to? It seems like a simple question, however, consider this; if you don't standardize the tracks, then some accessories will work in one track brand and possibly not in another. There are all kinds of T-tracks; Kreg, Rockler, Incra, Fox Shop, generic etc. Without standardization then you either have to modify hardware to fit or you end up with unneeded extra accessories just to utilize them in two or three different brands of track. So, in your opinion and especially practical experience, which would be the most versatile T-track to use? I personally have identified three different tracks in my shop. Here are a couple of points to ponder before you answer: * Versatility * Cost * Availability Let the discussion begin...
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