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There is a lacquerware shop in Yamanaka who has a small pedal lathe and offers a short time woodturning experience.

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It's quite tiring!

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Turn the outside surface as you like and leave it at the shop. The professional do the rest, put lacquer coats on and send it to you later. 3,000 yen.

A question on dovetails on WoodCentral led to a discussion of their history, and one of the posters produced a link to a photo of a box with some of (if not the) earliest examples of dovetails on record:

Ancient Roman box, dated from the 2nd or 3rd century, currently located in Limesmuseaum Aalen (German language site) in Baden Württemberg. See the original link (Google translation) to the photo on woodworking.de.

It's a fascinating piece, I think most would agree.  I love this sort of old research...  and there's some real sophistication in the design of this box - though I guess sophistication shouldn't be a surprise when you review artworks of the period.  Helenistic statues display the foremost sophistication, for example...  But I digress

The poster also included an informative link to another German site on Roman woodworking tools I also found very interesting.

This box some fairly sophisticated woodworking - and obviously the dovetails' design is well developed at this point.   It's pretty obvious to me that they've been around for (literally) thousands of years...  Interesting that the idea of craftsmanship hasn't really changed all that much in all this time, isn't it?  There is a legacy to woodworking that goes back hundreds of generations, which is something that is easy to forget in the "we do it so much better now" frame of mind.

 It reminds me of some of the items that have been passed down to me..,.  One of my most treasured came from the old country with my grandparents - it's a traveling/storage box known as a "koffort":

Koffort - an antique Icelandic traveling/storage box that's been in my family for at least 150-200 years.

This box was originally made in Iceland, and my parents both believe it is at least 150  years old, and was quite possibly much, much older than that.  It was handed down to my father from his great grandfather when he was 13 years old...  By dad's account, his great grandfather had told him that "it was very old" when he himself had received it from his great-grandfather when he was 13 years old in 1933.  If we trace that path, his great grandfather would have been 13 years old in 1868, a difference of 65 years.  I don't know where, when, or by who it came into his great-grandfathers possession - but if it was "very old" then, I would guess that makes it at least 50 years older than that, which puts it at 1818 or so - and it could easily be yet older - but I have no documentation or even any oral history beyond what I've told you.

The construction of the box is quite simple and elegant - very similar to a "six board chest", but without any legs and a slightly more involved lid design.  The corners are dovetailed, and an iron strap has been added for strength at each corner:

Dovetailed corner with iron strap

I doubt the strap was original to the box - most like it was added some time later.  These boxes were heavily used and abused, and traveled with the owner all over creation.  Often they would also be used like what you would use a safe for today...  The angled "handle" on the side is repeated on the far side and is angled to make the box easier to be packed on the back of a mule, horse, or ox.

Inside the only additional item is a small tray at one end:

Interior view

Looking closely at the tray, you can see it's also dovetailed - and you can see the primitive hinges, which I also believe are not original:

Tray at one end is also dovetailed

The fact this is also dovetailed is important in showing the attention to detail this box was given during it's construction.  One also has to remember that when this box was built, Iceland had no real native timber of it's own.  Almost all wood came in the form of imports from abroad or, and this is more likely the case for a personal item like this, from driftwood.  Logs would follow the current up to the shores of Iceland having started anywhere along the shore from the Caribbean to upper Labrador in Canada.  Wood, therefore, was quite precious.

Another similar example I have is a larger version of the koffort, which I guess is called a "kista":

Kista - a larger version of the koffort

This is from mother's side of the family.  It's not nearly as old, I believe mom thought it dated to the late 19th or early 20th century.  It's a little more crudely made, but still uses dovetails in it's construction:

Dovetails on the Kista

 This particular box sat in a dirt floor barn for many years, and the bottom had rotted out of it.  Dad repaired it at the same time he refinished the koffort.  He did a good job at the restoration, but I'm not so proud of the finishes he chose.  But still, I'm proud to have them both here with me.

In my spare time over the last couple of years I've been working  on my own version of a koffort.  I'll post about it someday when I'm finished, but needless to say that anything I do will pale in comparison when you consider the history of these pieces, which is what I think truly makes them special.  I can only hope that, some couple hundred years from now, somebody is marveling over my creation wondering who the craftsman was that made it, why he did, and if he was as proud of his koffort then as I am of owning it now.

 

Here's the latest pen. This is a Sapele Cigar pen with a segmented celtic double knot made of Maple and Cherry.
There are 32 pieces in the segmented knot - 16 Maple and 16 Cherry. The picture below shows better detail of the knot, but the picture above best shows the true colors of the pen.

 

  

I remember about a year or so ago, Tony Schrank called me. His uncle had patented a new type of clamping system called the VersaClamp™. Tony and his brother designed it for manufacturing. I had him send me one to take a look at. I recall at the time that it was unique in its ability to transform from a clamp to a vise with the addition of a couple of brackets you can mount to your bench. 

Since that time, Tony has licensed the VersaClamp to PennTek Tools for manufacturing. (I wrote about PennTek Tools in this post.) 

Here are some of the key features of the VersaClamp:

• Cam Locking Feature is easily activated with the Easy-Grip Handle and locks the work piece in place with up to 400 pounds of force
• Power of the clamp is not limited by the hand strength of the user
• Handle has multiple positions and pivots out of the way as needed
• When mounted as a vise, jaws turn to work at any angle 
• Soft, non-marring jaws firmly hold the work piece
• Available in 12â€�, 20â€�, 36 and 48â€� openings – comes with mounting brackets and hardware
• Patented Cam Locking System
• Made in the USA
• Limited Lifetime Warranty

You can order the VersaClamp from Garrett Wade, Woodcraft, or directly from the VersaClamp web site.

It’s no secret that I’m a fan of the work of Greene & Greene. A big fan. Anyone with cursory knowledge of the brothers has heard of the Ultimate Bungalows. These homes, designed by Charles and Henry at the height of their popularity and creative energy, are grand residences built with uncompromising attention to detail. Everyone agrees the the Gamble, Blacker, Pratt and Thorsen houses are in this category. Many include the Freeman Ford house as well. Were I the ultimate authority, the Robinson house would also join the list.

While the Gamble house remained in the Gamble family until it was donated to USC and the city of Pasadena, the other Ultimates have more colorful histories. Most endured some period of neglect or abuse. The rape of the Blacker house resulted in ordinances that protect historic homes in Pasadena. I think the Thorsen house trumps them all, however. Since 1942 the Thorsen house has been home to a fraternity.

I suspect that many of you have seen the movie “Animal House.� It’s hilarious. It’s a classic. It’s completely unlike the California (Berkeley) chapter of Sigma Phi. The brothers of Sigma Phi take their stewardship of the Thorsen house, which the fraternity purchased from the Thorsen estate, very seriously. Every Saturday morning they work as a group on maintaining the house. They learn its history. They take pride in it.

But keeping up with the demands of a 100 year old mansion (and a work of art at that) is difficult. And expensive. About 9 million dollars. If you find yourself in Berkeley, stop by the house. The brothers will happily give you a tour and accept a donation to the fund. But don’t let an inability to visit stop you from contributing. Send a few dollars and help save an historic landmark, one of the Ultimates. It’s a lot easier to keep such houses around than to wait for another genius to come along and design more.

The Thorsen House Restoration Campaign
c/o Mr. Dan McNear
Route 1
Box 264-E
San Rafael, CA 94901

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Todd Austman of Calgary, Alberta, won the miter plane from Philly Planes in our "Quote of the Year" contest for this little jewel:

We had hundreds of entries, which we narrowed down to about 75 of the best quotes that we plan to use in the coming year. (When we use your quote, we'll notify you and send you our latest hardbound book. It might take a bit of time for your quote to come up, so please be patient.)

There were a couple other quotes that came very close to snatching the top honors. Here are a few of them for your enjoyment:


Thanks to all of you who entered the contest. Your contributions, suggestions and scoldings are what make it a better magazine and inspire us to make each issue better than the last.

— Christopher Schwarz

I'm sure most of you remember and miss Stephen Shephard's website Alburnum's Archive. I recently got an email from Stephen and he is preparing a new site which will be called fullchisel.com. Good news indeed!

I now have the cabinet case, back panel , and front doors installed and adjusted. Everything looks fine at this point, with my next emphasis on the interior of the cabinet. Afterwards, I will finalize the design of the cabinet stand. With respect to the interior, I have a design idea in mind and have begun to make a few sketches. I will most likely leave the left hand side of the interior free and clear and build up the right with two stacked drawers and perhaps a third drawer further up. This design allows the right hand door to be opened independently in the sense that drawers can be accessed without the need to open both doors. This part of the design is interesting and helps me to resolve the division of the interior compartments.The client has indicated I have carte blanche to design the interior as I wish with the only requirement to have one large and one smaller space for art objects, along with two drawers. Sometimes less is more and in this case ( no pun intended) the larger the non-drawer compartments, the larger the objects which can be showcased.

In the photo, I use tape as temporary door pulls while I decide on the door pull design. I'm debating whether to simply have one pull located on the right hand door. If I decide on one door pull, I will elaborate on the thought process leading to this decision.

After my return from a ski trip this week I will be dedicating the next few days to finalizing the design of the interior and beginning to create it. On this ski trip, my wife and I are staying in a small resort town with surrounding towns that have plenty of small shops and boutiques. We both plan to glean some fresh design ideas from other visual objects, not necessarily wood objects... and inspiration for this piece of furniture and other, future designs along with inspiration for her wood inlay jewelry designs.

I have been using the new Jet curved blade jig on my large Tormek, to grind the subtle curve which I find so useful in ...

I've been working on the frame and panel for the back of the cabinet. This frame is composed of the same wood, European beech, as the cabinet. The components of the frame and panel back are two outside stiles, a center stile, and the upper and lower rails which are continuous along their length. The width of the individual components is approximately 2 inches or thereabouts, and I based this on aesthetics along with availability of clear quarter-sawn beech stock on hand.

The type of joinery I have selected for this back is the mortise and tenon. The stiles are of equal length, so are the the respective tenons at either end of each stile, which also fit into the grooves in either horizontal rail. In the photo, the frame is temporarily installed in the cabinet back recess for a test fit. I am in the process of creating the panels to fit into each of the frame halves.

Some judicious planing is involved in creating a perfect fit of the frame and panel into the back of the cabinet, but I had already allowed for this with a very small fraction of an inch in extra width of the frame. Another factor in the decision for the stile and rail widths is the factoring in of any small wood movement of the rails and stiles in their widths. The wood I have selected is fairly quarter-sawn so movement is substantially reduced and the fairly narrow widths of the components reduces the remaining movement considerably.

The panels will be floating with a small gap around each edge to allow for wood movement. Once I have this frame and panel back installed, the cabinet will have developed an entirely new look, that of a cabinet without front doors.

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I am delighted to note that Alan Peters' book
Cabinetmaking The Professional Approach is due to be republished in the autumn this ...

I wrote once before about the generous gift I received from Kori Capaldi, Operations Manager of the Gamble House. I met Kori when I was in Pasadena for Pasadena Heritage Craftsman Weekend in October. Because I spent quite a bit of time at “THE house� for various tours and receptions, I got a chance to talk with Kori for a while. I told her about the chest I was building and that the lid would be restrained by a leather strap. A month or so after I returned home Kori sent me an email and asked if I’d like a piece of the leather that was used in the Gamble house when the leather straps on the lighting fixtures were replaced several years ago.

Of course I said “No� and that was the end of it. OK, maybe I said “Yes� and tried not to appear overly anxious in the process. You see, the Gamble house is tantamount to a religious shrine for those of us afflicted with serious cases of Greene-itis. It is indescribably beautiful. I mean that literally. No attempt to convey, using words, that amazing vision can end in anything but utter failure. Thus, to have a tangible link between the core of the G&G universe and one of my pieces of furniture is very special indeed.

Though I’ve had the leather for some time now, I’ve just completed installing it. I didn’t want to be hasty -- it had to be just right. I spent hours scouring the internet for the perfect rivets to use to attach it and the search paid off. I found a product even better than I had hoped for. Screw posts are similar to rivets but because they screw together they are removable. So if I ever have to remove the lid of the chest I won’t have to cut the leather (Actually, I wouldn’t have been able to cut the leather I would have asked my wife to do it. When I wasn’t home.). And with persistence I was able to find them in solid brass with an oil-rubbed bronze patina. With that final piece of the puzzle in place, the installation is complete. And it was worth the wait. Thanks Kori.

By the way, this chest is the subject of an article to appear in the April issue of Popular Woodworking (available early March). Unfortunately, I didn’t have the Gamble leather when photos were shot for the article -- in the magazine you’ll see a piece of upholstery leather leftover from a Morris chair project.

I have completed dimensioning, handplaning and scraping the surfaces of the panels for the drawer cases. The panels were longer in length than necessary, an extra length allowance of each of the panels comprises one side of each drawer case. These drawer case sides will be rabbeted into the top and bottom panels. The grain orientation of the drawer cases is similar to the cabinet top and bottom, this is purposely designed in to accommodate any expansion and contraction due to humidity changes in the ambient air. In the lower drawer case, the sides are somewhat longer to accommodate two drawers and a drawer divider. The hardwood drawer divider will be fitted into dadoed slots in the center of either side of the drawer case. Dadoes run perpendicular to grain orientation as opposed to grooves which run parallel to the grain orientation.

The drawer case sides, and top and bottom panels are oriented in the same direction to have the complete drawer case movement occur front to back similar to the cabinet itself. The drawer case sides need to be trimmed to size next and then a dado created in the dual drawer case. The drawer cases are assembled afterwards with careful attention to maintaining the drawer cases perfectly square. Once the assembly is complete, I will fit the drawer divider into its dado.

I'm anxious to begin work on the drawers and have yet to decide whether the drawer faces will be a contrasting color, most likely so. In this case, I need to find a wood which complements European Beech.

I’ll admit it. When it came time to set up my shop, I didn’t want to spend a lot of money on lighting. Yep…I’m cheap. So I went to my local big box store and picked out the least expensive flourescent shop lights I could find. But just so you don’t think I’m a total cheapskate, I did upgrade half of the tubes to the newer (and more expensive) daylight or full-spectrum tubes for more natural lighting. I learned that lesson from our new shop here at August Home Publishing. Natural lighting makes a big difference.

Now, my cheapness may come back to haunt me. The Consumer Product Safety Commission has sent out notification of a product recall for shop lights made by Cooper Lighting. You can read all about the recall here. To see the announcement on the CPSC web site, click here.

Well, since my shop lights look suspiciously like the ones that are being recalled, looks like I’ll have to climb a ladder and check them out. And if yours look like the one shown in the photo here, you should do the same.

Now that the frame is even with the face of the case, Tommy can attach the crown molding. Wax is placed on the frame, the ends of the molding have been cut to fit, a little glue is applied and Tommy crosses his fingers hoping everything will work out. When the molding is put in place and the glue dries, Tommy reviews how it connects the upper case to the lower case. The upper case slides in from the back and is held by the crown molding. It's difficult to tell it's two separate pieces.

I made this earrings and the bracel for a firend´s doughter, Lucy. She loves animals, so I gave to the earrings a personal detail.

To make the earrings use rounded pliers to make chains with the wire. You can make yourself the part of wire that goes in your ear: put the wire arround a pencil or pen (or arround something cylindric) to give the wire that shape.

I made this earrings and the bracel below, embroidening the beeds in an elastic fishing line.

Here you can see both designs.

     

Hope you like them! Try handmaded jewerly, it’s an adicction!

Tommy sits down with Al to respond to questions and comments posted in his newly-launched message board and send out a big thank you to all his fans (and especially Chicago Ron for the cigars!). After being asked by a viewer, Al gives a "quick" biography of himself. He also fields a question from another viewer about a matchstick holder he made.

This week, Dennis Perkins, assistant editor for Woodsmith and ShopNotes, is going to give us some pointers on using hand planes and scrapers for a smooth finish. He’ll also spend some time showing us how he likes to sharpen his scrapers during this week’s Woodsmith Woodworking Seminar Podcast.

As usual, all of the links to articles, seminar guides, and products that you’ll see being used during the seminar podcast can be found at the Woodsmith Podcast Store.

Shop classes are fast becoming an endangered species in the United States. I suppose that the beginning of the end was when the name changed from “shop class� to “industrial arts.� When I was in 7th & 8th grades, all boys had to take wood shop, plastics shop and drafting class. All girls had to take home economics but the sexism inherent in our educational system is a different article.

In the 7th grade I didn’t care much about shop class. It just didn’t interest me. I did the work I had to do to make the little treasure chest project we were assigned but there was no joy in it for me. Surprising only because of my current love for working wood. More surprising however, is a dark secret I’ve hidden for nearly 35 years. My wife doesn’t know. I don’t think my parents know. In fact, I don’t think I’ve ever told anybody. You’re the first. Here it is: I was kicked out of wood shop.

Since most of you don’t know me very well that statement might not surprise you. So let me tell you, I wasn’t the kind of kid who got kicked out of classes. That was the one and only time in my scholastic career. I wouldn’t go so far as to say that I was scarred by the event but here I sit more than 30 years later writing about it. So what happened you may ask?

The shop teacher at our school was a man named Delbert Lumbert. I couldn’t make that up. No, really. Knock it off, I’m serious. OK. Mr. Lumbert seemed somewhat less interested in teaching the class than I was in taking it. I certainly don’t envy someone the task of shepherding 30 mostly uninterested kids through a minefield of sharp, spinning steel. All the same, he didn’t seem to be enjoying his chosen career. Maybe the years had gotten to him. Maybe he could see the coming extinction of his kind. Maybe he just needed a hug. But I don’t think I ever saw the man smile.

So one day I’m waiting to use the band saw. Another student is cutting something. When the offcut is free of his work piece, I reach over and remove it from the table for him. I wasn’t trying to challenge authority, I was just trying to be helpful. Of course, I recognize now that it was dangerous. Mr. Lumbert recognized it then and, as luck would have it, he saw me do it.

I can’t know the underlying cause of Mr. Lumbert’s reaction. We didn’t discuss his feelings. We didn’t discuss anything. He yelled. Loudly. I cowered. He told me to get out. I did. I don’t remember where I went but I’ll never forget walking out that door. I wish I could say that after he cooled off he reviewed shop safety with me (or the entire class). Or that he called my parents to make sure that they were aware and could remind me to be careful. But that didn’t happen. We never spoke of it again.

I have no idea what became of Mr. Lumbert. I’m sure he’s long since retired. Our brief, unhappy encounter caused no lasting damage. Who knows, maybe it was even positive. It’s not how I would want to handle such a situation but it’s hard to argue with results. After all, the lesson was well learned. Later (much later) I became an enthusiastic hobbyist woodworker. And so far, I can still count to ten without removing a shoe.

I will admit it - I am quite spoiled with some of the infill wood I have. Genuine Brazilian Rosewood tops that list - but a while ago, I ran into a piece that stopped me dead in my tracks. It was a small section of burl. There was not much, and I had to really work to get enough for an XSNo.4.



And even after it was roughed out- I was not 100% sure I had captured enough of it. About a month ago, I started the plane. As I was working away I realized this piece was spectacular.



What sometimes happens is the figure and curl of the wood disappears as you cut it down and fit it to the metal shell. This piece was the reverse. With every cut - the infill kept getting better and better. There was a great light patch of wood on the rear infill that I really wanted to keep. I cheated the rear infill as far to the right as I could to capture as much of that patch as possible. You can see the patch in the photo below.



The front bun was equally spectacular - despite its small size.



This piece of burl was a very rare find. I cannot promise to find another one like this - but there are a few other large pieces that look promising. I just feel lucky to have found this piece.

So I recently bought six handscrews (two each of the 8", 10", and "12 jaw length). I put them on the rafter near the workbench and radial arm saw where I can reach them easily if I need them, and I can tell already I'll be using them a lot. They've been here less than a week, and I've already used them for several tasks:

As an impromptu saw stop,

To hold a smaller machinists clamp (that held a modified hook that I had cut and was filing smooth), and also to serve as a third hand to hold up a chair rail (I attached the handscrew to the door frame at the height where the bottom end of the rail went and set that end of the rail on the hand screw. I could then hold the other end with one hand and attach it with the other.).

If I was at all unsure of the purchase of these handscrews, I'm now convinced of their flexability and importance for workholding. In fact, I picked up 4 more of the Rockler 10" hand screws for the bargain price of $20.