More holding stuff.

Another approach to holding stock for small hand operations, talked about here. The above photo shows the bench dog, extended, to hold the "shelf" board or raiser bar. The bar is held to the bench by the rare earth magnets, which supports the stock along its length while clamped by the left vise.

This photo shows the bar in place.

A second bar has been added.

The above photo shows a second bar, with countersunk holes for screwing the bar to the stock. Holding the stock this way allows a range of angles for shaping the work, unhampered by clamps or vises.


Rejection as affirmation

"Shame about the comments."
Not really. I remember talking to a religious prosyletizer--soapbox-preacher type--at the University of Maryland a number of years ago. He was being heckled relentlessly by a few students and I wanted to know if he minded. He said, "Oh no. The hecklers are where all the converts come from." His notion was that the hecklers were engaged and passionate; the people who listened silently, shrugged, and wandered away were the ones he wasn't getting through to.
I'm not saying any of the comments here amount to heckling, nor am I saying that Simon's art is something anyone needs to be--or could be--"converted" to. All I'm saying is that rejecting art is a valid way of engaging with it, as far as I'm concerned.

This is from TOP, by Mike Johnson; a comment in the comments section. The idea of any publicity or comment is good, is sort of a cliche of Hollywood, though I had never thought of negative comments about art in this way; as an actual engagement with the art.

An interesting comment, thought provoking for me. Requires more thought.



Shellac is an ancient , natural material; one for which I have found no substitute.  Here, the Wickipedia article, mostly accurate.

I use the white, pigmented shellac, as a base for coloring gessoed frames (an explanation of the process) prior to leafing. I mix my own using dry pigments, usually earth colors, such as Indian Red, Burnt Sienna, Yellow Ochre. Ivory Black (Bone Black) No recipes, as the color will vary with the job at hand. The various colors become an undercoat, tinting the leaf somewhat, and something to be rubbed through to for an "antique" effect. The clear and amber shades are used to seal the undercoat, and as a sealant and colorant for the leaf.

I use a "flatting" powder to soften the gloss, especially when sealing matte karet gold. It enhances the matte effect. Whiting may also be used to flatten the sealant, though it requires some care in the application. I use spray guns for gesso and shellac, except for the colored coats. Brushing gets all the recessive areas, then I spray a seal coat. When brush applying shellac, the addition of a small amount of high quality turpentine will slow the drying.

Depending on the finish for the frame, I will use , clear, blonde, amber, or button lac, or any of these with dyes added to alter the final finish. The clear and amber are available ready to apply, the others require soaking the flakes. I mostly use the Zinsser, as soaking and filtering, etc. is more expensive, and time consuming.

My choice of spray guns is the small touch up type spray gun.  This is an HVLP gun, with very little overspray, made by Binks, with a 8 oz. container. Small, easy to maneuver in and around a frame, and as opposed to the gravity type gun, with the paint container above the gun, comfortable to use. Double action, meaning more spray the more the lever is pressed, I generally set mine to a round pattern rather than a fan pattern. Fortunately, I own two of these, as Binks doesn't seem to make them any more. Very versatile gun, as I use them for thin sealants and very viscous gesso. All of my air tools are fitted with quick release connectors.

Real wood working.

Not my usual, namby-pamby wood working. Real, manly sort of wood working, with noisy chain saws and splitting mauls and wedges. The Workmate is holding a "jig" for cutting logs to size for my fireplace. The tree is an old, dead maple from our yard.

The tree service taking down the dead maple. The gentleman sitting at the curb is putting on his spiked linesmans boots, to climb and top out a tree across the street.

Going up the tree.


Scratch Stock

 Using the scratch stock, as mentioned here.

Mine is from Lee Valley Tools. They come with some preground cutters, but the idea is to make your own. Using small grinders, files, etc., it's possible to make almost any small molding element required. The "scraping" part is hard, as it's mostly "grunt" labor, though compared to the time spent setting up, jigging, fencing, etc. not much beyond the use of power tools. Power tools are great, but sometimes, doing it by hand is just quicker and easier.

The stock, some cutters, and a stick of molding.

Here, I talk about holding the stick of molding, the other key element in woodworking. The stick above still needs the waste around the beads removed, then a small cove molded at the front, rabbetted, all which will be done with the shaper with power feeder.


Enlarging rabbets

Enlarging a rabbet by hand, no "electric Beaver".  I clamped a straight edge, and scored the line where I wanted to remove the waste. Then using a paring type chisel I removed the waste almost to the bottom. As I got close, I removed the straight edge, cutting freehand. About an eighth inch from the bottom, I use a rabbet or bullnose plane to clean up and finish.


Albert Milch Frame 2

An image of the Albert Milch frame, in process. The red areas are where ornaments have been replaced and bole has been applied before laying gold leaf, in the water gilt process. The bench is 13 inches wide. Big frame.


Trashed Redux

Another shot from the bog, west of South Bend.

The attraction for "dumpers" is that this area is off a twisting gravel road, hidden from view, by the curves of the road and surrounding woods. Some development is happening in the area; hopefully the bog will survive.



Looking Down.

Looking Out.

These images are from the same area, at different times, and with much different intent, and focus. I've never quite understood, how some of the most beautiful spots are so routinely trashed. This is a bog, west of South Bend.