For years now - I have owned, used and struggled with various Japanese saws. Specifically Dozuki's. Struggled because I could not quite get the hang of using them. I always thought it was because I had spent too much time using western style saws and could not change my habits. So my few Dozuki's hung on the wall. I looked over at them from time to time - and even tried them every now and again - with similar disappointing results.

I was lamenting this situation to a good friend a while ago and he offered to send me one of his saws to try out. The saw arrived on January 7. Now this is not just any saw - it was made by Yataiki. I was pretty overwhelmed when it arrived - partly because of my track record with Japanese saws - but mainly because of who had made it (and has since retired from sawmaking).


There were quite a few details of the saw that really caught my attention. The first was how fine the teeth were - about 19 ppi. And the set... or should I say lack of set - there is virtually none to speak of. The blade is extremely thin - and absolutely perfectly strait.



There is a texture to the blade that is quite remarkable. The blade is tensioned by tens of thousands of little hammer strikes and then burnished. Yup - this was not an average saw.

The saw stayed in my shop for many days as I contemplated using it. Normally I don't wait to long to try out a new tool, but this one was different. I emailed my friend to let him know it had arrived safe and sound, but also to get any advise on using the saw. There were many emails sent back and forth all of which were helpful and set the stage for the first use. There were a few key pieces of advise - a relaxed grip, don't try to muscle the saw and let the saw do the work. A "relaxed grip" was described like holding a hammer. If you hold a hammer too rigidly, the striking (vibration) will hurt your arm. The grip should be relaxed enough to still control the hammer, but loose enough to keep the vibration from your wrist and arm. That was a brilliant piece of advise!

I practiced using the saw in my head - trying to anticipate how it would work. I had a few "free" hours on Jan 16th and decided to work on a few kitchen drawers. I took a deep breath - and finally tried the saw. I was not prepared for the results - it was perfect. I mean truly perfect! The start of the cut was smooth and clean and the saw tracked flawlessly leaving a clean and very thin kerf. And it cut fast. I was using the saw to cut the tails on the 1/2" hard maple drawer sides.

As I was using the saw, I noticed I was feeling for the straightest pull stroke - making sure I was not introducing a twist or lateral forces on the blade. The lack of set makes this really really easy to do. I cut a few kerfs and they all turned out perfectly. There was one kerf that did not follow the line perfectly, but instead of trying to correct for it - I let the saw cut along the started path. The words of my friend not to muscle the saw were ringing through my head at this point. In the end, that kerf was only off by a degree or two - all part of the story of hand cut dovetails.



I decided to stack four, 1/2" thick drawer sides together and try a cut or two. Pictured above is that first kerf... just as perfect as all the others.



And another shot of another 4 drawer sides.



Here is a shot of the 4-up drawer sides in my Tucker vice. A really nice feature of this vice and set up is that I can rotate the vice so I am sawing perpendicular to the floor.

Now for the really sad news. As I mentioned earlier, Yataiki is now retired - he is no longer making saws. As far as I know - he did not have an apprentice. If you ever have an opportunity to try one of his saws - or a handmade saw from another maker - you owe it to yourself to try it. I feel incredibly blessed to have been given this opportunity to use one of his saws.

Ha-hum. Perhaps that should be "Wild was the wind" for accuracy... If anyone cares to cast their mind back to last month and the rather excitable weather we had in Merrie Olde Englande? Yeah? Got it? Wind? Spring Tides? That sort of stuff? Well I had cause to empty out the old memory card from the camera and found the following:

Check out this easy way to navigate the countless woodworking tips we offer for your reference throughout our entire highly-informative woodworking website. There is an abundance of interesting and useful woodworking tips here which we have compiled during our 30 years as a leading woodworking educator and tool retailer.

If you have useful woodworking tips you would like to contribute to our website and online newsletter, Wood News Online, send it to us in an email at woodnews@highlandwoodworking.com.

Designing your rooms around an ethnic theme can be exciting and fun and allows you to bring elements of other cultures and distant lands into your home. You can be more daring in your approach to colour and with such a wide variety of textures and patterns available, this can collectively add a whole new dimension to your interior design project. Unusual artifacts from different cultures can work very well as focal points in a room and as there are no hard and fast rules to stick to and because there are so many variations, you can go beyond the usual or traditional to portray a style that is not only beautiful, it is unique.

So what do we mean by ethnic?

Ethnic basically means native or indigenous people from a particular area so in relation to Interior Design it means to bring the natural elements that are representative of whatever culture, land or peoples you choose to portray into your own home to define your space.

Naturally the world is your oyster as they say so there are countless cultures to choose from, all you have to do is bring a particular ensemble of colours, patterns, materials and artifacts together to create a "look" that is recognisable and distinctive. What about a Mediterranean flavour, Native American Indian symbolism, or perhaps Tibetan Buddhism? Popular themes include African, Mexican, and Asian but you can go with whatever inspires or appeals to you. Here are a few ideas to get you started.

African Theme

Think of Africa and all that it conjures up in your mind, the landscape, the sounds, the smells, the colours, the mood, and then if you try to pick out the key points, what would they be? Colour schemes might include earthy colours like green, beige, browns and tans, set off with orange and splashes of red. Think about floor and wall coverings, natural substances would probably work best. Finishing touches can include wall hangings, African artifacts, drums, rugs, African fabrics and prints, animals made of stone, clay or wood, ceremonial masks hung on the wall, brightly coloured African bowls and pots, and so on.

Mexican Theme

What does Mexico mean to you? Perhaps desert colours with sandy tones, beige and khaki, along with reddish, rustic colours and hues. Blankets and woven fabrics in bright colours, perhaps terra cotta pots and bowls, pine wood is popular for furniture. Artifacts can include symbols of the South West or from the Spanish influence, or from the Aztecs, Mayans and other ancient civilisations, all of which can add an interesting and authentic Mexican look and feel.

Asian Theme

There are many variations within an Asian theme but two quite popular ones are Japanese and Chinese. Japanese themes tend to lean towards a more minimalist look and have a tranquil and peaceful feel. Consider a futon and using screens to get that Japanese ambiance. Colours tend to be natural and objects from nature often feature as focal points, for example, smooth stones and pebbles, water fountains and bonsai trees. Chinese themes on the other hand might involve brighter and bolder colours, lanterns, dragons and other mythological creatures, artwork depicting the traditional people colours and landscapes and Chinese handwriting.

How to get started

Once you have established which particular ethnic culture appeals to you, browse through books and magazines and the Internet to get ideas that will spark off your own imaginative flair. Identify what elements go together to make up that particular look or feel that you want to create.

Consider the walls, ceilings and floors carefully as this will provide a base for you to work from and then you can add in the details to finish it off. For example, is the texture and appearance of the walls and ceilings rough or smooth? What floor covering is appropriate, should it be wood, stone, tiles or carpets? Will rugs and mats make a difference and if so what are they made of? Are the windows better suited to drapes, blinds or shutters? What style of furniture works? What about plants, motifs, pictures and wall hangings?

The theme you adopt and the way that you choose to portray specific elements of that theme is entirely up to you and your imagination, the end result will be your own unique interpretation of a culture or a place and you will have added a touch of the exotic to your home.

David McEvoy is an expert in interior design. If you are looking for a leather sofa to give the finishing touches to a newly decorated room then please come and visit our site http://www.leathersofa.uk.com/

It's the beginning of a new month and that means it's time for Router Bit of the Month!!  For the entire month of April, 2008 Woodcraft is featuring Whiteside's 1/4" radius Cove and Bead Edge Profiling bit. 

This little decorative edge profiling bit is like getting two bits in one.  The combination of a 1/4" radius cove profile and a 1/4" radius bead give plain old square and chunky edges a beautiful decorative look that's very pleasing to the eye.

The great thing about Whiteside's cove and bead bit is that when you use it in your router table it's like getting four profiles for the price of one.  By running your stock flat against the router table you get an edge with the bead leading the profile, but by standing the stock on edge and running it up against the router table fence you get an decorative edge with the cove leading the profile.

Or, if you're just looking to use the cove or the bead profiles by themselves it's once again a matter of adjusting the height of the bit and moving the fence back and forth.  In a matter of minutes you're making separate profiles from this one combo bit.

If you're interested in ordering this month's Router Bit of the Month from Woodcraft.com just click on the picture:

Congrats to Frank Bylo, this month's winner of a Whiteside router bit!!  If you haven't entered your name for free schwag or just have a comment, question or feedback, drop me a line at mattsbasementworkshop@gmail.com.

If you're in the upstate New York area this weekend April 5 & 6 checkout the Northeastern Woodworker's Association's Showcase.  Filled with great seminars and demonstrations, check it out at www.nwawoodworkingshow.org.

For anyone interested, coming up on April 11 & 12, 2008 there's a great little tool demo and woodworking school openhouse going on at J. Miller Handcrafted Furniture in Chicago. The details can be found at Lie-Nielsen.  There will be some great demos by a number of well known woodworkers and I'm planning on checking it out myself.

Don't forget to get your questions in for Hendrik's next visit in April, we're talking lumber defects and how to work around them. 

Listen to today's show by clicking on the player below

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It’s no secret around the office and among my family members that I have an affinity for old tools.  It could be old hand tools or “old iron” power tools.  I have a couple of antique scroll saws and a very old three-wheel Craftsman band saw in my shop.  I guess I inherited this habit from my dad.  He’s always bringing home a “bargain” from the latest garage sale or auction.

Last week, he called me and told me he just “acquired” an old Craftsman planer (model 103.1801 made by King-Seeley).  He wanted me to research it and find out what I could about it.  Naturally, the first place I look for old manuals and history of old tools is www.owwm.com.  They’ve become the online library for photos, tool manuals, and company history for old tools.  You can submit photos of your old tools and scanned manuals and parts lists for the rest of the world to share.

As I was trying to research the history of dad’s planer and find a manual for it, I discovered that the OWWM web site was down “due to technical difficulty.”  I was heartbroken and afraid that something terrible had happened.  I thought perhaps all the data that had been accumulated over the years would be lost.  So I emailed the webmaster to get the scoop.  Here was his reply as of 10:00pm CST on Thursday, the 13th of March 2008:

We had some issue with our former host and changes that they made to their server that “broke” the code that runs our site. To resolve this problem, we decided that the best course of action was to invest in a new server, which we will own and control. This has turned into a longer process than we first anticipated. We first had to raise around $2,500 for the hardware and software to run our site. We fortunately were able to get the majority of this donated through our many members. Next, we had to order a server, which took several weeks to get built and delivered. The new server arrived at our new host late last Friday and they have been working hard this week getting it set up to run. We are very close to launching the new site - maybe by the end of this week but in reality, probably the first of next week. No data was lost, it is just taking us longer than we like to get everything up and running on the new server.

Keith Rucker
Tifton, GA 

Hopefully, they’ll be back up and running soon. 

Do you want to know how OWWM got started?  Well, you’ll have to wait until the web site is back up and running, but when it is, visit this page for a complete history of what got Keith started down this road.  It’s an interesting read.

Oh…by the way, Keith puts a lot of time and effort (and dollars) into this web site.  If you use and enjoy the content of www.owwm.com, why don’t you donate a few bucks to help him out? You’ll find donation links on the web site.

You can now download an enhanced pdf of the March 2008 issue of Woodworking Magazine (Issue 9) for $6.

Our instant digital downloads are compatible with any computer running Adobe Reader 7.0, a free program available from Adobe that runs on Macintosh, PC and other systems. The downloads are delivered to you on a secure and fast server (a high-speed Internet connection is highly recommended). Plus, if for some technical reason your download is interrupted (power outage due to nefarious squirrel activity etc.), it’s quite simple to get back on and download the issue again.

Issue 9 focuses on the act of handsawing, and it explores the three backsaws you need for hand-cut joints – the dovetail saw, carcase saw and tenon saw. Plus we explain the nearly-lost English system of cutting joints by hand.

We also delve into cutting circles with a simple (and very cool) jig, plus how to properly use glaze when finishing. All these skills will help you build the Stickley Tabouret featured on the cover.

On an administrative note, we’re still working on how to deliver subscriptions digitally to subscribers and have narrowed it to a couple options. More news on that to come this summer. Until then, these enhanced pdfs will (we hope) keep you informed and inspired.

For more details on the digital downloading process and to place an order, click here. You can view all our digital downloadable products here.

— Christopher Schwarz

Hi Folks
Finished another little video - this one is making a raised panel with one of my planes.
Here's the vid.....



Also, in shock "not plane related" news, I've been re-finishing a guitar of mine. It is a Fender Telecaster that I've had for years - it has a horrible butterscotch finish that was one part plastic, one part toffee. You could just about make out there was wood under the finish - but only just. One day I chipped the varnish off the corner and it revealed some delightful grain figuring. So I continued to pick away at the varnish until it was bare - and it was beautiful!
So I have now sanded the finish completely off and replaced it with an oil finish. The figure is spectacular! I have just got to re-assemble the guitar and I'll take some more photo's.
Cheers
Philly

The club, which was started a year and a half ago, has grown to over 20 members. 8 to 10 usually show up for our monthly meetings, where we do as many hands-on projects as possible.

Most of these women are brand new to woodworking?some are retired, with grown children?and all are enthusiastic to learn. The enthusiasm can be gauged in the sheer volume of exhuberant chatter that goes on during our meetings.

Regarding woodworking (and probably most things), all that women seem to need is a little encouragement & patience, and they will dive right in. Tonight, we worked on part 2 of our current project?cutting boards?in the Woodcraft Store shop where we meet. During the course of the 3-part project, they are learning how to use the jointer, planer, and miter saw. Next time, we'll have a router workshop, when we'll round over all the cutting boards and test drive different types of routers and bits.

We decide at each meeting, as a group, what the next topic will be. There are no dues, no officers, no business to attend to. We sit at a table, facing one another. All of the women have ownership. It's very different from what I call the "boys' club"?the other woodworking club to which I belong. Up until last year, I was the only female member.

In the boys' club, the guys seem to prefer hierarchy and structured meetings. We have officers, dues, and an annual business meeting. There are too many guys in that club (and too small a space) to do much hands-on stuff, so we mainly have a demo or lecture. Members sit in rows of chairs and face the presenter. The volume of these meetings is also different. Pretty quiet, except for the speaker, and the occasional wisecrack. The guys chat with one another prior to and after the meeting, but not so much during.

The other very important difference in the two clubs: the women's club usually has snacks. This past year in the boys' club, when the Christmas party was discussed, the guys opted to not have one. Conversely, the women all but leapt out of their seats with a resounding "YES!" when I asked if we wanted to have a club Christmas dinner.

And you wouldn't believe what they brought. Crab cakes, homemade lasagna, homemade meatballs (made by one woman's husband, which cracked us up), salads, and desserts like you'd find at Wegman's.

It's great fun to be an observer in both clubs. Despite their differences, there is one common thread between the two clubs: they both consist of people who want to create something?something useful, something artistic, something challenging. Something that will leave a lasting mark.

I’ve been thinking about nomenclature. I’ve been thinking about what I call the area where I do my woodworking thing (or at least where all of the tools and equipment live when I am busy surfing the internet or playing Wii Fit and complaining about having no time to do any woodworking.)

Some people call those tool filled places their “SHOP.� However, that seems a little too generic for me because I have more than one shop in my life. All of the car stuff happens in my garage, but it is more of a combination garage/bicycle shop. I’ve said before that somewhere in between my Park Double Arm repair stand and Park TS-3 Master Truing Stand are enough tools to make 90% of the bicycle shops in North America jealous. Do you need to re-tap a bottom bracket? All decent shops can do either English or Italian Threads. However, for some reason I also have a tap for French Threaded bottom brackets, even though I neither work on bikes professionally nor have any French Bicycles. (I never know why I buy every tool I see, whether I’ll ever need it or not).

The non-bicycle part of the garage is pretty well set up for anything I need to do with cars. In the last ten years I have done engine swaps, clutch replacements, Air Locker installations, countless tune-ups, 30 or so brake jobs, 100 oil changes, water pump and radiator replacements, Axle replacements, ring and pinion set-ups, and on and on and on.

Before my wife and I moved to this house, most of the automotive stuff was done at my father-in-law’s shop. Long before I met him he ran a 2000 sq ft body shop behind his house, but he retired and closed his body shop before I ever came on the scene. So in the early days of my marriage, I would commandeer his shop for various automotive projects.

So now to differentiate between his shop, my bike shop, my garage shop, and the area of my plantation where I do welding and metal work, I always refer to my basement area as my WOOD SHOP. I say to Gail, “I’ll be downstairs in the Wood Shop. If the lazy dog should wake up, feel free to convince him to come keep me company.�

I am very happy with the Wood Shop in my basement. However, I will inevitably have to rename that space. Eventually my work will be good enough for me to call my wood shop a “Studio.� It’s a subtle little thing, but it is the key to being a wood artist. Adirondack Chairs are made in Wood Shops by woodworkers. Commissioned furniture projects are done in studios by two types of guys. To the uninitiated, woodshops and studios look a heck of a lot alike. They have identical equipment and tools. The difference between woodshops and studios is the guy doing the work and the deposit slips for his bank account. Today I came up with the official list of criteria required for a woodshop to be called a studio, and here it is:

1) If the woodworker went to art school then it is acceptable to call it a studio. Art School guys are different. A couple of years ago I was a Mechanical Engineer who worked with a bunch of Industrial Designers designing Office Furniture. It was my job to make sure the roll-formed steel and the drawer slides could support the required loads. It was the responsibility of the Industrial Designers to make sure the theme of the company was represented with a passionate design that made one think, “If I have to spend 10 hours a day in a cubicle, this is the work space I want.� Those left handed, beret-wearing guys were studio types.

2) If you are a woodworker who has ever made $1000 profit on a piece then you can call your woodshop a studio. The keyword here is profit. It’s more than selling cherry cabinets for $2000 when you have more than half of that total tied up in materials, overhead, labor, and burden. Woodshops produce items that either generate no income or can sometimes sell for as much as one half of the price of the lumber they use. However, studios are the setting where profitable wooden art projects are created.

Someday my basement woodshop will become my Studio. I am not able to go to art school, so criterion 1 will not happen. However, I have a plan for creating a 4 digit profit on a piece of furniture or a similar woodworking project. I’ll share that plan with you now.

Someday I am going to resaw a walnut plank and find that the bookmatched inner faces form a distinctive picture of Jesus. Then, I will put the resawn slabs on eBay, and send out a press release. Within 24 hours of FoxNews and Headline News doing bits on Jesus in the Walnut, my auction will have bids over $5000. And when the auction ends and the buyer’s PayPal clears, my basement woodshop with the resawing 18� bandsaw will forever be referred to as “My Studio.�

And I’ll get to show pictures to people and say things like, “here is a picture of my Studio. The Unisaw is in the middle, and on the left is my hand crafted maple workbench. If you look closely in the corner you can see my bandsaw where I created my most famous pieces, Jesus in the Walnut, as I was resawing stock one day…�

Tommy and Al visit the show that Tommy won last year. There, John Landis of John Landis Cabinet Works shows them a beautiful, handmade table that seats up to 14. David Bazis of Bazis Studios shows off his furnishings, which incorporate his wife's glassmaking. Paul of Cathedral Woodworking describes how he works with a customer to design a custom piece. And Tommy talks with Karla Little, the founder of the Fine Furnishings Shows, about the exhibit's 12-year-history and expansion into other types of work.

When we started Woodworking Magazine, one of the things we definitely wanted to include as part of the fabric of the publication were quotations about the craft that made us laugh or think.

And when we launched our first issue in March 2004, there was no doubt or discussion about what quote would be emblazoned at the top of the first page:

Brown, who died June 1, is in my estimation the most influential writer on handwork of this generation. His columns in Britain’s Good Woodworking magazine inspired thousands of woodworkers to attempt or even completely embrace handwork.

His columns were short epistles on topics philosophical, mundane or both. He might offer a recipe for bacon in one column, offer plans for a workbench in another and in a third comment on the sad state of woodworking where we have traded skill for speed.

Brown was at times crotchety in tone, other times apologetic (to turners in particular); but he was always the spokesman for anyone who wanted to take hammer in hand and try to build something – either fantastic or mundane – using hand tools.

Brown himself was a boatbuilder who was made obsolete by fiberglass watercraft. After spotting a primitive Welsh chair in a shop in Lampeter, as Brown put it: “It was like a vision. I had never seen anything that had made so instant an impression on me.�

And so he built a Welsh stick chair like the one from his vision. He began selling them. He began writing about them. “Welsh Stick Chairs� was published in 1990. It’s a short volume, but is one of my prize possessions. In it, Brown gives a concise history of the Celts and their furniture. Then a short history of his love for the craft. The remainder of the book is photos of Brown in action, building what he calls a “cardigan chair.�

I first encountered his column in Good Woodworking in the mid-1990s. Brown had begun writing for the magazine during issue 13, I believe, which was the November 1993 issue. It was called “The John Brown Column,� and discussed mostly chairmaking, but with all hand tools. His run of columns there ended 32 issues later with a condemnation of power machinery in June 1996.

After a year of respite, Brown returned to the pages of Good Woodworking in issue 58 and continued for a couple more years. The last column I have of his is from December 1998. He continued as a chairmaker for awhile but during the last decade, Brown turned his attention to studying art.

"The John Brown Column" – sometimes titled "The Anarchist Woodworker" – was so inspiring to me, it’s difficult to quantify. I think it’s best said that if I had to have only one hero in woodworking, it would be Chairman Brown.

Not only did his writing encourage my hand-work skills, he also inspired me as a chairmaker to the point where I even ventured into the Canadian wilderness to take a class in Welsh chairmaking from David Fleming, a Cobden, Ontario, chairmaker who is Welsh.

All this detail above might make me sounds a bit like a stalker, but I never met John Brown. It was one of my primary goals for the coming years, which I can now bitterly cross off my to-do list. My plan was to ask if we could reprint his columns in book form so they could receive the wide audience they deserve. That project might be in limbo now, but perhaps his heirs will be willing.

If you can get a copy of “Welsh Stick Chairs,� you certainly will get the flavor of his writing and wit. And if I have any luck, perhaps you’ll also get to read his columns and then understand the loss the world of handwork has suffered this week.

— Christopher Schwarz

Tommy gets a second wind now that he can see noticeable progress on the Bombe. He draws and cuts the dividers for the pigeonhole assembly and inserts them from the back. Using scrap wood from previous cuttings because it has the same colors, tones and textures, he designs a pattern for the valances. Now the top row is almost complete, and Tommy is "feeling energized again."

The April 2008 Newsletter has been Posted. Go to Club Menu and click on Newsletter.

Tommy and Al provide a sneak peek at the progress of the Bombe Secretary --memorializing the moment with a little song and dance. Enjoy!

To be honest, I really believed that our latest cool feature – Project Card Widgets – would get wider adoption. This is one of a kind feature of the LumberJocks that you simply cannot find on other woodworking sites or forums. It’s possible here because the projects are the core of this site and community.

To stress the power of these widgets again, let me present it on the top projects from the latest Awards edition:

————————————————————————————-

Not Just Any Box Category

————————————————————————————-

The Multi-Purposed 2×4 Category

... not just textual links – instant rich graphical project cards linked to the actual projects and generated automatically for you.

Are you mentioning one of your earlier projects in your new post? Link it with the project card widget…
Maybe you want to present one of the LJ projects on some high-trafficked ww forums. Embed the project card to your post there and you get image as well as link…
Want to proudly present your project on your own website, blog? Easy as copy & paste…

And sure it’s great for the LumberJocks website too since it spreads the word virally ;) Best of both worlds.

That’s the end of my ramblings for now.

In some parts of the world winter time has finished, while in other parts, autumn is starting… Wherever you live, is a good moment to show you this lovely puppet that is wearing cozy and warm clothes.

I improvised the pattern, so I´ll try to remember it for you.

1 - Cast on 14 loops. Make 7 rows of elastic stitch.

2 - Row 8: Knit 2, separate 4 loops in an extra needle, Knit 3, separate 4 loops in an extra needle, Knit 2. Increase 6 stitches (4 next to the loops you separate, 1 at the beggining, 1 at the end).
3 - Row 9: Purl (leaving the 8 loops you separate without purl, in their extra needles).

4 - Row 10: Knit

5 - Row 11: Purl

6 - Row 12: Knit

7 - Row 13: Purl

8 - Separated loops: they are going to be the arms. Make a knot with the yarn in the first loop of one arm (4 loops). Knit the row increasing 2 stitches (you get 6 stitches). Alternate Purl and Knit each row. I made 5 rows. Do the same with the other arm. After that sew the back part of the body and the arms.

9 - Head: Cust on 8 loops and alternate knit and purl along 9 rows. Increase until the 5th row until you have 18 loops, then decrease until you have 6 or 8. You´ll get a rounded shape. After finishing the head, sew it and fullfil it with cotton or a similar material. Then sew the head to the body.

10 - I Knitted the scarf, custing on just 3 loops and making Jersey. (Knit one row, Purl one row). I made the hat with sc (single crochet), crochetting circular. You can variate and put hair made of yarn).

11 - Make the hands: use crochet to make the little balls, there isn´t a technique, I made sc until I had a round little hand.

12 - I made tho little eyes with the sewing needle: look at those beautiful green eyes! But he is mouthless…

I think he is lovely! It was a moment of inspiration, I hope to have those moments more often!

FrAn

Well-crafted, durable wood shutters - whether interior or exterior - represent an investment in your home you will never regret. Apart from contributing to the elegance, grace and atmosphere of your dwelling, wood shutters will prove their worth in many practical ways over time - not the least in protecting your home from the harsh extremes of sun and storm!

Exterior wood shutters are available in a number of basic designs. These range from the raised panel that is particularly popular in coastal areas, to the familiar fixed louver. Alternatively opt for "country style" board and batten, or an exotic, but practical bermuda wood shutter installation.

What should you take into consideration when deciding which wood shutter set to order?

To start with you will need to decide what look you are trying to achieve, and this will depend largely on the style of your home. Wood shutters can be designed to complement just about any residence, but cost will of course play a much bigger role in highly customized, and fully functional wooden shutters.

Before making this major home improvement decision, look at your general interior design, patio design, and patio furniture. Your window shutters should blend into, and enhance these aspects.

You will also want to ensure that the right wood is used for a durable, and warp-resisting wood shutter. Although many woods are used in the construction of wood shutters, the woods of choice are Western Red Cedar, or Mahogany. Vertical-grained wood is also more resistant to warping.

If wood-work isn't your cup of tea, take a carpenter-friend along to check the quality of construction, especially the joints. Mortise-and-tenon joints are much more durable than screwed, or butt-glued joints. While you're at it, also ensure that you get wood shutters with copper or aluminum capping for more protection from the elements.

Interior wood shutters can be considered part of the furniture, and if the right design is chosen, they contribute greatly to the atmosphere, elegance and warmth of a room.

Even though interior wood shutters are not directly exposed to the same range and intensity of the elements as exterior shutters, they will still need to properly deal with temperature changes and design stresses. To avoid warping and other alignment problems, wooden shutters constructed of 100% hardwood, such as American Yellow Poplar and Elm, are well suited to the role.

Of course, interior wood shutters are also more than mere decorations! They are excellent insulators to keep temperatures at a comfortable level.

Don't go for the first fit-all-sizes window shutters you come across. By doing some research, and getting lasting, stylish and functional wood shutters, you will greatly increase the value of your home!

Awnings-and-Blinds.com - Read the Plantation Shutter article at Awnings-and-Blinds.com - also by Rika Susan of Article-Alert.com.

Copyright 2006 Rika Susan. This article may be reprinted if the resource box and hyperlinks are left intact.

Cen-Tech Digital Angle Gauge
From Harbor Freight. Regular price $29.99, at the time of this writing it is on sale for $24.95!

I know, Wixey has the name for these little digital angle gauges. But the HF version works just fine.

It ships with the angle finder and an instruction sheet (I hesitate to call it a pamphlet) in a small white paper box.

It's pretty straightforward to use. Set it on your horizontal surface and turn it on. Give it a few seconds to settle on an angle then push the "Calibrate" button. The trick here is not to move the device while pushing the button. If you move it too much it will either be inaccurate or you'll get an "Err" on the display. Once you've calibrated it and it reads zero, put it on your blade or fence (my Rockwell 4" Jointer is in the photo). Give it a few seconds to settle then adjust your device a bit at a time. You have to let it catch up to your adjustments, so adjust slowly. Once you think you are set, wait a few more seconds to let the reading settle down. You may have to make another tiny adjustment at this point to nail your desired angle.

Once you're done, or you've got an "Err" on the display, press and hold the "On/Off" button for 5 seconds to turn the device off.

Not having owned a Wixey or other Digital Angle Gauge, I can't do a direct comparison. But the HF one is very accurate. It is sensitive to being picked up or moved too suddenly while it is turned on, resulting in the "Err" display, but rebooting the device takes care of the error.

It was definitely worth the $$.

Craftsman 3/8 Inch Portable Drill Press

MODEL: 315.11970
SERIAL: P0033

I picked this up on eBay for pretty cheap. Judging by the logo (used from the early 60's to the early 70's) and its plastic housing, I'm guessing it was manufactured in the early 70's.

It has an iron base, a thinwall steel tube clamped to the base with a set bolt, and a motor that rides on the tube with another set bolt with a hand knob so the motor can be raised or lowered on the tube.

It arrived in good condition, there doesn't appear to be any abuse to the tool. But the thing is unstable as hell.

I did some tests with the following bits:

• 1/8" brad point drill bit
• 3/4" spade bit
• 1/4" twist bit

All tests done with a scrap of pine 2x4.

The screw holding the base to the vertical tube was tightened as tight as possible without risking snapping the bolt. The motor housing was lined up to match the base, and the hand knob cranked as tightly as I could. Everything I could tighten from outside the housing was tightened.

I set the speed to "L", put the brad point bit in, and turned it on.

ARRRGGHHH!!!

It sounded like a cheap model airplane! It seems Craftsman put their bottom-of-the-line hand drill inside this housing. At least, that's what it sounds like. Loud and horrible.

I used the handle to lower the bit to the wood. The bit started to take a bite then it jumped 1/4" toward me from where it started. It seems not only is the shaft bearing worn (or just sloppy) but the whole mechanism is loose inside the housing. Not much. A smidge. But enough to allow it to move the bit on the workpiece.

Being this was a brad point bit, I didn't expect any improvements using the spade bit or the twist bit.

I wasn't disappointed.

I am willing to accept the fact that it's a weak hand drill motor powering this thing. For its size and weight that's probably a necessary trade off. But the instability of the chuck is too much to deal with. So off the bench it went, onto a shelf. I'm not going to plug it in again until I have a chance to completely disassemble it and see if I can find the slop.

Of course I'll post what I find. Did you think otherwise?

Tommy's next step on the Bombe Secretary project is creating the profile on the front edge of the writing surface doubler. He has already cut the Bombe Secretary writing surface doubler out on the bandsaw, run a flush cut router bit, and lastly cleaned it up with hand tools. In this podcast we see Tommy complete the shaping of the doubler's front profile.

Beautiful Mesquite Cabinets require the hand of a craftsman and Mesquite HardWood from ADM.



Photo Courtesy of Warsaw Woodworks

Fine Mesquite Cabinets installed By Craftsmen Like Joe Mozdziock of Warsaw Woodworks of Chino Valley Arizona really make an impression. This Kitchen Center Island was installed by Joe in the Prescott area. The Kitchen can become a place of warmth and beauty , and premium lumber from Arizona Desert Mesquite is the place to start. Here's a shot of some cabinets in the kitchen.

 

Contact :

Warsaw Woodworks
Joe Mozdziock
P.O Box # 2625
Chino Valley AZ  86323
(928) 636-0197

joemoz@netzero.net

Editor's note: Because it's "Workbench Week Internazionale" I decided to tie up a loose end from my book: "Workbenches: from Blah, blah blah to Yadda yadda yadda." On page 57 I discuss Thomas Stangeland's bench and point out how the best woodworking I've seen has been built on the most minimal of workbenches.

Helpful reader Tom Moore visited Stangeland's shop recently and snapped the above photo of the bench. Below is the story that goes with that workbench.


In 2006 I taught a class in handwork at a school where Thomas Stangeland, a maestro at Greene & Greene-inspired work, was also teaching a class. Though we both strive for the same result in craftsmanship, the process we each use couldn’t be more different. He builds furniture for a living, and he enjoys it. I build furniture because I enjoy it, and I sell an occasional piece.

One evening we each gave a presentation to the students about our work. One of the pieces I showed was an image of my French workbench. I discussed its unusual workholding devices and how the bench was a bit of a Thor Heyerdahl experience.

Thomas then got up and said he wished he had a picture to show of his workbench for the last decade: a door on a couple horses. He said that a commercial shop had no time to waste on building a traditional bench. And with his power-tool approach, he just needed a flat surface and some clamps to work.

It’s hard to argue with the end result. His furniture is beautiful.

But what’s important to note here is that you can get by with the door-off-the-floor approach, but there are many commercial woodworkers who still see the utility of a traditional workbench. Chairmaker and furnituremaker Brian Boggs uses more newfangled routers and shop-made devices with aluminum extrusions than I have ever seen in a shop. And he still has two enormous traditional workbenches that see constant use.

The point here is that a good bench won’t make you a better woodworker. And a not-quite-a-bench won’t doom you to failure. But a good bench in any shop will make many power-tool operations easier and open the door to permit you to try many hand-tool operations. The bench is simply another tool. It’s the biggest wooden clamp in the shop.

As Thomas was wrapping up his part of the show he showed an interesting slide of an enormous and thick slab of an exotic wood he had been stashing for years and years in his shop.

“I just need to find the right project for it,� he said.

“Hey Thomas,� I heckled, “that slab sure would make a great benchtop.�

He laughed. Next slide, please.

— Christopher Schwarz

Tommy is upset because the hinges have arrived but they have company markings on them, rendering them useless. So, Tommy goes to work on the doors. First, he shows where he got the inspiration and the pattern. Then, after cutting the pattern, he sands the edges so they are smooth and traces the lines.

Before Tommy can get started cutting and shaping the pigeonhole assembly he needs to select the style and get a 1:1 scale plan together. Tommy walks us through his thought process on selecting the style and how he preps to cut.

First off - let me apologize for not posting anything for a few weeks. I have been pretty busy in the shop - working on some very cool planes and some “other work�. I will be posting about it in the next few weeks.

I have recently completed a set of 4 rebate planes - 1/2", 3/4", 1" and 1-1/4" widths. The sides and sole are 01 tool steel and the infill is Brazilian Rosewood. It has been a while since I have made a set of these - and I have to say it was a lot of fun.




They are a matching set in that all the Brazilian Rosewood came from the same piece - but I tried to maximize some of the figure by using it where it will be most visible. The 1-1/4" rebate is a good example with that wonderful swirl at the front.







Most of the wedges have either some burl or curl in them.

Well, it has been a while since the last update, but I have a good excuse. I've been doing actual woodworking.

This week I attended 2008's opening week of classes at Marc Adams School of Woodworking. My instructor was Chris Gochnour, the owner of the most often mis-pronounced name in woodworking. Honestly, there are more folks who know how to pronounce Tage Frid than Gochnour. Phonetically speaking, that "h" in Chris' last name is actually a "k." It's pronounced GOCK-nour....not GOTCH-nour. It probably shouldn't be that surprising, because the "CH" in his first name follows the same rule. It's pronounced KA-RIS...not CHA-RIS.

Rest assured, though, that I learned a lot more than just how to pronounce Chris' name. In this class, we built a Shaker wall clock using only hand tools. Chris provided a detailed cut list in the weeks leading up to the class, and the students brought their prepared stock. I used my jointer, planer, power miter saw, bandsaw, and tablesaw to prepare that lumber at home. However, after I arrived at MASW, the only electrical energy I used was the overhead lighting.

Using hand tools exclusively opens one's eyes to possibilities that are normally not embraced in a power tool shop. For example, trimming 1/8th of an inch off the end of a 7 inch wide panel is a no brainer with a miter saw or a crosscut sled on a tablesaw. However, working only with hand tools I decided to not use the miter plane and a shooting board and, instead, went for a full size crosscut saw. Using a panel saw to trim off an eighth of an inch is not really as difficult as it might seem, but few woodworkers are ever placed in the situation of needing to attempt it.

Likewise, the decorative molding around the doors of the clock looks like it was run across the router table, but it was actually a hand held molding plane. Honestly, those narrow wooden things that Roy Underhill is always messin' with....they actually work to cut profiles. Who knew?

At the end of the week, when I looked at the nearly finished clock, it was interesting to consider the many steps that could be completed with greater speed in a power tool shop. Routered molding would have been much faster. A hollow chisel mortiser would have made quicker work of the joinery. The bit and brace was not as fast as a drill press. Yet, the thing I come back to is the realization that the exclusive use of hand tools was not so slow as to make this project impossible to complete in 5 days. (Chris says he has taught this class near his home in Utah over the course of only 3 days.) The beauty of the class is during the 5 days, I never once needed to put on any hearing protection. A molding plane is noticeably quieter than a router screaming at 20,000 rpm.

Take note that Chris Gochnour is a great instructor. His articles in Fine Woodworking should be sufficient to give one an idea of his abilities and his communication style. But those articles never communicated one of the delightful surprises of taking Chris' class at Marc Adams' School: with Chris Gochnour a student gets VALUE. The pace of the class was never hurried or frantic, yet it never dragged. Chris was able to provide individual instruction as students progressed at varied rates. The amazing thing is that Chris Gochnour worked harder than any student. We started promptly in the morning, and we would stop each evening a little after 6:00pm. Chris would then tell everyone, "after we grab some dinner, I'll be back here by 8 o'clock for two or three hours." At least two nights during the week, I decided to go back and get some additional work done after dinner. On Monday night, when I left at 10:00 pm, Chris was still there ready to help and instruct. On Wednesday, when I was the last student out the door at 11:00 pm, I later found out that Chris didn't leave until midnight.

I'll have more to say about this clock and Chris Gochnour in the near future.

Sorry for the delay since the last blog post. I hope the folks who follow this blog didn't worry that I was lost like Baby Jessica down a well...I've just been too busy sawing, chiseling, and planing to return to the electrical world of computers and broadband connections to update the blog.

I'm glad my laptop is quiet. (It is going to take a while to work my ears back to tolerating the noise of routers and planers.)

To Chris Gochnour and the staff at Marc Adams School of Woodworking: thanks for a great week. I know that the students in our class were thrilled with the knowledge and experience we gained. It was a wonderful week.