In this podcast Tommy curves it up! The Bombe Secretary's writing surface should have crisp corners at the end of each elegant radius. To achieve this, Tommy curves the transition points on the rounded edges, taking a machined edge and working it into to a truly hand crafted piece of art.

Well, it seems my brother had been keeping great great granddad's old spinning wheel - I had forgotten the box that it was in when I left the homestead, and he had been storing it for me. After reading the last piece I did on spinning wheels, he must have read it and remembered he had it -and got it out in the mail to me - because it arrived a week or so afterwards:

It's missing some pieces, but there's a good majority of it still there. The legs and pedal are gone, and it's missing the two pieces that hold the bobbin/axle.

It's an interesting piece to me on several counts... First, it was made by great great grandad... Second, it's a study in wooden machinery - everything has a purpose and yet it's still elegantly constructed. Third, it's an example of true frontier craftsmanship. I'm not sure of the exact date, my best guess would have been somewhere near the 1870 to 1890 range, in the Dakotas. This would have been made with the most meager set of tools, and quite far out in the country... I think I remember reading the nearest flour mill at the time was a full day away.

Parts of a Spinning Wheel

To have a discussion about the construction of the old wheel above, it would probably help to review just what the parts are called... I got much of this information off of various web sites, including The Joy of Handspinning, which is a wonderful resource for the enthusiast - I'm more interested in the construction, but that doesn't do you much good if you don't know how the thing works!... I'm using dad's wheel, which is a replica of the old one I'm looking at:

Tension Knob: A threaded knob, turned to raise or lower the bobbin and flyer assembly thusly reducing or increasing tension on the drive bands. Maidens: The upright posts that hold one end of the bobbin and flyer assembly Flyer Whorl: The pulley that drives the flyer - it has several different diameters so different speeds can be achieved Flyer: The U-shaped piece with hooks - the hooks are there just so the fiber can be spooled evenly onto the bobbin. This is what spins the fiber. Bobbin: A spool that collects the spun fiber Orifice: Where fiber is fed into the wheel as it is spun Drive Bands: Twine or string that drives the flyer whorl from the fly wheel Mother of All: The upright piece that holds up the tension knob, bobbin, and flyer Fly Wheel: The main drive wheel - the large wheel that is powered by the treadle Footman: Hard to see in the photo above, it's behind everything- it's the wooden piece that connects the treadle to the fly wheel Treadle: the foot pedal at the bottom

 

It's made from at least three, but more likely four distinctively different woods, from what I can see - and I think you can tell somewhat in the top photo. I'm not positive of the exact species, but from my experience with wood and my knowledge of the trees native to the area in which it was made, my best guesses would be birch or elm, maple, and basswood or poplar. I will get into where each was used as I deconstruct the thing.

Metal pieces would have been difficult to fabricate and expensive to purchase, so their use was kept to an absolute minumum. Could he have bought the metal pieces, or had a machinist make them for him? It's a possiblity. The pieces could have been ordered via mail order and shipped to the closest dry-goods store... yet they do all show at least some amount of fabrication. That eveidence could just be the technology of the time showing through, however - I'm just not qualified enough to say.

The only metal pieces are the axle/treadle drive on the fly wheel, the metal hooks on the spinner/flyer, and the axle for the flyer/flyer whorl assembly. The metal reinforcement on the flyer (the U-shaped piece in the photo below) shows signs of hammering to shape, and is riveted in place with metal pins and is surely of his own making.

The part that would have probably been the most difficult to make would have been the axle for the bobbin/flyer assembly... It appears it was made from something else, and made to work. I'm not exactly sure what it would have originally been had he fabricated it - it might even be two pieces, I can't really tell. The center was drilled out from the end and from the side to create the orifice that allows the fiber to be fed through it.... Both holes are off center, and show some evidence of being drilled and filed by hand.

You can see the orifice on the axle of the flyer on the right in the above photo, where the fiber is fed into the wheel. The far end of the axle in the photo above has a small taper to it - and is also threaded to hold the bobbin and flyer whorl on. It looks to me like the tapering was done by mounting the bolt in a wood lathe and tapering it using a file while turning. Fine metal work would have been difficult on the prairie in those days... and this is one of the things that lead me to believe this piece was at least partially fabricated by old great great granddad.

The bobbin (on the left in the above photo), the flyer, and the flyer whorl are all made from a very dense, close-grained wood - my guess is maple, though it could be just about anything of a similar nature. It needed to be, as the walls of the pulleys on them as well as the U-shape of the flyer makes using a strong wood imperative. The bobbinis made from a single piece... You can see by the breaks that it was made from a straight piece of about 3" round wood. The hole the axle slides through goes all the way through the bobbin, obviously - my best guess as to how this was made would be to first drill the hole through the rough blank - then mount the blank in the lathe and turn the bobbin to its final dimension. This would assure the axle hole would be centered on the bobbin. The far end of the bobbin is actually the first pulley you would use as part of the flyer whorl assembly - you see it in the next photo and the one two down that shows the whorl in it's place.

Here you can see the far end of the bobbin and the leather "bearing" that the axle is pushed into (the flyer whorl is not in this photo - it would take up the space between the bobbin and the adjuster piece the leather bearing is pressed into):

Both ends of the axle were mounted in leather bearings... but unfortunately the maiden that holds the closer end was missing on the original. Using another wheel made by granddad's brother, he fashioned the maiden with a leather bearing similarly to how that wheel was constructed:

You can see that it was simply a thick chunk of leather, glued into the maiden. This allows for the bobbin assembly to be easily removed from the wheel, simply by turning the maiden. There's not a lot of pressure on these bearings so they function quite well (as evidenced by dad's copy), and the leather would simply have been replaced as it wore out. Lubrication, if any, would have been tallow or beeswax.

The flyer whorl is made with two different sized pulleys so you can adjust the speed of the flyer - faster for more twists per inch in your yarn, and slower for fewer. More twists made for a stronger thread - but took more raw fiber. Fewer produced more "fluffy" yarns, good for sweaters and the like.... at least that's what I think - I have no experience spinning my own yarn. I still have the flyer whorl for the original, though unfortunately only half of it - but it does show how it is constructed pretty well:

You can see the differing diameters of the pulley to allow the flyer to spin at different speeds depending on where you placed the drive bands. The bobbin spins freely on the axle so is independent of the flyer whorl.  It is driven by its own pulley on the end next to the whorl that is a slightly different diameter - this is so the bobbin would spin at a different speed than the flyer.  Otherwise the yarn would only spin in place - with the different speed it slowly spools onto the bobbin as you feed more fiber into the orifice.

This is known as a "Scotch Brake"...  it basically means the yarn spools quite slowly onto the bobbin, while being twisted (for strength) many, many times for each single time it spools on the bobbin - which is the major function of the wheel.  It is this twisting that gives the yarn it's strength - without it, it would simply pull apart.

A good spinner feeds fiber into the orifice at a steady rate, thusly avoiding thinned out or lumpy yarn that is strong enough to knit.  More twists per inch results in a thinner, stronger thread - fewer provide fluffier, more insulating yarn.

The drive bands would have been simple twine or leather strips, or possibly even yarn - it didn't need a great deal of force to twist the fiber, so grip wasn't terribly crucial - speed was.

You can also see the tensioner knob assembly in the photo above at the top of the aptly named "Mother of All". It's broken as well, but it shows how it was made... A threadbox would have been pretty standard fair in most shops of the time, so that's not too surprising to find. It still works quite well, even after being exposed to the elements for many years.... The Mother of All is broken here as you can see in the photo above and below, but again at least we can see what it looks like:

The Mother of All is so aptly named as it is the main structural element of the wheel - everything pretty much hangs off of it. It, along with the maidens and most of the spindle work (with the exception of the spokes in the wheel) are made from a hardwood I would say is either elm or birch - it's hard to tell exactly as the wood is aged so. But those were common woods used in local furniture of the time - especially turned furniture. Oak was available and used extensively for standard casework, but wasn't preferred for turning because of it's open grain and it's tendency to tear out. I would imagine the elm or birch was riven and turned green, much in the fashion of windsor style chairs, and wedges were used to fasten the tenons to the half-moon shaped base (which I think was made of either poplar - but could be basswood)... There would not have been any kilns in the area, any dried lumber would have been air-dried.

Which brings me to the fly wheel, the most prominent piece of the spinning wheel, has some interesting construction methods. The outer wheel was constructed from four separate pieces. The wheel is made what I think is basswood, though it could be poplar, I suppose... both are plentiful in the area. There are a couple ofreasons that basswood would appropriate here. First, a lighter weight wheel would be easier to spin. Women using these wheels would often spin for many hours on end, for many days in a row... ease of use was paramount in their design. Second, basswood is a very easy wood to work... Mounting a wheel this size and turning it in a treadle lathe would have been quite a task... the easier one could make the task, the better. Third - since these wheels didn't carry a load, like say maybe a wagon wheel would, there would be little or no structural stresses on them, so basswood met the bill.

The pieces for the outer rim were first assembled before they were turned using splines and wooden pegs to hold them in place. You can see here where one of the pegs was placed too far out and was turned into:

The outer wheel itself was not constructed in the same manner as a wagon wheel - where the spokes have tenons that mount into the outer wheel - for the reasons mentioned above. It was first assembled and then turned without the spokes - they were added afterwards. Here you can see one I've pulled out:

After the main hub was turned, the spokes were made to fit inside the outer rim, then holes were drilled through the rim into the spokes - and a wooden dowel was driven in to hold the spokes in place. There just one problem with that - how do you make sure the hub is centered in the outer rim? Well - my best guess is that the hub and spokes were made first. The hub first, then the spokes, which could then be glued into the hub. The hub could then be mounted on a temporary axle and turned, allowing you to mark the end of the spokes in the same location as you turned the hub. The outer rim could then be turned to match this dimension... It's just an educated guess, mind you - but the best I can come up with given the circumstances.

As for the hub, it's one piece, with an axle that mounts into the adjacent spindles thusly:

The far side of the axle has an offset that attaches to the footman, which then is attached to the treadle. And yes - at the lower left of the hub in the photo above, that is a knot... As a matter of fact, it continues through to the other side:

Why would he have used a piece with a knot like that in it, you might ask? I would put forth that it was a matter of convenience... As I mentioned above, a lot of the wood used for the contruction of this wheel would probably have been worked green. The wheel would have had to be dried wood though. Most likely that meant that it was was harvested from already dead wood - possibly even seasoned firewood. There wasn't storage space available for storing wood while it dried... The house they lived in would probably have been the size of your living room and housed 5-7 people... The barn would have been similarly small was soley for livestock. The shed that served as a shop would have been more like a lean-to, perhaps with a pot-belly stove if the owner was well-off. So dried wood was a luxury most couldn't afford, but for the wheel it would have been necessary as green wood would have shrunk and rendered the wheel useless. So it's my guess it came from whatever was available - and since it didn't need to be all that strong, it wasn't a problem structurally. Also, I should mention that the knot would not have been this pronounced when it was made - this particular wheel was exposed to the elements for many years, so has weathered quite a lot. Originally, it would have been a very tight knot.

About all that's left is the base, legs, footman, and treadle - and all I have of those is the base... The base is made of poplar, it appears. I remember hearing the half-moon shape was a sort of trademark of his, but I'm not sure of this... compared to the other his brother did later, its a unique feature and was supposedly preferred by the people who used them as they were stronger. I do recall hearing that this makers' work was highly prized by those who received it, at least within the area he lived.

I may restore this old wheel someday - no, it will never be in working order again, but I may try to get it just so it is all in one piece and has all of the parts, just for display. I doubt it's worth much to anyone but me - but it sure is fun to have around to look at and to study, to give one appreciation for the original maker and the methods and material he used in creating it.

The maker, my great-great granddad, was a very adept turner, furniture maker, and woodoworker. He used green wood quite a bit, as I think can be seen in another of his works which I will show just for reference - a crib made of elm:

It appears he also used steam to bend wood, as you can see - obviously a very industrious fellow for someone truly out in the sticks... This crib was used all the way into the 1960's as I recall... It's been retired for obvious reasons since then, but still remains in the family, well over a century after it was made.

 

Sometimes I spend time researching past furniture styles. I often read that much today has already been done before, and after seeing some good examples of period furniture, find some truth in this old adage. My favorite influential maker is George Hepplewhite and the associated furniture of his era. Furniture of the late 18th century has been mostly characterized by Chippendale and the cabriole leg design element. George Hepplewhite, however, is much less written about and known, and was characterized by the slight, tapered legs of his furniture and lightness and delicacy of his pieces. A considerable amount of 20th century furniture has been derived from this late 18th , early 19th century period and in particular the makers Chippendale and Hepplewhite. American Federal style furniture had its origins in the Hepplewhite style. Much of the design elements of this particular period have made their way into furniture of the past century. This can be considered a "revival" of a previous style in time, but I like to think of it as simply embracing design elements which were and continue to be pleasing to the eye..

When I flip through examples of furniture representative of previous periods and styles, it is easy to see what worked and what didn't work. The design elements which are pleasing and well-proportioned are carried into later periods, whereas the not so pleasing styles typically die off. Another trend which I notice is how previous styles of furniture are sometimes renounced and discarded only to be replaced with a radically different style of furniture. We see this very same phenomenon today in everything ranging from fashion, automobiles, and continue to see it in furniture styles. A "revival" of a previous period or style of furniture then occurs, much like what occurs in the fashion world today.

The reason I raise this is that this is something to consider for furniture makers today. We all have our favorite style as makers, but it may be important to incorporate proven design elements in our designs, the elements which have demonstrated the most success over the past few centuries. Since what we are designing is often derived from a previous style or work, it makes more sense to derive elements from the successful styles of furniture.

I'm a big fan of clean, simple lines with minimal adornment, although I like to incorporate some inlay into my work. The inlay work sparks my creativity and in a strange way provides me the impetus to complete the furniture so as to add the inlay detail. I can relate the piece of furniture to a large canvas and the inlay is the artwork. Other makers might define themselves through another feature on their work, perhaps some carving or marquetry. George Hepplewhite often distinguished his work with added inlay. A large proportion of Hepplewhite and Federal style furniture is inlaid with the exotic woods which had come into popularity by the late part of the 18th century and early 19th century.

More on this later...

Dave Jeske at Bluespruce Toolworks is now offering a fishtail detail chisel. Very cool!

Often our conversations with people start months before the work actually begins and so it's always gratifying to hear back from folks after our work is done. I get pretty attached to folks while chatting with them over a period of months and David develops a special relationship with people through making their rings. Dani and Schmick have been in our lives for awhile ~ another couple of wonderful people whose kindness humbles us and whose friendship we value.

Saturday Mornings at Highland complement our woodworking class & seminar offerings. Join us at our store in Virginia-Highlands on Saturday mornings at 10am EST for FREE, live demonstrations featuring a wide variety of woodworking skills, tools & techniques. These 1 to 1-1/2 hour-long demonstrations feature our knowledgeable staff and instructors, local clubs & guilds, guest authors, and others. Upcoming events include woodturning, woodcarving, care & use of hand tools, joinery, book signings, an introduction to woodworking design software, and much, much more.

Saturday, May 31, at 10:00am we are pleased to have Hal Simmons in the house teaching the Natural Edged Bowl. When he's not busy at the American Red Cross, he's teaching wood turning. He has studied with Nick Cook, Willard Baxter, David Ellsworth, Johannes Rieber, Chris Scott, Soren Berger and Ray Key. He enjoys traditional spindle, bowl, and hollow form turning using both exotic and domestic woods. Hal is President of the Chattahoochee Woodturners and member of the Georgia Association of Woodturners.

Hal will demonstrate how to turn a natural edge bowl. He will talk about consistency in wall thickness, chucking and mounting the piece on the lathe.

All demonstrations take place in Highland Woodworking's retail store in Atlanta, Georgia and begin at 10:00am EST.

Tommy and Al, wearing festive holiday hats, answer the most recent posts on the form and discuss one viewer's toolbox photo that he posted. They discuss one post in which a viewer says he inherited his grandfather's tools, which leads Tommy to give a thorough overview on sharpening tools.

I want to do another safety related blog entry before Woodworkers Safety Week gets away from us…

In the shop we should use all of our senses to detect danger. Well, use touch as the last sense for detection. Ya know…if you are unsure whether your table saw is on you should listen for the motor or look for the moving blade before reaching out to touch the spinning carbide.

I think our eyes are the most valuable safety tool we have. Hopefully, we see dangers. Even when we know dangers are present we use our eyes to determine our proximity to them.

So the Jeff Skiver Safety Tip of the day is…make sure your vision is clear by avoiding tears that can cause distorted vision. Therefore, never go to work in the shop immediately after watching any of the following movies:

1) Brian’s Song

2) Old Yeller

3) Love Story

4) Ghost

5) The Way We Were

6) Bambi

7) My Girl

8) E.T.

9) Forrest Gump

10) Pay It Forward

11) I Am Sam

12) Schindler’s List

13) Braveheart

14) Saving Private Ryan

15) Blazing Saddles

Also, if you are in the shop and any of the following songs come on the radio, IMMEDIATELY STOP WHAT YOU ARE DOING!!!!!!!!!!!!!!!!!!:

1) Wildfire by Michael Martin Murphey

2) Honey by Bobby Goldsboro

3) Diary by Bread

4) Think of Laura by Christopher Cross

5) How Do You Mend a Broken Heart by the Bee Gees

6) Still by The Commodores

7) Alone Again, Naturally by Gilbert O’Sullivan

Finally, if you have been reading ANYTHING written by Nicholas Sparks then you should stay away from your shop for at least 4 weeks after you finish the book. You may think you are okay at 3 weeks, but you aren’t. Even three and a half weeks after finishing Message In A Bottle I would spontaneously break down into uncontrollable fits of agonizing tears. Nicholas Sparks requires FOUR FULL WEEKS!!!!!! You’ve been warned.

Download Episode

Download audio file (TheWoodWhisperer-wto43466.mp3)

Status Report:
Marc has FINALLY finished the gadget station and plans on delivering it next week. While in the area, he is also going to have a visit with the one and only David Marks. Matt decided to rearrange his shop tools recently and is apparently going to start writing a new book entitled, “The Feng Shui Workshop”.

Around the Web:
Check out Keith Cruickshank’s awesome videos at Woodtreks.com
Popular Woodworking Magazine and Woodworking Magazine have had a little facelift recently. FineWoodworking.com also seems to have had a few tweaks.

News:
Don’t miss your chance to enter The Wood Talk Online Giveaway. Lee Valley provided us with two of their new Skew Rabbet Planes and next week we will select two lucky winners. Enter Here!

Hot Deals:
DeWalt 18V Cordless Drill/Driver Kit Sweepstakes ends October 13th thanks to Tool Snob
Makita Orbital Finishing Sander only $39.99, Save 27% Highland woodworking while supplies last.
Aluminum Assembly Clamps from Lee Valley set of 4 (2) 18″ & (2) 24″ $85 regularly $108 fast-acting sliding jaw with a locking handle mechanism (similar to locking pliers)
Makita 14.4 V cordless impact driver at woodcraft $189.99
Select Norton Combination Waterstones Save 20%! Now Through October 31, 2008!

Topics: Where we get our design inspiration. Marc recommend a Taunton Publication.

Voicemail:
David has a good question concerning bandsaw blade width.

Tom’s Tip: Tired of using guesswork every time you set up your dado stack? Tom has some advice.

Related Posts

• October 8, 2008 — Three Giveaways This Month!
• October 3, 2008 — September Giveaway Winners
• July 3, 2008 — And the FesCool Giveaway winner is……

Here’s something you’ll want to put on your calendar. PBS will be airing a show entitled, “Craft in America: A Journey to the Artists, Origins, and Techniques of American Craft.” It will air in three episodes beginning on May 30. The most notable artist to be featured—as far as woodworkers are concerned—is Sam Maloof. You can see a list of other artists to be featured here. The web site has a cool virtual exhibit that will show you some of the work of the artisans.

To find out when Craft in America airs in your local area, click here.

This month we have The Wood Whisperer Giveaway, The FesCool Giveaway, and The Wood Talk Online Giveaway. Yeah, that’s a lot of givin’ away!

The Wood Whisperer Giveaway

Enter for your chance to win Hendrik Varju’s latest DVD: Revelations on Tablesaw Setup & Safety.

The FesCool Giveaway

Enter to win an ETS125 sander!

The Wood Talk Online Giveaway

Lee Valley provided us with two of their new Skew Rabbet Planes and next week we will select two lucky winners. Enter Here!

Related Posts

• October 6, 2008 — Wood Talk Online #43
• October 3, 2008 — September Giveaway Winners
• September 7, 2008 — Wood Talk Online #41

Not so long ago my workbench's top was the perfect surface for almost all of my needs.  It's always been a little short, but the weight was perfect for handplaning.

When I discovered how unflat it's become in the last few weeks it was clear it needed to be replaced.  The question on my mind is what should the top be made from?

I need something flat, something reliable and more importantly something that could get me back in the shop in no time...

WIN AN iPOD TOUCH!!  If you have the time, please take the new listener survey, and when you do you'll be entered to win an iPod Touch.

If you'd like to enter for free schwag or just have a comment, question or suggestion drop me a line at mattsbasementworkshop@gmail.com or  head over to my website at www.mattsbasementworkshop.com or call our Skype Voicemail at 231 354-2338.

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Chris Schwarz has posted a wonderful review of my third book on his blog.

He must be a mindreader, as he points out that ...

Tommy surfs the long board in the shop and then tackles the first cuts of the bombe secretary cabinet sides. This is a critical part of the secretary since it determines the real look and feel of the piece of furniture.

With his new hi-def camera, Tommy reviews how he worked with the rake. He shows how the application of the molding makes the outside corner and the top of the rake more pronounced. Tommy then wonders how he will work with the compound angle at the top, which is going to be difficult.

I depart for the Marc Adams School class on 1st of May and will be back 22nd May.

We are filming a DVD on ...

Though it does show a little of the environment I grew up in - these were the first thing I thought they were singing about the first time I heard that song...

No, I'm talking about the real thing, which are used for making yarn from raw materials such as wool or cotton:

This one is an antique, made sometime in the later half of the 1800's, and was built by the brother of this man - my great great grandfather:

Jon Vium (my great great grandfather) was well known for his handmade spinning wheels, and he made dozens - if not hundreds - of them that he sold to neighbors and at market.  He was an avid turner, and used a treadle lathe.  He lost his leg when using an adze to flatten some birch - he missed and hit his foot.  This was far out in the sticks, so doctors were several days away at least.  A member of the family was sent to retrieve the nearest doctor, but by the time he was able to get there gangrene had set in.  The amputation took place on the kitchen table, and the sterilizing agent and anesthetic used was whiskey...  There's more, but suffice to say not many can say they have it so tough today.

Even after losing his leg, he continued turning - with the treadle lathe - until his death.  I used the above picture of a whell his brother made because while there may be some of his spinning wheels remaining, I don't know where they are...  There was one that had sat outside for many years, and though it was heavily weathered and missing pieces, dad was able to create a reproduction of the wheels that granddad made using it as a reference along with the wheel pictured above - here's  his version, made in maple:

 

Dad was very proud of his recreated spinning wheel.  It's as close a copy as he could come up with given what he had to start with.  Here's a different view:

Spinning wheels are literally spin fibers such as wool (and other materials) into yarn for use in knitting.  I don't think I can remember my grandmother when she wasn't halfway through another knitted quilt - she was prolific.  She made hundreds of them... I still have several myself that she hand knitted - but she usually bought her yarn at the store in the later half of her life... though I remember telling her showing my mother how she would use the spinning wheel when she was younger - it was on a wheel much like these.

 Fibers first need to be "carded", where a pair of "carders (wooden handled planks with a series of metal combs are used to literally comb the fibers straight - here's grandmother's pair, with a "rolag" of wool started next to it:

 

I won't go too much into the process of spinning yarn, but if you are interested there are other sites more with more experienced information than my own...  including http://www.joyofhandspinning.com/ and some videos on YouTube.   Basically, the fiber is combed straight and rolled up into a "rolag" like above, then one end is mounted in the wheel.  Once you start spinning the wheel, it pulls on the fibers as you feed it, and it twists them at the same time, like a rope at the same time spooling them onto a bobbin.   Twisting makes the thread stronger by intertwining the individual fibers into one continuous thread that you can't pull apart without a good amount of effort. 

My uncle was so impressed, that he took dad's wheel and made his own version - his in walnut: 

These are built as closely as we know to the originals great granddad made, and both of them work - as they have been used.  But - not much, I think... just enough to prove they work.   Most people these days don't knit, much less spin their own yarn anymore - but as with anything, there are still a few out there who are continuing the craft.

Most of the parts for each are turned on the lathe...  These wheels were made using a jig and a router, though originally it would also have been turned on the lathe using a face plate and jig.  The string you see around the wheel is the drive belt...  it rides in one of a series of grooves directly above the wheel - each sized differently so different speeds can be used.  The higher the speed, the more twists per inch are produced on the yarn.

 This particular style of wheel is known as a "castle" wheel, which was popular for those who want to travel with the wheel, or have just a small amount of room for it - the latter of which would have been the case for most of my ancestors.  The houses were not large, so if something could be made to take up less space, the better.

These wheels are an exersize in functionality and design - they are beautifully designed wooden machines that are truly an art form.  I've always been drawn to them, as they are the most aproachable tool - they look like some sort of fancy furniture, but were one of the basics of life not so many years ago, when people used them to make their own fabrics, sheets, blankets, and clothing.  There wasn't a Walmart on the corner, and if there was they couldn't have afforded it anyway.  Their only choice was to literelly make their own - well, everything, almost...  One simply has to respect that sort of independence.   There are modern makers who have updated the design to work better and use modern technology (ball bearings!) - but most of the modern incarnations seem soulless to me, lacking that part of them that I see as art.

When I was younger, I always wondered how such a cool song could have been about a spinning wheel...

Blood Sweat, and Tears - Spinning Wheel

What goes up must come down spinning wheel got to go round Talking about your troubles it's a crying sin Ride a painted pony Let the spinning wheel spin You got no money, and you, you got no home Spinning wheel all alone Talking about your troubles and you, you never learn Ride a painted pony let the spinning wheel turn Did you find a directing sign on the straight and narrow highway? Would you mind a reflecting sign Just let it shine within your mind And show you the colors that are real Someone is waiting just for you spinning wheel is spinning true Drop all your troubles, by the river side Catch a painted pony On the spinning wheel ride Someone is waiting just for you spinning wheel is spinning true Drop all your troubles, by the river side Ride a painted pony Let the spinning wheel fly

 

Of course - when I read the lyrics, I realize that the song is really about a homeless guy in a Mustang...

 

If you’ve read Woodsmith and ShopNotes magazines for any length of time, you know that we’re a fan of threaded inserts. They make it easy to build jigs and fixtures and knock-down furniture or projects. They’re a great way to add machine threads for attaching screws and bolts.

E-Z Lok is a manufacturer of threaded inserts for a variety of industries and applications. And I’ve recently discovered that their web site is a valuable resource of information you can use when building projects that make use of threaded inserts. Their web site contains PDF documents that contain detailed dimemensioned drawings and complete charts listing dimensions and recommended hole sizes for their inserts. (They caution you to try out the insert on a scrap piece to get the exact hole size.)

Click here for a chart of their inserts for hardwood.

Click here for a listing of the knife-thread inserts for softwood.

I like to use press-in “Finserts” whenever I can (see photo at left). I don’t have to thread them and risk not getting them in straight. You can simply press or tap them in place. Click here for more information on finserts.

If you scroll to the bottom of these pages, you’ll see links for PDF documents of drawings and charts.

E-Z Lok’s products are sold through a variety of distributors like McMaster-Carr, Reid Tool, and MSC.

I got a treat on Sunday. The Heritage Carousel at Union Park in Des Moines, Iowa was celebrating its tenth anniversary.  As part of the celebration, they invited the original builders of the carousel, The Carousel Works, Inc., to attend and demonstrate their carving and painting skills.  I got to speak with the owner and his wife (Art and Marilyn Ritchie) about their craft.  It so happens that they’re from Mansfield, Ohio, close to where I grew up in Ohio.  He’s been carving for over thirty years.  His wife does some of the painting.

As we stood there chatting, he was using his Pfeil carving tools to smooth out the body shape of a horse figure.  You could tell his tools were very sharp.  He was effortlessly taking thin chips out of the basswood figure.  I asked him how he keeps his tools so sharp.  He uses a buffing wheel to hone the edge as needed.

One of my boys asked him how many times he’s cut himself.  He smiled and pointed to his tool roll you see here on the left.  He includes bandages as part of his tool kit.

As time went on, he commented to passers-by that they’ve got seven full-time carvers on staff at the shop.  He said that the figure he was carving on that day is going to be a training aid for his carvers.  As we were talking, he flipped the figure over to show how he had carved the musculature and rib cage of the horse on one side.  His point is that unless a carver knows the anatomy of a horse, he’s going to have a difficult time carving one.  The detail was fascinating and realistic.

The discussion turned to painting.  He says they use three coats of primer, sanding between coats.  Then the colors are brushed on.  Finally, five coats of clearcoat are applied for durability.

Besides building new carousels using wood figures, The Carousel Works also does restoration of old carousels.  To me, it was refreshing to see that there are still companies out there working hard to keep craftsmanship alive.

This week’s shop comes from Mike in Pittsburgh, PA. Let’s check it out!

“It all started in Aught-Five, when my lovely wife and I decided it was time to add on to our 3 bedroom colonial. With two little girls and a whole lotta Fisher Price stuff, we were starting to feel cramped. So I took advantage of my very handy retired-architect dad and we built ourselves a 1,100 sq. ft. three-story addition. During this project, I managed to reserve a 12′x12′ plot of space in the basement that has since been dubbed Mantown.”

“Mantown is on the cozy side and has a very low ceiling. But I put in double doors that open out under the deck. This allows me to get things in and out easily and to cut larger items on the table saw, which rolls into place when I need it. The doors and window also give me plenty of natural light to work with. I even thought ahead and had the window made with tempered glass, for when I accidentally put a pipe clamp through it. Also, rather than drywall, I put pegboard up directly onto the studs, an idea that seemed great at the time, but frankly I’m starting to think pegboard is overrated.”

“Mantown has a long way to go before being complete. Tool-wise, I’m just getting started. Delta 10″ contractor’s saw, Delta drill press, and a Makita sliding compound miter saw are the major tools. I also have been doing a lot with my Kreg pocket hole setup. The wall containing the miter saw is pretty much temporarily thrown together, but I’m working on a master plan for it to improve storage, utility and all-around coolness. I’m also planning to incorporate a router table into the right side of the table saw and am debating dust collection options while currently using a shop vac connected to the tools wherever possible. The alcove next to the interior door is handy for storage as well, though I had to make sure to position the shelves at the right height to allow a 8′ board to be cut on the miter saw.”

“Despite the size and small tool collection, I’ve been quite productive with the space, mostly building what needs to be built for the addition. In the pictures you can see an entire built-in unit and new fireplace mantle, made of a combination of ply and pine with a tile top (and, okay, Dad helped). My most recently completed project is a student desk and bulletin board for my eight year old daughter, with love from daddy.”

“I’ve started work on built-ins for our home office, and have so far put together a desk for my lovely wife, which will eventually become a full wraparound suite of cabinets once we get rid of that gawdawful wallpaper (and yes, a gadget station included!). The desk was actually one of my first projects, during which I learned things like paying attention to grain direction, book-matching panels, and how to stain wood correctly (all after the fact, of course). Building the desk was also a strategic move on my part to convince said lovely wife that Mantown is really “all for you, honey”. So far it seems to have worked. Wait till I tell her I want to knock out that wall behind the miter saw and make it bigger!!! I appreciate any commentary, especially suggestions on how to turn my 7′ ceiling into a 9′ ceiling.”

Related Posts

• September 29, 2008 — Ryan and Mason’s Workshop - Shop of the Week
• September 25, 2008 — Small Shop Tribute - Shop of the Week
• September 17, 2008 — Dustin’s Workshop - Shop of the Week

You can sharpen your woodworking skills with helpful tips and techniques from the editors of Woodsmith and ShopNotes magazines. Get a FREE tips sent to your email address each week! Got to Woodworking Tips.com and sign up today.

Here’s last week’s tip from Woodsmith online editor Ted Raife:

Whenever I use screws to assemble a project, I hide them under wood plugs. Cutting the plugs and gluing them in place is the easy part of the job. The bigger challenge comes once the glue dries — trimming the plugs flush to the surface.

For me, this is a two-step process. First, I use a small back saw to trim off the bulk of the protruding plug. Then I sand or plane the remaining portion flush to the surface. But my lack of care with the back saw often led to problems. If I tried to cut the plug too close, I would scratch or gouge the surface, making more work for myself.

But as is usually the case, a small problem had a simple solution. I dug up a scrap of plastic laminate and made a flush cut shield. The laminate shield has a hole drilled through it slightly larger than the diameter of the plugs. You place the shield over the plug flush to the surface and then saw away without worry (Figure 1). The thin shield allows you to give the plug a very close trim and all that’s needed to finish the job is a little sanding (Figure 2).

For more helpful project tips, techniques, and plans, visit Plansnow.com.

Good Woodworking,

Ted Raife
Online Editor, Woodsmith

There are guys that “trick out” their cars…or motorcycles…with fancy paint jobs and chrome. Why not do the same with the tools in your shop? Wood Werks Supply in Columbus, Ohio is giving you the opportunity to order a customized Powermatic table saw.

To quote Wood Werks Supply:

“This won’t be just any saw. We start with the award winning Powermatic PM2000 10″ table Saw. We’ll Blanchard Grind the top, add the reliablility of an American Made Baldor® motor, then install your favorite accessories. You’ll decide exactly what color it will be, and we’ll finish it off by prominently displaying your name on the front of your perfect saw.”

Create and order your customized Powermatic PM2000 here. I created the one you see in the photo here with just a few clicks. It’s got a 3hp, single-phase motor; paint colors to honor the OSU Buckeyes; and a cast iron extension wing with cast iron legs.

If you’d like to find out more and join in on the long-running discussion over on WoodNet, click here.

Tommy takes some de-natured alcohol and wipes it on the completed carving to demonstrate how the grain texture will look. On close inspection, viewers can see that each of the sweep carvings is a little different. Tommy then shows how to remove the material along the perimeter of the shell. After the door is completed, he discusses the work he needs to do on the drawers.

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