Yadda, yadda, yadda.

A strange discovery; this house is on a "courtyard", basically an alley. Hidden. The house seems to be all block, including the decorative columns and pilasters of the porch.

Yadda .... James Cagney .... google ....

Real basswood flowers.

A few posts back there was a post about basswood flowers.  Ooops, wrong tree. This is not a flowering basswood. It's a catalpa. Below are some real basswood trees and soon to be flowers. What fooled me was the large size of the leaves, which the bottom photo shows on the volunteers from a basswood tree. The leaves on the full size tree are smaller.

I deleted the previous post as I didn't have the time then to correct it, and we wouldn't want any misinformation on the interwebs.

The Bandsaw

 Probably the most versatile tool and in a shop full of dangerous tools, the safest, as long as you have enough sense to keep your fingers out of the line of cut. When a blade breaks, and they do, it's quite startling, though not particularly dangerous, as there is no driving force behind the blade.

My 14 inch Delta getting a blade change. The 14 inch Delta is the standard most bandsaws strive to meet.

I've modified my saw in two ways. First, the standard steel blocks in the blade guide mechanism have been replaced with a graphite and resin block, allowing tighter tolerances with out overheating the blade. Cool Blocks.

I never liked the standard fence, so I made one from some walnut and a bar clamp. This allows the fence some angle adjustability, as seldom will the blade or the stock allow a straight, parallel to the blade cut.

I sometimes add the bullnose for even more control of the angle of cut. When ripping a long board, the angle will change several times over the course of the cut. I mainly use the fence when cutting multiple pieces to the same width. Using the fences, you have to watch both the cut and if the stock is running against the fence. If I'm just cutting one or two, I'll strike a chalkline, and just keep the blade in the line, sometimes using my left thumb as a "fence". I used to, and still do cut mats and backings for oversize art by hand, eye, and line, so I have some practice in hand cutting.

Here, cutting circles with a jig. For ovals, I cut them by hand, as well as any curves. 

A versatile, comfortable tool to use. Table saws, planers, jointers and shapers all can do some serious damage, including flinging wood at explosive speeds. I won't even mention radial arm saws.

Tools, again.

Various tool drawers and holders. Bottom, foreground is a drawer of hand tools; pliers, nippers cutters, adjustable wrenches and a lot of different screw drivers. Bottom, background is the drawer for measuring and marking tools, including moisture meters, ohm meters, tape measures, squares and small rulers. I have both 4 inch and twelve inch Starrett adjustable squares. Expensive, but accurate. Above those 2 drawers is the drawer for the most used carving chisels. I am very minimalist about carving tools, owning and using only a few dozen. Some carvers own and use hundreds. Various brands, Sculpture House, Henry Taylor, Who Knows, and of late, my brand of choice, the Swiss made Pfeil tools, available in the states from Woodcraft Supply. Well designed tools, octagonal handles so they don't roll, and good steel that comes polished and sharpened and holds an edge. The drawer just above the carving tools has small saws, larger files and rasps, carving tools that seldom get used, and odds and ends, including a supply of ear plugs. Brand of choice: Mack's shooters ear plugs, with the highest rating of any of the small foam type plugs, 32 dcb. They also compress nicely allowing them to be inserted easily. Attached to the wall is a small rack for small files, rifflers and rasps. On top of the carving tool chest is a small group of hand planes that see the most use. In the cabinet below the two red drawers are power hand tools, sanders, grinders routers, etc. I occasionally use a router. Mine is a Porter Cable with interchangeable bases; standard and a plunge base. It also is set up to rout circles. See here.

Tools and gadgets.

The big frame wrapped and ready for transport. Glad it's done and out.

For a long time I've carried a small flashlight in one or the other pocket, though I dislike carrying a lot in my pockets. At the top are two incandescent Maglite Solitaires. The problem with them is they throw very little light, and are finicky. Difficult to keep working. With the advent of LED lights, about a year and a half ago I went to a Fenix EO5, the light in the middle. Very bright, and efficient use of batteries, but it has succumbed to blunt force trauma; dropped once too many times. Now Maglite is making the Solitaire in an LED version. Brighter than the Fenix, and has the Maglite focusing ability, though somewhat limited. It now hangs from a Nite Ize S-biner; a double gated carabiner that doesn't pinch and poke like single gated carabiners, hooked to a belt loop.

 Other tools that I carry. That chunky thing is a Swiss+Tech keyring tool, stainless steel, with very functional, though diminutive selection of tools. Then my Case Mini-Copperhead with a wharncliffe blade. The problem with the Swiss+Tech is it makes for a heavy keyring, so I'm upgrading by going heavier. 8-)

 A Leatherman Skeletool CX.

 The blade can be opened one-handed, and closed by depressing the blade lock (arrow), and carefully pushing the blade closed. In the million or so reviews and videos on line, depressing the blade lock is never mentioned. The next image shows the lock button (arrow) for the bits, which are interchangeable. A nice feature. The design of this tool has evolved since introduction, with the bit lock added and blade going from half serrated to full straight. Early models had a tendency to lose bits.

A minimalist multi-tool, and though I gain in weight 1.4 ounces, it's more comfortable as I can clip the Skeletool to my belt. Also, a tool that is easier to use than the knife and keyring tool combined.

These tools are not for heavy use; quick fixes when a single purpose tool isn't at hand. Generally I find single purpose tools more efficient and more capable, but sometimes they are far away, and this tool is attached to me.

The Case knife won't be retired; it will be my "dressed up" carry tool, and though this post is about EDC (every day carry) tools, I don't think I'm going to be blathering on about EDC more than this post. (I didn't realize there is a whole culture of EDC folks out there).

Reason for slow posting

93 1/2  x  69 1/2  x  3" frame in the center of my main workroom. Plastic film has been pinned up to keep overspray off of tools, etc. I'm using my table saw, sans blade, etc. as one bench, and my actual bench at the other end, both covered in drop cloths. The outer frame has been blocked up to separate the inner from it, and to keep it from sticking to the cloths. My exhaust fan has done a very good job of pulling the overspray out. Large frames are not only larger, but add  some very real logistical difficulties.

I also usually tell myself when doing a large frame, sometime in the process, that I'm not going to do it again. I, of course forget that when I'm presented with another challenge. 8-)

Click on the Lincoln frames label at the right to see some other large frames.

Dome and Statue

Another view , from the side of the Administration building, NDU. There is an alumni fund for the express purpose of gilding the dome and statue.

Yesterday, May 4th. was also the starting stage of the Giro d'Italia. 8-)

Star Wars Day

Let's see, May the fourth, ... May the forth be with you. Kent State Massacre, 1970, Four dead in Ohio. Oh, ... and there is a horse race in Kentucky. Lot's of other things happened on the fourth, but the four dead still reverberates for me, being an unreconstructed hippie, commie, pinko, longhaired, draft dodging, anarchist at heart. Actually, though, I didn't "dodge" the draft. Some time .....

And now, somewhat back on topic, a picture from a few weeks ago of the administration building, back side,  of The University of Notre Dame, gilt at the top.

Studio Scenes

A new little project. Scenes from my studio. Prosaic, mostly, with sometimes little weirdnesses. But, if you're interested, close observation is needed. I am also eschewing art and going for more informational... ??? 

Watch Toad ...... watches

Antique hardware, heavy duty, hand forged.

Coke Lady, Haddon Sundblom, Master, Master Illustrator of the 20th. century. 

She dominates, but, center left, there are some small oddities.

Well, ... this is just full of little oddments.

Foredom Flexible shaft tool.

My very ancient Flex shaft tool, hanging from it's custom rod and holder. Below it, the variable speed foot control, that has been rewired for longer reach. Image is from just to the side of where I would be standing when working at my bench. This set up allows ready access to the tool, while also being able to get it out of the way.

An image of the board that holds an array of bits, as well as colletts of various sizes. I have accumulated a large collection of bits, ranging from tiny dental burrs, to cut off wheels. I will use the tool sometimes when needing to clean up carving; but the major use is cleaning up, refining and fitting castings for restoration work. Also grinding off nails that have lost their way. Polishing up little bits of this or that. I also use it to quickly grind cutters for my scratch stock.

The handpiece, a duplex spring model that provides more flexibility. To the right is is the cost of that flexibility, the internal spring that drives the cutter. Easy to stress and break, which is why I have an extra. My machine, 1/8 hp, 14,000 rpm max ( I seldom wind it up that fast ), is 30-35 years old, used a lot, and still going strong. Foredom offers a complete line of parts, accessories, etc., even for the discontinued models like mine. Highly recommended, an industrial tool, rather than hobby or consumer tool.

When I acquired mine there were few other options; since then there is some competition, but for a working tool, sometimes running for hours at a time, I would recommend the Foredom.

Burrs, cutters, saws, grind stones, carbide cutters, HSS cutters; there a lot of sources. Dremel has become ubiquitous, and I use a lot of their tools. Dental supply houses are a good source for the tiny burrs I use for cleaning off sprue from castings.

My little corner, where I do a lot of my work, carving grinding ad infinitum. The Foredom tool with the variable speed foot controller.

More on Gesso. Addenda 4-13-13

Gesso tools, microwave, rubber bowl for mixing in the whiting, etc., jar of gesso, salt, a battered brush and a knife for mixing.

My colleague on the Picture Frame Labels blog, Framewright Richard Christie has a recent post about applying a size coat before gesso. Previously, here, I've talked about my approach to gesso, and though Richards method is traditional, I think my method works as well. My gesso is thin, or light on the ratio of whiting to glue mix, as I will spray the final coats. When I brush on what is essentially a size coat, I really work the gesso mix into the wood, scrubbing it in and when the brush starts to drag, I will add more liquid to keep it working, finally "licking" it all out. The idea is to have an even, thin coat. Because I work it, there is ample penetration; with the whiting in the mix I can see where the coating is heavy or light. There are, I believe some recipes that call for different glue to water ratios for the size coats and the actual gesso; I don't believe that is necessary.

Richards method adds a second size coat. My feeling is that coat will not penetrate or soak into the wood more than the first, as the wood has already taken up the moisture from the first coat, and dried. The second coat would need to liquify the previous coat to penetrate more. Just my feeling, though. 

Another variation; Richard fills imperfections first. I usually leave that step to after the gesso is applied and dry. Then I fill, where I can readily see the problems, using either a putty made from the gesso mix, (liquid gesso, with more whiting added to make a putty) or sometimes just commercial spackle. The imperfections are primed, and the materials are compatible, though I doubt wood filler used on the bare wood is a problem. Just a different approach. 

As to which method is best, or a more sound practice, is probably not easily answerable, with out a healthy addition of time. The advantages for me, of readily seeing the quality of the first coat; with the working and licking off, out weigh any advantages, perceived or otherwise, of the traditional approach, and what may be a slightly sounder method.

Addendum: I started spraying gesso after noticing the signs on some antique frames. I had the equipment, but I had never read about spraying gesso, but I went ahead. It does appear to be fairly common, though. Another method is what appears to be moldings that have been dipped in a tank of gesso. They have a very thick gesso, that covers the whole molding. It's pretty easy to work out a methodology for doing so, either as stick molding or even completed frames. Stick would probably be easier and more efficient, and I'm sure a similar method was used for the heavy antique frames using cast plaster ornamentation. 

Moisture meters, addenda 4-14-13

My moisture meter, a Mini-Ligno, from Lignomat. A fairly common, pin type meter, still available as above, and also with a digital readout. 

In the above two pictures, a reading from the face of a recently gessoed frame element, showing 14%. The bottom picture shows a reading from the side, ungessoed at 6%. The wood was at 6% when I started to mill it. I like to be at 6-8% at the start. A pin type meter does leave pin holes, but they are easily filled, and there are always parts of a frame where the holes do not matter. For my purposes, this meter is more than accurate enough. 

I think having the wood at a low level to begin reduces cracking at the miters. Patience helps, in waiting for the frames to properly dry after gesso is applied, because any cracking can be filled before the finish is applied.

Addenda: I've owned both pin and pinless meters, and there are pros and cons to both. Since I like to read the wood before I start milling, a pin meter works better. The roughness of the wood can lead to poor readings with the pinless meter. The large sensor pad also makes it very difficult to do the kind of reading I'm doing on the gessoed frame in the top photo just above. Pinless meters tend to be more expensive, and also require some skill in their use. But, they will allow for a quick reading of a whole board, to see if it's consistent. ( This can be done with a pin meter; it just takes longer, and leaves a lot of holes. ) They also penetrate more than the small pins on the Lignomat above, though larger pins can be substituted. The unit above comes with two sets of different length pins, though MC will be read from the highest MC. To get core lumber readings, long, insulated pins are needed. I'm not concerned about core readings, as the lumber I'm using has been stored in a sheltered space, and is probably pretty consistent through out after it has had some time to acclimate. 

Or, one could take the Steinway piano approach. They store lumber in an open yard for quite some time, before being brought inside to acclimate again. The idea is that by the time the lumber is brought in, it will have done all the warping, woofing ( see here ) cupping, checking, shrinking, splitting, and what's left will be good, well behaved lumber. We don't need no stinkin moisture meter!

The War is Over. The American Civil War.

The McLean house, Appomattox Court House, Virginia. Here, April 9th., 1865 General Robert E. Lee surrenders The Army of Northern Virginia to Lt. General Ulysses S. Grant.

The Wikipedia article.