tag:blogger.com,1999:blog-87254090187585995722024-03-14T11:18:18.358-07:00Rundell & RundellGlen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.comBlogger192125tag:blogger.com,1999:blog-8725409018758599572.post-38778965912545259012015-12-07T04:44:00.002-08:002015-12-08T01:41:00.412-08:00It does grow on trees<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">It's been quite a while since I've had opportunity to mill any timber, in fact possibly more than a year. It basically just comes down to timing. That and being a sole operator means that sometimes you just can't arrange to fit everything into a working week, month or indeed the year. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">This is the smallest of the 4 Western Yellow Pines.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And so it's fantastic to bring the Timberking Sawmill up to Pineville and finally start to wade through the pile of logs I've had sitting here for far too long, including an enormous Western Yellow Pine ( in four sections ), a huge Stone Pine , a couple of good Californian Redwoods and a couple of little Ash and Oak logs.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The sawmill performed flawlessly, but as I've explained to a few people who come to have a look at it working, it does require a lot of concentration. Although it is entirely hydraulically controlled, there are no mechanisms in place to stop you from getting into serious trouble if you are not watching what you are doing. For instance if the log loading arms are not lowered after lifting a log onto the cutting deck, the saw head will plough straight into them. Similarly the blade will hit and damage the log supports if they are not lowering beneath the trajectory of the blade. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">The blade will hit those orange log stops on the left of the log if you're not paying attention</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Thankfully none of the above occurred, but I have to admit a momentary lapse of concentration at one point made me come close.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the subject of logs and sawn timber, I often find myself being asked about the value of a sawlog, whether standing or on the ground. It's understandable that the question arises, when you see the price of sawn specialty timber/lumber in a retail yard. Using 50mm ( 2" or 8/4 ) thick stock as a yardstick, some U.S. species such as Hard Maple and Black Walnut can be over $5000 per cubic metre ( or about $12 a board foot ) here in Melbourne. So often when people see a big old Oak tree standing in the paddock they suddenly think there's a $5000+ paycheque coming their way. </span><span style="font-family: "arial" , "helvetica" , sans-serif;">Unfortunately for them, it's not the case.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">If this is growing in your backyard please let me know……</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Unless you have somehow managed to have a 2000 year old Huon Pine standing dead next to the backyard woodshed, or that annoying 40' tall Brazilian Rosewood that just has to be cut down as it's threatening to fall on the chook house, then I'm afraid if your asking me, I'll tell you there's no money going to be exchanged for your tree or log. It's just not feasible. In fact I would be far better off driving that hour and a half to the timber yard and paying that $5000+ per cube than driving to that paddock to collect the log. It's all in the logistics. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiICTx-voyLA-bfh-7BHTZ6GnSFKSg1x2ozqfJ-0u7AegEHA5ojqyLectC-Cb3CPI9avq4wpYSnEG3HDdT4RHFqQIj8MGKcbAWKWeHcMQw4vZ_IaPVWgDZWRsbowGfPQY0fh3_6RAomNSdq/s1600/IMG_0643.JPG" imageanchor="1"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiICTx-voyLA-bfh-7BHTZ6GnSFKSg1x2ozqfJ-0u7AegEHA5ojqyLectC-Cb3CPI9avq4wpYSnEG3HDdT4RHFqQIj8MGKcbAWKWeHcMQw4vZ_IaPVWgDZWRsbowGfPQY0fh3_6RAomNSdq/s400/IMG_0643.JPG" width="400" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">I salvaged these fallen Elms in Kyneton in 2011. A little large to just throw over your shoulder</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">For starters collecting a log can be difficult enough in the first place, especially a big one. Unless there's heavy machinery such as a backhoe or excavator handy, it usually means hiring expensive crane trucks. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzIUlEnX_X50dS94tBBR4ya7XFWOKjLJAXlWhPbbETrp8-DI1q4ERHb0HRP5qPnmCGxm5ddFwSdEEu4hpZLs6u6CfirF2lf4Ek-5zMDTJMppGT-vjoW3SJn6id937U1ta2Pn1kzZH7y0pN/s1600/P1100056.JPG" imageanchor="1"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzIUlEnX_X50dS94tBBR4ya7XFWOKjLJAXlWhPbbETrp8-DI1q4ERHb0HRP5qPnmCGxm5ddFwSdEEu4hpZLs6u6CfirF2lf4Ek-5zMDTJMppGT-vjoW3SJn6id937U1ta2Pn1kzZH7y0pN/s400/P1100056.JPG" width="400" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Expensive </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Once collected you then need a place to store it until it's ready to be milled, not always as easy as it sounds unless you are lucky enough to have easily accessible land. Then comes the milling. Portable Mills are realistically the only method of milling furniture type logs these days with the rapid demise of our logging industry and permanent sawmills. Portable mills do not come cheaply either and whether you have one at your disposal or you're hiring one with an operator, it is a costly exercise.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj18kkcT8uaAFrD2n3vhBbBOJJplUeW-WE3RrgKp8lIV7Vq76ImJF2a32xexvX66truPBFUrhqKmCuGPO7k_y0cQ-W7jNrNpGLP0mQc-bX8KorTECx8IxnFlyXrU-V6Pj3mzdCZutz_lYxX/s1600/P1140048.JPG" imageanchor="1"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj18kkcT8uaAFrD2n3vhBbBOJJplUeW-WE3RrgKp8lIV7Vq76ImJF2a32xexvX66truPBFUrhqKmCuGPO7k_y0cQ-W7jNrNpGLP0mQc-bX8KorTECx8IxnFlyXrU-V6Pj3mzdCZutz_lYxX/s400/P1140048.JPG" width="400" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;">Without this front end loader ( or a crane ), moving logs like this would be impossible</span> </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Then comes milling the log. Again some form of machinery is necessary to manoeuvre the log to the mill. After it has been sawn it's important that the sawn timber is brushed down and stacked as soon as possible. A dry wooden spacer, known as a 'sticker' in most camps, is placed about every 300mm ( 12" ) or closer along the length of the board and then the next board placed carefully on top. The 'stickers' themselves have to be all the same dimension and you'll need a large amount of them too, which is why I value the pile I have almost as much as the timber sitting on them.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtnWSLtJ-e5Pa6g01nYi3U0o-NQzwabJK3Lthb2NduReae9x2rat7qs7d3YPJqJlegE3yMLxI_34Ds0sjQ1pb6EUxjNzHKWyob7Xd1qlAGJfyI3fRx9-3x5K-3gmZpvYvZYoXdPv0BivgJ/s1600/P1140071.JPG" imageanchor="1"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtnWSLtJ-e5Pa6g01nYi3U0o-NQzwabJK3Lthb2NduReae9x2rat7qs7d3YPJqJlegE3yMLxI_34Ds0sjQ1pb6EUxjNzHKWyob7Xd1qlAGJfyI3fRx9-3x5K-3gmZpvYvZYoXdPv0BivgJ/s400/P1140071.JPG" width="400" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Strap 'em up</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Once the timber is all carefully stacked and stickered it should be strapped up tight or at least a heavy weight placed on top to help minimise any movement during drying. The stack then needs to be moved and stored in a cool, still and dry location. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4aXJ1CwjYlohX9VAQOG7faMu_eote3rC-DQZe9k6XEf0SC0Ji7e_dyIX2c0YfTKYxEQqlmIhat1cR2gd-IlZGhMDWVKfEMXFleuyGfziNS5Yi1oTi1w95o3q3IeJVr0TxqvsNRCZ7GSUx/s1600/P1140045.JPG" imageanchor="1"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4aXJ1CwjYlohX9VAQOG7faMu_eote3rC-DQZe9k6XEf0SC0Ji7e_dyIX2c0YfTKYxEQqlmIhat1cR2gd-IlZGhMDWVKfEMXFleuyGfziNS5Yi1oTi1w95o3q3IeJVr0TxqvsNRCZ7GSUx/s400/P1140045.JPG" width="400" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">This Elm won't stay dead straight for long if its not stacked and stored right.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Contrary to popular belief, it's not just direct sunlight/heat or rain that can have an adverse effect on some timbers drying evenly. Howling wind can also be just as detrimental to freshly sawn timber, especially with timber notorious for twisting and wracking, such as English Elm. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Then it's a case of hurry up and wait. Most dense hardwoods should be left to dry ( naturally as opposed to kiln ) for at least one year per 25mm ( 1" ). So those Lovely Elm boards above, sawn at 55mm, should be looking good around January......2018.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDe_YRuC8GBREXXjDuhSFvquI2c3yZxlawYXI1oY343ztB8uw8VV9iV9MqXWtR616dEIYdmtykLhyoewL3k88rNNDCHIrmiJmC9u_JJ1Z-iDnvQ4cQrixamX2E3Fd1XqFpRP1L72KvOYdz/s1600/P1140073.jpg" imageanchor="1"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDe_YRuC8GBREXXjDuhSFvquI2c3yZxlawYXI1oY343ztB8uw8VV9iV9MqXWtR616dEIYdmtykLhyoewL3k88rNNDCHIrmiJmC9u_JJ1Z-iDnvQ4cQrixamX2E3Fd1XqFpRP1L72KvOYdz/s640/P1140073.jpg" width="425" /></a></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">I'll just shove it under the mattress….</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Storing large piles of sawn timber, undercover takes up a lot of real estate too. Saw 10 or so good sized logs like I just have and you'll see just how much.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">And lastly the yield. A high production permanent sawmill of old will often yield only as little as 25% of the logs original volume. While portable bandsaw type mills can increase this recovery dramatically, it still means a hell of a lot of the log ends up as sawdust or waste from the outset.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So the upshot of the whole deal is that often if I'm asked whether I am interested in salvaging a log I will assess it with a pretty critical eye in the first place. With all of the above, you can understand that it has to be worthwhile. If it's worthwhile I then check that the person who has it is not looking for me to contribute to their hasty retirement fund. And lastly if it is indeed a substantial log or special old tree, I'll more often than not offer to make a small item from it, for them as a thank you. There are a few 3 legged milking stools around the countryside that are testimony to that.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; font-size: x-small;">Hello there Mr. Sequoia !</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">So as you can imagine that big old Oak tree isn't looking quite so desirable any more, but despite all of the above, I still get a bit of a buzz when I mill a great log. Flipping over a freshly sawn board and seeing stunning figured timber staring back at you, never gets old. Waiting patiently until 2018 sure does though....</span></div>
Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com4tag:blogger.com,1999:blog-8725409018758599572.post-7500651197334097762015-11-05T03:07:00.000-08:002015-11-05T03:07:36.368-08:00The Race To The Finish.<div apple-content-edited="true">
I've heard it said more times than I care to remember ( and repeated it myself once or twice ) that it's the last 10% of the project that takes the longest time. With chairs or furniture, this usually equates to the glueing/fixing together and the finishing, be it oil, shellac or even paint. But there remains the question of when is it actually finished? Its a subjective question in my books. </div>
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My workshop as seen from space. Thanks NASA.</div>
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Often during my chair making classes the hardest thing is keeping people away from sandpaper. In fact anyone who has taken a class with me will know that I have a decided dislike for the stuff except when it's absolutely necessary, which is rarely. But if I were to turn my back for a minute or care not, then I could usually guarantee that the workshop would be enveloped in cumulonimbus like cloud of sawdust quickly. But it doesn't end there. Sanding has the habit of going viral. Don't know if its the sound, the dust, the spluttered frantic blowing of dust off surfaces or all of the above, but once it gets loose, then everyone is doing it! Its Gangnam style all over again! Awful.</div>
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Scraped not sanded. </div>
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In reality I don't mind how anyone in particular finishes a piece of furniture. What disappoints me a little though is when a student has gone to great lengths to achieve crisp lines and detail with edged tools and in their excited hurry to attack the piece with sand paper, they not only remove that detail but proceed to round all edges to unrecognisable blobs. In fact I now have a single line that I generally recite at the 11th hour of all my chair classes, when all is glued trimmed and finished. That is, "It's now in your hands, take it and do with it as you please. Well done." It's become sort of a mantra which absolves me of the association to any chair that may become round and lava like after it leaves the workshop.</div>
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Seriously though, there is a lot to consider when finishing a piece. What's appropriate and what is overkill? Who is in a position to dictate? I have seen chairs which have combinations of elaborate timbers, ridiculously intricate carving, or layer upon layer of thick super shiny poly gloss finish. They may be beautiful in design but the finish or desire to make the piece so over the top has made the entire piece a failure. They cease to be 'considered' and end up almost like a caricature of what they should be.</div>
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Ultimately it's left to us, the individual, to make those choices. How much is enough, or too little, or what level of sheen - flat, matt, satin, semi gloss, full gloss etc etc. That's when we truly need to understand who we are as the maker and what is important to us. What do we want to convey? What does the piece dictate? Who is it for? What has been commissioned? All pertinent questions. No completely right answer. </div>
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Me? I make chairs for myself. The fact that some people also like them and choose to buy them from me is a bonus. Sure I make them to the clients specifications, but they're still for me and I find it disappointing when they leave the workshop. Perhaps that's why I write my name on them, so people will always know…..</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJgTznno_pWTuFNrphGMntjWLDt3CuZpW2j_cvmBj1BtevqRdbxVxTir7E4J4_f7mIH25T2ISMzf3aHo4rW3XIyRbrroBakNpcEqypZTjrd6-opF3lfNDshd-67ht07R8qHBAE_GmfdXW8/s1600/P1130956.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJgTznno_pWTuFNrphGMntjWLDt3CuZpW2j_cvmBj1BtevqRdbxVxTir7E4J4_f7mIH25T2ISMzf3aHo4rW3XIyRbrroBakNpcEqypZTjrd6-opF3lfNDshd-67ht07R8qHBAE_GmfdXW8/s320/P1130956.JPG" width="320" /></a></div>
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See, it's mine. I wrote my name on it.</div>
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What level of finish do I personally prefer? It depends on the piece. </div>
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My love of windsor chairs, as I've mentioned before was born from childhood memories of staying in cattleman's huts, in Victoria's High Country, amongst furniture of necessity. You know, simple seats and furniture, made with adzes, axes and drawknives. In fact the dwellings themselves were built in the very same manner and with the same tools. </div>
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This very Hut, as a matter of fact….</div>
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They had inherent beauty. Not because they were refined, polished...... dare I say sanded? No, they were necessary and made to do a job as effectively as possible, with little fuss. Windsors resonate with me for the same reasons. Good joinery, no nails, screws or overly fancy details for the most part. Comfortable and strong and a world away from your fancy Chippendale stuff and the like.</div>
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So recently when someone asked me why I had left a Fanback Rocking Chair 'rough' on the crest rail and not refined it before I applied the finish, I had to take a good look at it for a second or two before I could reply honestly. I looked at it, considered it's finish and saw the exact same crest rail that I had been satisfied with months earlier when I was finished with it. It's overall shape was symmetrical, it had the obvious marks of the drawknife and spokeshave just where I remembered passing them over the Oak. In fact it was just as I wanted that crest to look, on 'that' chair. </div>
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The little guy in question</div>
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A little rocking chair to sit on the verandah of my very old 1850's house. In fact I wanted that crest to look almost like I had riven or hewn it straight from the log, carved it swiftly and bent and manipulated it with sheer force onto the spindles and back posts which now held it to the chair. Indeed most of the traditional American style Windsor chairs I make will have defined tools marks in various places and or various parts. The saddle of the seat usually being the only exception and most often the only thing ever sanded. It's what I think those chairs call for. But that's me.</div>
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A Crested Rocker I made about 3 years ago.</div>
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However, when making a chair like the Crested Rocker I'm making at the moment, that's a different kettle of fish. It's a contemporary chair. Large, angular, full of crisp detail and interesting negative spaces. Its parts are defined and refined, scraped and sanded. It's what 'that chair' calls for and I think pays homage to the maker who designed it, Peter Galbert, how he made the original and others like it and in this case, how he showed me to make it. But again that level of refinement is considered. It would be all to easy to go overboard and turn a bold, lithe chair into another rounded over mess. </div>
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What I'm trying to say is that we have to take responsibility for the way we construct and finish the pieces we make. We also need to understand how they should be finished and strive to strike that balance of what's important to us as the maker but also what befits what we have made. </div>
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Be confident in the level of finish and refinement of your workpiece, take the time to consider what the piece calls for. Every piece will probably be different or at least should well be.</div>
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Don't be in a hurry to force that last 10% or race to the finish line, but also know when enough is enough. Ultimately, make the piece for yourself, let it speak of who you are and why you made it that way, if you stick true to that, all the rest should fall neatly into place.</div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-723553737779893672015-10-31T22:31:00.001-07:002015-10-31T22:31:31.070-07:00Tight fit.<div class="separator" style="clear: both; text-align: center;">
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After teaching a lot for the past month or so, it's been a true liberation to get back into the workshop and get a chance to make something myself. A chair of course.</div>
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The spindles should look like they have grown out of the seat.</div>
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The Crested Rocker from the previous post has been just the ticket too. A slightly more complex chair than the Fanbacks, Sackbacks and Continuous Arm Chairs I've been making of late. But this time around there has been a few factors that have made this a surprisingly quick build so far. </div>
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One is that I've made a fair few of them now, so the joinery is more familiar. The second is that I have used air dried timber for the steam bends as opposed to the green or fresh Oak I would normally utilise.<br />
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This means that the bends set surprisingly quickly, have minimal spring back and virtually no shrinkage. It's a big time saver when a chair part doesn't have to spend days on end, drying in a heat box or kiln. Especially with parts the size of the stiles or back posts, which are 38mm ( 1 1/2 " ) octagons . That's a large part to dry when its green.</div>
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Lastly I used a little jig that I recently built a dozen of, for a Barstool class. Quite simply it locates an indicator pin in the correct plane to sight off for drilling stretcher mortises. The jig is usually attached to the leg, but in this case I used it to align the drilling angle of the stepped mortise into the stile from the arm post. I've always found drilling this mortise to be trickiest part of making the chair. This is due to the drilling angle being acute to the seat and on a curved chair part. But the angle jig made the process a no brainer. Every angle that needed to be known or referenced was right there on the little pin.</div>
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The resulting joint was the best I've done on a chair of this kind, full stop.</div>
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So Friday I fitted the spindles to both the seat and crest, turned the stretchers, roughed out the rockers and carved the seat. I mentioned in the last post that I was careful to choose 1/4 sawn Elm for this chair. </div>
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Rift or back sawn Elm, although visually stunning as a finished seat, can often be a real pain to carve. The porosity of the radial growth rings is the issue here. When shaved or scraped at the slight angles found at the front of most Windsor chair seats, the wide cross sections of porous growth rings can fracture and crumble, making final smoothing problematic. In difference, shaving those same ring porous growth rings on their edge results in a clean, firm surface without those issues.</div>
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I think the photo above speaks for itself. The front edge of the seat was spokeshaved across its width and scraped briefly. A light sand with 240 paper and final scraping will reveal a beautiful finished seat, after the entire chair is assembled.</div>
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Yesterday we had the pleasure of Master Cooper George Smithwick's company in the workshop, to teach the Coopered Wooden Bucket Class. The four students kept up the tradition of travelling to the workshop from far and wide. Ray travelled from Thalloo in Central Gippsland, Rosemary, from Waubra, half way between Ballarat and Avoca, Nick from Melbourne and Drew from Bendigo. I'm very fortunate to have a workshop that people gravitate to, to take part in these classes. As the saying goes, love what you do and you'll never work a day in your life.</div>
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The day went as smooth as silk and thanks to George's great teaching skills and the great work of the students, we kept our 100% success rate of no leaking buckets too. Nice work. Our tradition of filling the new buckets with water and holding them over the makers head, may have contributed to their determination to make one that didn't leak….</div>
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I'm pretty happy to be planning out the remainder of the year. Aside from another 3 classes, I'm planning to bring the sawmill up to Pineville to mill an ever increasing pile of logs in the paddock. That should yield some spectacular Redwood, Yellow Pine, Hoop Pine and Blackwood. And if I'm lucky, perhaps an Osage Orange log to mill also..... stay tuned. </div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-20772066467569860632015-10-28T04:55:00.000-07:002015-10-28T04:55:44.028-07:00Where we left off…….<div apple-content-edited="true">
I wouldn't know where to begin if I tried to recap the last 10 months or so since my last post here. There's been another Lost Trades Fair, a bunch of classes, a few chairs here and there and lots of progression on the house. In fact for those who are unaware we have been living in Pineville since early March.</div>
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Verandah made a huge difference.</div>
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I'll be the first to admit that the infamous Instagram has been the reason for the non existent action here, but love it or hate it ( and to be honest I'm indifferent about it now ) it's an easy and relatively quick way to convey pictures. But there's a whole range of associated baggage that comes with it. A lot of that is beyond your control, it's not an option. And that I'm afraid is why I jumped ship. Sure I'll throw a pic or two on there some time in the future, but it does not allow me to convey the information I like and the reality is you end up devoting a lot more time to it than you first might think. </div>
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So rather than a blow by blow account since January, I'll jump straight into what's happening in the workshop now. The other pieces should fall into place as we go. </div>
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These guys ( and 20 of their mates ) visit every morning outside the kitchen window.</div>
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View from the deck outside the kitchen</div>
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With Spring almost fully sprung, the light in the morning at home and in the workshop, is casting a slightly different shadow. In a few days Summer will be upon us and no doubt just as I've longed for the weather to be a little warmer of late, I'll be pining for the cold before long too.</div>
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New cupboard and drawer carcasses behind one of the 3 new benches.</div>
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The workshop will look a little different than the last time it was shown here. We have slowly but surely been building new benches, shave horses and installing new cupboards too. So while the shell of the old place is just the same, it's certainly getting more user friendly inside. It all points towards the space being more effective for my use, but also being more versatile for the range of other classes we run there, such as the Coopered Wooden Bucket Class this Saturday.</div>
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The cupboard carcasses went in a few months ago. They were an essential part of the process of organising this space. A lot of stuff, tools included had been 'floor hung' prior to that and we were getting to the point of critical mass! But they won't look like this forever. In the coming months the intention is to make solid Blackwood panelled doors and drawer fronts for the lot. This should keep things dust free and also add a little character to the not so pretty white melamine.</div>
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On the bench at the moment I have a Crested Rocker in progress. I've put about 2 full days into it so far, milling, bending parts and doing the initial joinery. The upper and under carriage is Pin Oak </div>
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( Quercus Palustrus ) and the seat locally grown English Elm ( Ulmus Procera ).</div>
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I have previously tried to use one piece Elm seats for these big rocking chairs, but this time I've book matched a stunning piece of quarter sawn Elm for the piece. </div>
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The colour variation in this flitch was stunning as was the radial growth ring pattern. It will be a much more beautiful seat when carved than say a rift or back sawn single piece seat.</div>
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As with the majority of my rocking chair commissions, this one is heading to Melbourne for an expectant new mum. There's no doubt when making rocking chairs for new Mums ( or Dads ) that you know your chair will be fully appreciated and loved. Especially at 3am feeding times!</div>
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Cracked crest and missing spindle.</div>
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There's been a familiar presence in the workshop for some time too that will be heading back home next week. This old American balloon back Windsor was bought in for a repair about........ well lets just say a long time ago. But the owner did say she wasn't in any hurry! It was bought home from the States and during the trip was successfully crushed by the shipping company, smashing the crest rail in 3 places, destroying one of the spindles and splitting another. Now normally I run a mile from any chair repair, quite honestly because 99% were not made properly in the first place and..... well they aren't Windsor chairs. But this was and so I agreed to fix it. </div>
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There were a few differences in this chair to the chairs I make. Mostly to do with the spindles. My chairs have riven spindles shaped by hand with drawknife and spokeshave at the shavehorse. They are fitted straight into a matching sized stopped mortise in the seat. Usually 12mm ( just under 1/2" ). This old girl has turned spindles with 'nodes' in two places. The spindles are also shouldered at the seat, with that shoulder being pared parallel to the seat. Interesting stuff and a level of joinery that I wouldn't necessarily say was common in chairs of this age. ( might be wrong? ) It had a whole lifetime and then some, of layers of paint all over it. For sure there was green, white and possibly even cream under the black. Not nice, thin layers of milk paint either. Heavy, thick and no doubt lead based stuff here and so thick that most the detail, such as the beading on the steam bent bow was almost invisible.</div>
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Got to love hide glue. New turned spindle wedged in place.</div>
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A new spindle was turned from dead straight and dry Beech with a stepped tenon at its base. It was a stretch ( literally ) to prize the crest open enough to slip the new spindle into the old mortise through the crest, but it seated beautifully and a wedge was driven in to finish the job. A trim and shave and three coats of Black milk paint made it look the part, but the finishing touch was a brush coat of button shellac, which matched the original muddy black of the spindles around it. </div>
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All done</div>
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It will be sad to see it go as I've pondered the shape and geometry of that chair often, but I've also traced a few patterns off it too, so it may appear in another guise soon.</div>
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With another two chair orders literally coming in last night it promises to be a busy time leading to Xmas. We have a Perch, Fanback side chair and Shaker Oval Box Classes in there too. Then there's a bit of stuff around the house to talk about also. It's good to be back.</div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com4tag:blogger.com,1999:blog-8725409018758599572.post-897856966048640612015-01-19T05:06:00.000-08:002015-01-20T05:40:34.680-08:00First things firstIt's frustrating not getting much time in the workshop. Amplified when I look at Instagram on a daily basis and see dozens of people busily working away at every thing from making furniture to building boats. But, I have to keep reminding myself of some priorities. Number one is putting a decent roof over my families head. Not to say that we don't have one at the moment, but this shoebox at the back of our shop ( about 5 squares ) is starting to wear a little thin after more than two years. This house will mean a big difference to our quality of life I'm sure. Just as it would have to William 'Pepper' Wright when he built it.<br />
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Final details are taking shape. Building a built in wardrobe in the Master Bedroom. </div>
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The old doors are originals from the house. Unfortunately damaged and multi coloured, they'll be restored and finished a little later down the track.<br />
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Importantly the cast iron hinges, original to the doors were in good order and only needed a bit of a clean up. They've been re-used and the phillips head screws will be replaced with steel slot screws when the doors are taken off to restore them. A K & Sons is Archibald Kendrick and Son who were a huge Ironmongery in West Bromich. Founded in the mid 1700's they finished casting hinges like these around the mid 1880's, moving to pressed steel. On the rear is '3in' for the length of the hinge. I figuring that perhaps 59 may be the abbreviated year of manufacture? If anyone knows any different, I'd be grateful to hear about it.<br />
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We've also been busy in the kitchen too, the spotted gum floor boards are polished, we've installed the custom black carcasses and I've made, painted and oiled the Belgian Oak bench tops too.<br />
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It all looks very black at present, but the cupboard doors should fix that.<br />
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They are made from the original internal wall clapboards, which used to have hessian and wallpaper fixed to them. Planed and thicknessed, I've made them in the same fashion that the original surviving kitchen cupboard doors were made. That is they have batons fixed to the back by means of cut nails, clinched over in the traditional manner.<br />
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I've also copied the only handle left, which had not been replaced ( probably during the 60's or 70's ) from the drawer. I hand turned them from Huon Pine, which will turn a rich honey colour after a few years.<br />
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Here they are fitted to the doors and ready for sanding and oiling and fitting to the carcasses. They are simple I know. But that's what I believe this house needs. It is a simple house now and it was when it was built. Sure there are rooms that show the house had impressive elements in it's day, but those elements were in the main part of the house, in the sitting rooms and bedrooms, where there are marbled fireplace mantels and hand painted wall papers.<br />
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Not so in the laundry and kitchen. These rooms have bare brickwork and simple painted wooden lining boards, just as utilitarian rooms did in those days. After all, these were the rooms for the hired help, scullery maids and the like. And so that is the styling cue we have followed. I think it will come up well.<br />
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So I think we should be in the house in about 4-5 weeks, after that it's full steam ahead to the Lost Trades Fair, but that's secondary at the moment. Family comes first.<br />
<br />Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com1tag:blogger.com,1999:blog-8725409018758599572.post-14585122962036451982015-01-02T17:55:00.000-08:002015-01-02T18:55:15.754-08:002015 - day 1The new year kicked off in country style this year with our first visit to the annual Glenlyon Sports Day. For those a little further away, Glenlyon is one of many little satellite Goldfield era towns, about 20 minutes from us in Kyneton.<br />
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Good friend Pete Trott had told us about the day and I'm glad he did. The event card went something like this.<br />
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Midday events begin - Cross country horse race<br />
- Pony and pony and cart racing<br />
-wood chop , underhand, standing block and tree felling<br />
-World Mineral Water Drinking Championship<br />
-Bull-Boar sausage eating competition.<br />
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Suffice to say it was a bit of good country fun. In fact Pete's wife Jess entered the mineral water drinking championship and downed her pint of murky local mineral water in a healthy 5.10 seconds, holding the lead for a short time until a newcomer came along and took the lead with an unbelievable 4.89!<br />
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Jess on the left, deservedly accepting her 3rd prize!</div>
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The wood chop as is usually the case, was a great competition too. But on the day there was one fella who dominated the Underhand Comp. My feeble old mind has forgotten his name now, but in the video below you can see him second last in the line, in the Green singlet. </div>
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He even had time for a breather, before the last bloke is finished! 21 seconds through a 1 foot round Mountain Ash block. Impressive.</div>
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Yesterday before the heat drove me out of the corrugated iron workshop again, I managed to get a start on the cupboard doors for the kitchen. There were 2 original cupboards in the Pineville kitchen when we bought it. Both frames had been destroyed by termites, but the old doors were still in tact.</div>
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They are a simple but very traditional door. Hand-beaded panels, held together by back braces or cleats which have been clinched together with cut nails. Although they sound very agricultural, and they may be, they are still as solid as a rock. Part of the secret why is due to the nails allowing wood movement, flexing where glue and or screws would not. They are also very light in comparison to a frame and panel door of the same size. </div>
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Here's the detail of the clinched nails and the bead, cut with a moulding plane.</div>
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For my doors I'm going to use the hardwood internal clap-boards I managed to rescue from the internal walls of the main house. They were fixed tight up to shoulder level then spaced out to the ceiling and were a fixing platform for hessian, which then had the wallpaper applied to it. A lot were turned to dust by termites but we still managed to retrieve a good pile of them.</div>
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You can see them here in the Study. Rough sawn they are about 160mm x 12 (6'' 1/4 x 1/2" )</div>
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The first step was to remove the myriad of fixings buried in them over the past 160 odd years. There were cut nails, wire nails, brass pins, large flat head steel tacks for the hessian and lastly gal. clouts where plasterboard was nailed on. I then had to pick through most of them to find a good straight section over 750mm (29" 1/2 ) long. Given that I had to joint and thickness them, there couldn't be too much curve or wind in them, as I still wanted to finish with at least 9mm ( 3/8" ).</div>
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With the stock docked to rough length, jointed and thicknessed, I wanted to make up a sample door to try on the carcasses we've already fitted in the kitchen. So I wasn't wasting stock I've screwed together the prototype, so we can pull it apart and adjust it if need be.</div>
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So here's the cleat fixed with screws and screw caps. I only used the caps as I didn't have screws on hand that were short enough not to poke through both timbers. As you can see I also made up a very simple scratch stock to put a bead on the cleat. It worked fine but was a time consuming process in this very hard old timber. I've ordered a 1/4" beading plane from Caleb James to do the actual doors, which is winging its way across the Pacific as I type. It's a terrible burden to 'have' to get such lovely tools to make a kitchen…….. =)</div>
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The handles for the doors will be a very simple affair and the shape have already been determined by the single remaining draw pull on the original kitchen cupboard. They are about 36mm round, quite shallow in depth and I'll through mortise & tenon, glue and wedge them to the doors and drawers.</div>
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Today is a day of rest I'm afraid, as the town and most of country Victoria braces itself for the possibility of bushfire. It's 40 celsius + here today, with strong winds too. Far to hot to get into the workshop. </div>
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We've already had the usual nutbag pyromaniacs running around the outskirts of town lighting grass fires. Lets hope common sense prevails and the day remains uneventful. </div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com8tag:blogger.com,1999:blog-8725409018758599572.post-1873007529615887022015-01-01T08:05:00.002-08:002015-01-02T23:33:47.535-08:00You say goodbye, and I say hello...To quote the Beatles above, goodbye 2014 and hello 2015. It's been an interesting year again as I sit on the couch and reflect about the year that just was.<br />
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A years worth of renovation on the old house at Tylden. I have to start referring to it as Pineville, as we've been reliably informed it was given that name due to there being numerous Californian Redwoods ( Giant Sequoias ) planted near the house and in the front paddock. They've long since gone, but we've planted a new one in their place. But it's a good name nonetheless.</div>
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In fact here's the one that used to stand in front of the house. This was in the 1920's I believe. We've been given a lot of old photos of the house, which I'll try and post in the future. They are a great reference.</div>
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But although we didn't hit our goal of moving in prior to Christmas, we're not far off, essentially just waiting for the tiler to come in and tile the bathroom and kitchen before I can fit it off with the basin, bath, toilet etc. But to get to that point there was a heck of a lot of work to complete first. Including fitting new custom windows and doors throughout the house, patching termite eaten weatherboards, insulating every internal and external wall and cladding most internal walls with lining boards too.</div>
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Kitchen floor</div>
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After getting it to this lockup stage we've also replaced most sub-floors throughout and obviously the floors above them. This included replacing the original baltic boards in the lounge and front room and installing new 180mm wide Spotted Gum boards in the kitchen and side entry. What we refer to as the study, the front room on the right, received brand new 22mm thick baltic boards to replace the originals which were completing annihilated by the termites. They are exceptional quality and were top fixed, </div>
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( hand nailed ) as were all the boards we replaced, just like the originals.</div>
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We figure we should be in the house in the next month or so.</div>
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Hoo roo little house!</div>
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But restoring a house like that does not come cheap and was certainly more than we could afford, so that resulted in another change of direction last year. We sold our little Shaker style cottage, 1774, which was the first place we had renovated when we moved to Kyneton. That sale has allowed us some capital to continue with the house and also focus more intently on our core business, making chairs and teaching too. It was a little bitter sweet, as I was quite fond of the place, but it's all about moving forward so I'm told…..</div>
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Photo by Ian Hill</div>
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So with all the renovations and action out at Tylden, I have to say, there was diminished time in the workshop, which certainly didn't make me happy. Commissions for chairs, I often worked on whilst teaching chair making classes, and used the chair I was working on to demonstrate. Although not ideal, it did allow me to make about a dozen chairs and stools for the year. Which although not a lot, I'm still a firm believer of quality over quantity. </div>
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Chair, stool, shaker oval box and bucket making classes were all a blast and well attended, for which we are really grateful too. This year is proving to be busy too with most classes booked up already. Another great addition to our business is that Brodie, who has worked for us in the shop for some time, is now also teaching the Shaker Oval Box Class too. She's a great talent and is proving to be just as capable an instructor too. I'm looking forward to working with her more in the workshop throughout the year.</div>
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A highlight of chairs I made this year, was a Marigold Yellow Continuous Arm Rocking Chair I made for our very good friends, David and Claire who live here in town. The chair was made for nursing their second daughter, Ella who was born late last year. It's a great thing to visit and see the chair in Ella's room and know that it's being used to rock her off to sleep most nights.</div>
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In fact I'm finding that more and more parents are ordering that chair for that very reason. 3 or possibly 4 of them in 2014. Including the last one I just finished off a few days ago.</div>
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There was also a very tall four legged bar stool I made for a local graphic designer. Designed to sit him at the same height or line of sight as when he's standing, it was a stool that I made a prototype of first, just to ensure we got it right. Unlike a standard barstool which has a fairly flat seating platform, this stool also had a seat which was raked forward, like the 3 legged Perch. This was due to the client having a bad back and wanting the benefit of the Perches ergonomic seating position. So there were a lot of prerequisites, but in the end the client was thrilled and I'm pretty pleased with the end product too.</div>
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All buckled up and ready for the voyage….</div>
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Then there's chairs that have travelled a little father abroad than Kyneton too. This Continuous Arm Rocker was crated up and sent across Bass Straight to it's new home in Launceston. </div>
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Photo by Ian Hill</div>
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And here's the pair of Continuous Arm chairs from the last post. They ended up in Victoria's Western District.<br />
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And lastly the thing that has occupied a lot of mine, and almost all of Lisa's time, is the impending 2015 Lost Trades Fair. Only 60 odd days away on the 7th & 8th of March, there's still a heck of a lot of work to do but it's shaping up to be something quite exceptional. Last count we have over 70 demonstrators that will be there for the weekend, all working at or demonstrating their unique and mostly rare trades and crafts. We're really quite excited about the whole thing. Another exciting development is the ability this year to book on line and avoid the long queues of last years Fair. </div>
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You can follow the link <a href="http://www.trybooking.com/Booking/BookingEventSummary.aspx?eid=113811">here</a> and follow the prompts, there's also family tickets at reduced rates. The response so far has been great, so if you know or think you'd like to go, grab a ticket on line and save the possibility of it being sold out…..</div>
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You can also follow Lisa's Facebook page dedicated entirely to the Fair. She posts every few days about various demonstrators who can be seen at the Fair this year, and the following already is immense.</div>
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Click here, <a href="https://www.facebook.com/losttrades">Lost Trades Fair</a> to have a look! </div>
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I know I've said it a lot of late, but I do intend to post a lot more content on the blog this year. And the Lost Trades Fair will feature pretty heavily too in the lead up.</div>
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But for now, I wanted to say thank you to all who have followed the blog ( and Instagram - Rundellandrundell ) over the past year and longer. Your support is valued and I hope you enjoy following along with myself, Lisa and Toms' journey here in Kyneton and about the place. Happy new year and I hope 2015 is a great year for you all.</div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-66557777504598802982014-12-02T05:48:00.001-08:002014-12-02T05:48:41.801-08:00Chairs chairs chairs…..The pace has not slowed since my last post but at least the progress on the house and chair making front is positive.<br />
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These two Continuous Arm Chairs are finished now, but for oiling. They are gifts from a Grandfather to his two grandchildren. Although they are a pair I wanted there to be some difference between the two and so I left sapwood on the outer edges of one and ran a line of it down the centre of the other. A kind of Windsor racing stripe! They are for young kids after all and a little individuality never hurt anyone.<br />
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And now that the chairs are finished I'm burning the midnight oil to get three, ( yes 3 ) Continuous Arm Rocking Chairs finished before Xmas too. One has to go to Launceston ( Tasmania for my overseas friends ) too, so that is the priority chair at present.<br />
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I may even take it over on the ferry myself!<br />
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Then there's a little Elm Milking Stool I've made for a local fellow who kindly donated some axes to me from his late fathers collection.<br />
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It was a fun little project, as it's all made on the lathe and I think a few may end up in the shop next year as a result.<br />
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An extra tall barstool for a graphic designer rounds out the chairs for this month, so there's plenty going on. Tomorrow its back to the house again and a trip to the city too, so I'm expecting a few late nights for the next few weeks!Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-76658886615902296352014-10-20T07:31:00.000-07:002014-10-20T07:31:18.273-07:00Still kickingWhile most of you who may read the blog would have every right to think that I have fallen off the perch, I thought it best to set the record straight.<br />
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Apologies for the abrupt stop in posting the goings on 'round here, but the fact is the goings on have been such that it has not left any time for anything, inclusive of the blog. I've been trying to make amends to an extent by posting photos on Instagram ( which I am still a little unsure about…. ) but I know that doesn't reach everyone.<br />
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But I haven't been sitting on my hands. In fact I've been spending almost every waking moment out at the old house at Tylden, removing the termite infested detritus and 60 odd years of terrible additions and repairs and replacing it with a solid frame, new floors, new windows, doors, internal linings, plumbing, roof and the list goes on. The carpentry work being steered by the talented Peter Murphy, who you have probably seen on the blog playing his Uke or guitar, which he plays ( and makes ) with equal measure.<br />
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In amongst the works at Tylden, we've had the usual chair, stool, box ( assisted by Brodie Noor - more to follow about this talented person ) and bucket making classes and also a change of school for young Tom, who is now attending Tylden Primary, in readiness for our move into the old house hopefully before the end of the year. The bar and shop too, which are thankfully picking up speed again with the onset of Spring and warmer weather.<br />
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Then there's the Lost Trades Fair, which Lisa reminded me just today, is only about 20 weeks away, which may seem a long time, but I know will rush up on us quickly. Applications have been sent out to over double the participants we had at the Fair this year and with the addition of a good handful of kids activities and and other interesting bits and pieces, it's promising to be a great event next year.<br />
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So while I can't promise I'll be posting something every few days again, I will ensure that I'll be here more often. But as usual its 1.28AM and time to hit the hay, but stay posted, I'll be back soon.<br />
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The beginning</div>
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So far….</div>
<br />Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com1tag:blogger.com,1999:blog-8725409018758599572.post-90655517471744902982014-08-20T07:48:00.000-07:002014-08-20T07:48:45.291-07:00The plane maker<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">So a day or so after being in Virginia, then Tennessee and North Carolina, we headed South again in to South Carolina and to the home of Caleb James. I'd first heard of Caleb through Pete Galbert's blog. Then again when I found that Caleb was doing the drawings for Curtis Buchanan's Comb Back and Continuous Arm Chair plans. </span></span><br />
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<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">One look at the Danish furniture and cord weaving produced by Caleb and it's clear to see why Pete was so impressed with Caleb's ability. </span></span><br />
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<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">So when I was talking of my trip further South, Pete suggested a visit to Caleb would be worth the miles.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">He wasn't wrong. Jeff and I arrived late morning and were shown down to Caleb's basement workshop by Caleb's wife Tracy. No dark undercroft here though. It's a light filled timber lined long room looking out to the greenery beyond. It's quite an inviting space. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As with a fair few other American chair makers I've met, it was interesting to see where our paths had crossed, both with Curtis and Pete. But it seems to be a familiar trait in this field with people I've met recently and has been the case as far as I know back to the early 1980's and no doubt prior. Whether that original contact was someone like Drew Langsner, Dave Sawyer or another pioneering worker of wood, it's amazing to see what a definitive effect it has on an individual's life and not just their career. It's a great thing.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">What did surprise me in a way was that despite Caleb's obvious natural talent for making chairs, it appears that he is going to focus primarily on making hand planes. Well to be a little more precise, it surprised me until I looked into his tool chest and saw this.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A few moments later after asking if I could try a little coffin shaped smoother, it was clearly obvious why Caleb should concentrate on planes. They're awesome. Comfortable in the hand and beautifully detailed and proportioned. So good in fact that the smoother came home with me. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here it is today being used to tidy up the spindle deck of a Windsor chair I'm making</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There's evidence of a good deal of forward planning too, as neatly stacked piles of beech abound in the workshop,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Most destined for the sets of moulding planes that Caleb is rapidly becoming well known for.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Caleb also spoke of his thoughts of potentially running classes in his workshop in future, teaching the making of Danish styled furniture and of course planes. A no brainer in my book. To spend a few days learning what Caleb knows would be good value for money in anyones language. We finished our visit with a culinary highlight of the trip, a mexican lunch prepared by Tracy, which was that good I would have taken a picture of that too, if it were not for good manners!<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">I also learnt that Caleb and Tracy have relatives in Australia. I hope they drop in and visit next time they're in my neck of the woods.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-4746111946553715862014-08-16T06:51:00.000-07:002014-08-16T06:51:03.757-07:00Country Workshops<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">With sadness I read Peter Follansbee's blog post on the terrible loss of Naomi Langsner's husband Teo Reha in a logging accident. Particularly as I had spent time at Country workshops only a few weeks prior myself.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Out of respect to the Langsner family I'll keep my post on Jeff and my visit to Country workshops brief.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On leaving John and Nancy's home, we merely made a right hand turn from their driveway onto the Langsner's and wound our way up to the workshop. A beautiful old two story barn style building looking squarely down a valley in the Southern Appalachian mountains </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We arrived knowing that Drew was running a class that day, but had still welcomed us to visit. We spent a little over an hour there that day. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Drew took time from his class to talk with us, which I'm very grateful for. In that short time we covered a lot of ground, classes, shaving mules and a lot of other stuff in between. And just as I've seen previously, you can see and sense the passion Drew speaks with when talking about what happens within those walls.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But outside of the conversations, just being there, in a place that has been the source of inspiration for so many others before me, was quite something. I'm sure I'll be back there sometime. There's too much to learn from Drew not to.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-37004613565858800852014-08-12T06:34:00.000-07:002014-08-12T06:34:47.581-07:00Carolina In My Mind<div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Unlike James Taylor's well known song, I didn't have to go to Carolina in my mind, we had Jeff's Toyota Tacoma pickup and after leaving the familiar ground of Jonesborough we headed for the mountains of North Carolina and the home of John Kraus. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I had only heard of John and the spokeshaves he's renowned for, through the grapevine a few years ago. Then while Jeff and I were discussing our trip South he suggested we drop in visit him on our way to visit Drew Langsner at Country Workshops. No brainer, especially when I was to find out that he literally lived next door.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The road to John and his partner Nancy Darrell's house is a long and winding drive through the Southern Appalachian countryside. I made mention a few posts back on just how thick and lush the forests of the East coast are when I was staying in Massachusetts. There was certainly no difference here in North Carolina, if anything it's even more intense.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">John greeted us at the door like I'd known him for a lifetime and before I knew it Jeff and I were standing in his small workshop attached to the side of his home, looking over some of his spokeshaves and other tools. John's workspace, although compact is a tour de force of interesting bits and pieces sitting on shelves, hanging from hooks or leaning in corners. And that's exactly where I saw the first of John's long bows. A beautiful example leaning behind the door.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Made from Osage Orange, which apparently is relatively plentiful in the area, this long bow was a thing of simple beauty. Before I knew it, we were outside the workshop and John was letting loose with a few arrows. John then bought out a few miniature bows that he'd made to study the various forms of long bows before he made full size versions. </span></div>
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Mid sized</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">MIniature</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">They were perfect scale bows in their own right. It was a theme that I was to find repeated itself throughout the day.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jeff and I were then treated to great home cooked lunch with Nancy and John. I was really starting to become accustomed to this Southern hospitality. Inside the house are examples of both nancy and John's incredible craftsmanship.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Nancy's lamp ceramic shade</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Everything from early ceramics by Nancy, to chairs and baskets made by John. Amongst a ceiling full of baskets, one stood out. It was a Nantucket style basket handmade by John. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I said at the time and I still think it was one of the most impressive and beautiful objects I'd seen to that point of the trip. Perfect proportions, impeccably woven and the finest steam bent oak handle. It was all there.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After lunch Nancy took us for a tour of her new house in the making. A combination of solid timber framing and a contemporary framed home, it was an impressive building.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> At the rear at ground level was a drive through area which Nancy had said they had contemplated using as a workspace. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">That's where I noticed the superb joinery in the frame. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Further down the hill we came to Nancy's workshop. Nancy's focus at present is relief printing, primarily with hand carved wood blocks. Her work was stunning. As I knew I was going to miss Lisa's birthday, I made a point of picking out a couple of Nancy's relief prints for her. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Then there was a wood cut of John called 'feeding the birds,' which I couldn't resist.... so that was added to the list.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Heading back up to meet John at his workshop, I mentioned the detail of the frame in the new house. With that, John said, "well you'll like these then," and pulled out a miniature of the very joint I had seen in the house.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It was a great little working model and again showed a lot about John's approach to wood working. You could see that he thought out every detail of anything he made. And that thought process showed in the final product. Everything he made was beautifully rendered. Real honest attention to detail, a reflection of John himself.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I couldn't buy one of John's shaves whilst I was there as he didn't have any available, but a day or so later John rang to say that he managed to find one that he said he could send me. So as I type I'm patiently awaiting the arrival of that tool. It will be a great reminder of a highlight of my trip down South. Thanks John and Nancy.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com3tag:blogger.com,1999:blog-8725409018758599572.post-34296646376169129612014-08-06T05:00:00.000-07:002014-08-06T05:00:07.587-07:00Back to the beginning<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Arial, Helvetica, sans-serif;">Sunday morning, Jeff and I threw our bags into the back of his pickup and headed South on Highway 81. And notwithstanding essential coffee breaks, that's where we stayed for another 320miles. We were both doing something that we had not done before. Taking a road trip to visit and meet with chair and furniture makers alike and draw some inspiration from the innovative things they are all doing.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">First stop, Jonesborough, Tennessee. The home of Curtis Buchanan. It had been 5 years since I had last seen Curtis's workshop. I had made my first Windsor chair there, a Continuous Arm Chair. I'm happy to say that with the exception of a new verandah on the side, nothing had changed. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The same went for Curtis and Marilyn, who were their friendly and happy selves. It was great to sit around the table and catch up on about 5 years of goings on. Curtis's passion for his chairs and now the series of Windsor Chair plans he has started to produce and sell has certainly not waned either. It was the first time I had seen the plans first hand and I have to say that Caleb James, who drew them on behalf of Curtis, has excelled himself. The perspective that Caleb has managed to capture is outstanding.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> In fact the copy that I bought from Curtis may just end up on the workshop wall in a frame....</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I could ramble on for ages about how enjoyable our time in the Buchanan household was, a wonderful dinner and a breakfast fit for royalty, but by far the most enjoyable part for me was the ability to able to talk to Curtis about his chairs, compare notes on joinery techniques and understand what was inspiring him at this point in his chair making career. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After 30 odd years of making Windsors, it was apparent that Curtis was still experimenting and innovating. Whether it was the process he was now using to fit stretchers or hearing him excitedly recount mastering a new turning technique, it was all music to my ears. It reconfirmed for me what I learnt 5 years ago in the same place. Curtis was meant to make Windsor chairs.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Before we had to leave for our next leg of the journey Curtis made time to run through some plans for a new barstool he was developing and a few other things. Again a familiar theme reappeared. Sharing of information. Curtis retrieved a pile of plans and openly offered them to me to copy. Just the same as Pete few weeks earlier. Just the same as John Wilson the box maker ( & Curtis too on the same trip ) had done also, back in 2009. It's generous, selfless and inspiring. But aside from this, an interesting piece of information came to light. In amongst the pile of plans was a small seat pattern for the Perch stool.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I had always known that the Perch was a collaboration between Pete Galbert and Curtis and that Dr.Galen Cranz had also played a part in it's design. But as it turned out, the plan I was looking at was the original developed on that day and clearly written on the plan was "for Hannah." </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Curtis explained that Hannah was the student who had come up with the original concept. It was certainly different from the plan I use today, which was given to me by Pete, but you could see the origins right there on that piece of card. It will make a nice addition to the introduction I give on the Perch at the start of the course I teach on the subject back home.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It had been 5 years since I first met Curtis. That trip had a profound effect on me. I returned home and began making chairs. Within a short period of time we sold our home in the suburbs and relocated to Kyneton in Victoria's Central Highlands. I resigned from my job and began teaching Windsor Chair making myself. We opened our shop and started our business.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We now teach around 100 Australians a year how to make Windsor chairs and stools, Shaker Oval boxes and Coopered Wooden Buckets. We encourage them all to keep making things long after they have left our workshop.We hope they are inspired when they leave. We encourage them all to share what they have learnt from us. We essentially try to do what Curtis did for me. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I didn't make a chair with Curtis this time round, but I left just as inspired and content as if I'd just made ten. Thanks Curtis.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com5tag:blogger.com,1999:blog-8725409018758599572.post-71567061934713366152014-08-05T08:28:00.000-07:002014-08-05T08:28:43.639-07:00Square pegs<br />
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<span style="font-family: Arial, Helvetica, sans-serif;">2 slat greenwood style chair</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the 5th day it was time to weave the seat of the chair and attend to the finishing touches, such as glueing leather pads on the bottoms of the legs and fitting the wooden pegs through the slats into the back posts. As my chair was not glued up Jeff gave me one of the 'greenwood' style chairs he had made some time ago to weave in its place.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Drill, square drive, round depth stop and jig for marking drilling positions</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">First Jeff showed us the process of marking drilling and fitting the square pegs into the slats of the back posts/legs.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> After marking out and drilling, the square end of an old brace style drill bit is driven into the hole, forming a nice square looking mortise. Square pegs a little less than an inch long are then roughly sharpened into semi- round shapes, but left square at the end where they will be visible above the face of the post. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">They are driven in dry and left proud about an 1/8" above the face of the post. A simple carving knife fashioned out of a marking knife is then used to taper the tops of the pegs into a nice little pyramid shape. It's a great finishing touch.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Nice carving Tony.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Hickory bark is an interesting medium. In fact I don't really think I've used anything similar, perhaps with the exception of leather. Hard when dry, the bark becomes completely pliable and leather like after soaking in water for a number of hours. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">A few future seats worth of dry bark</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Being a natural product, the variation in bark thickness and width was immediately apparent and made it interesting to try and get an even looking pattern as the weaving progressed. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here you can see the variation in colour between the far right and the rest of the chair.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Curtis had told me a long time ago that Brian Boggs had developed a bark processing machine that produced an exceptionally well finished product. Slicing the bark first into the correct width, it then removed the rough outer layer before splitting the remaining inner bark into two grades of weaving bark. It also wound it conveniently into a roll for drying. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Said contraption.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Unfortunately Brian does not use the machine much anymore and the product it produced was no longer available. It's a pity as a rocking chair of Jeff's was woven with that product, and the difference was immediately apparent when you compared the two.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jeff's rocker with Brian's machine cut bark</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jeff first ran us through the terminology of weaving, warps and and wefts and then gave us a brief demonstration before we began weaving ourselves. Jeff was also keen to point out that he had only ever had one previous student who had managed to weave a seat without making a mistake. That sounded like a fair challenge.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the home straight.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I don't know that it took us too long to weave our respective seats, but it certainly didn't take Jeff long to notice that I had made a mistake in the pattern. Damn. Well, there goes that record attempt. Tony on the other hand managed to get through the entire seat without making the same error. Fortunately though, Jeff showed us how to rectify the mistake and after some clever adjustments it was back to being a perfect pattern. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">That evening we said goodbye to Tony and his chair as he started out on the long drive back to Massachusetts. It was a great week spent with a talented woodworker. He even introduced me to the famous (infamous?) Peanut Butter and Jelly sandwich….. which I'm still not sure about?? I'm looking forward to seeing where his two weeks with Pete Galbert and Jeff lead him in the future.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Day six was a packing day. Thankfully Jeff was used to packing chairs for shipping and with some combined effort we managed to pack my chair and a good deal of parts and components for jigs into two boxes ready for the flight back to Australia. The next morning we intended to set off on a journey further South that neither Jeff nor I had previously done. A chair makers pilgrimage of sorts.........</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com7tag:blogger.com,1999:blog-8725409018758599572.post-18460807930142585312014-07-31T00:14:00.002-07:002014-07-31T00:14:49.639-07:00The next step.<span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">I was impressed when Curtis Buchanan showed me how to use a piece of string and elastic bands to find the drilling angle for stretchers into legs. Even more so when Pete Galbert introduced me to his technique of utilising a generic angle to do the same thing. Jeff Lefkowitz does neither, but instead utilises a technique more closely associated with staircase builders than chair makers, but it's effective and accurate. It's rise and run.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Essentially, instead of using a protractor or bevel gauge and angle finder to measure an angle at the intersection of two lines, rise and run is the process of measuring the rise or height of a line over a measured distance. Just the same as a staircase.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> But instead of calculating the height of the riser ( rise ) and the width of the tread ( run ) in the case of a set of stairs, the run is the distance between the two rungs, in vertical height and the rise is the difference in length between the two rungs - divided by two. It sounds a little confusing but is really quite simple.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Rise and run works well in relation to making a ladder back chair in the manner that Jeff and Brian make it. That is with predetermined stretcher lengths and spacings as opposed to stretchers that are measured after legs have been fitted to a seat, such as a Windsor. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It's also a technique that Jeff has developed to be used in conjunction with a drill press, ensuring very accurate drilling. All in all I guess what I'm trying to say is, it works well, it's supremely accurate and it worked without issue on Tony and my chairs. I'm also trying to explain all of this in a manner in which I don't jump the gun on Jeff's own blog posts on the subject here - http://www.brianboggschairmakers.com/category/chairmakers_journal/ </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It won't be long until Jeff is posting about the above subject, with some great diagrams to assist. As with the other posts in Jeff's series on the ladder back chair, the post will explain the process in depth. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Here are my front legs and back legs after drilling. Crisp accurate mortises.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Top of Tony's back leg</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After the mortises in all legs were drilled it was time to shape the tops of the front and back legs. This is largely a personal touch and Tony and I spent a bit of time playing around with some different shapes before finally shaping the tops of our respective legs.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Legs shaped, it was time to glue up. Well for Tony at least. My chair would have to wait, as it had to be packed into a cardboard box to get it home. Hide glue was used, Old Brown Glue to be precise. Jeff has also created a sliding carriage clamping jig to clamp all the parts together. Given the tolerance of the mortise and tenon joinery, the clamping jig ensured a controlled fitting of the two stretchers simultaneously making up the front panel of the chair.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; text-align: start;">Tony's Walnut chair. Beautiful.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Next was the back panel, with it's 3 slats and 2 rungs. Seemless. Then the jig was finally used to assemble both front and back panels together, again without issue and in a very controlled manner. A quick check of the chair on the flat surface of the table saw revealed a perfectly stable chair, with no wracking. Next post the finishing touches and Hickory bark seat.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">My Cherry chair, strapped in ready for the flight home.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-59557509076530139542014-07-27T06:17:00.000-07:002014-07-27T06:17:42.656-07:00“Take Me Out To The Ball Game”I don't follow Aussie Rules and rarely stop to watch the cricket if it's on the idiot box. Suffice to say I'm no sports nut, but when Jeff and Tony suggested we go and watch a college ball game after a day in the workshop, the response was immediate - "I'm in." When in Rome as they say.<br />
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It wasn't like watching the Cubs at Wrigley Field ( thanks again, Dave and Stacy ) but it was great to get out and see some local entertainment over a concession stand hotdog or two! Tony and Jeff even ran me through the basics of the game…. possibly with the exception of the 'balk?' I saw it happen, but I still have no idea what happened? Great ball game though.Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-5959249052199295532014-07-26T08:48:00.000-07:002014-07-26T08:48:05.220-07:00New lessons on an old chair.<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
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<span style="font-family: Arial, Helvetica, sans-serif;">A few Jeff made earlier….</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the first day at Jeff's workshop we were shown the various incarnations of a 'Boggs style' 3 rung ladder back chair. Prior to teaching the chair to others Jeff had taken numerous classes with Brian to learn how to make a variety of these chairs. From Greenwood versions to the complex rocking chair. Jeff stressed to us from the start that the class was not the same as taking a class with Brian. It soon became apparent why. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">After a short time leafing through the extensive manual provided by Jeff and looking over the array of well made jigs, it's evident that Jeff has analysed every part of the chair down to the last detail and set it out in a clear and comprehensive manner. Being a graphic artist by profession, Jeff's computer rendered manual is about the most analytical I've seen. It puts mine to shame, that's for sure.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Now I don't intend to go through every minute detail of making the chair as I don't think it would paint a realistic picture of the process. Instead I thought I'd provide an overview of the weeks class and a pic here and there. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The first task was to prep the back legs for steam bending. We had that done and the parts in the steamer prior to lunch. These parts are thick and were in the steamer for about 2 hours. After lunch they were bent, as previously stated, in a very well made bending form and left for an hour or so before being moved to a drying form to set. This bending jig is a beast and really makes short work of bending a comparatively large section of wood. It's hard to see here but under the heavy black steel strap sits another stainless steel band to stop the wet wood reacting to the iron and leaving black marks.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> After this the back slats are bent too.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Cherry for me Walnut for Tony</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As the legs take a few days to dry, and work needs to commence on those legs straight away, Jeff had already prepped our respective legs days earlier and had them dried and ready for us. The legs and slats we bent would be used by a future student. Hope you like them whoever you are!? Legs are then further milled and tapered.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Day two consisted of mortising the tops of the legs , again with a well made and simple jig Jeff had devised. This went quickly and without issue. Slats were measured, marked out and the process of rough shaping and fitting them began. To say Jeff aims for a close fit is an understatement. No 16th's, 32 nds or millimetres here, its all about hundreds of thousands of an inch and to a tolerance of a couple hundreds of a thou. Yep a bit of a side step from my usual method of shaving a spindle with a spokeshave until it fits in a hole in a block of wood! I can't say I raced through this, but the final fit was great. Tony certainly showed me how it was done here. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">just like red cars, shiny drawknives go faster….</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">That afternoon however we saddled up in the shave horse and rounded a 'practise' front leg from square to round. Same principle as spindles here and it felt good to be on the business end of a drawknife again. Jeff had one of Lie Nielsen's drawknives, which was a nice knife to use.....and shiny too.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Day three began with rounding and shaping all the legs front and back. Given that the back legs are no doubt a focal point on these chairs, a care is taken to mark them out and shave them very accurately throughout all the steps, square to octagon, tapering, then to 16 sides, etc etc.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Once the legs were rounded and scraped smooth it was rung mortising time. I found this part very interesting as it diverged from the process I was familiar with of finding the relationship of the stretcher to the leg and expressing it in degrees or the Galbert method of utilising a generic angle to both mark and drill the mortise. It's a great way of finding and expressing angles and works well utilising a drill press. But I want to do it justice in explaining it so please tune in for the next post.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-8147976831414287382014-07-24T14:36:00.000-07:002014-07-24T14:40:56.733-07:00The Where and The Why.<div>
<span style="font-family: Arial, Helvetica, sans-serif;">So after about 10 hours in the car I arrived just before dark at my next stop and the original reason for me coming to the States. To make a Brian Bogg's style 3 rung ladder back chair with Jeff Lefkowitz. Jeff has been teaching people how to make Brian's version of this iconic Appalachian chair for a number of years now and has made chairs with Brian, Pete Galbert and Curtis Buchanan in the past too. So his knowledge of chairmaking is quite broad.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Jeff and his wife Cathy were also very kind in offering me a bed for the duration of the course which meant that travelling to the workshop of a morning was a short walk along a wooden boardwalk as opposed to a trip in a car. Jeff and Cathy have lived in their house on the outskirts of Strasburg, Virginia for over 30 years. It's set off the beaten track a little, on the side of a hill and surrounded by forrest on a couple of sides and farms on the others. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Whitetail in the woods.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">This young doe was and others like her, often with fawns at foot, were a common site. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Tony left, Jeff right</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Also on the course was Tony, from Great Barrington in Massachusetts, who had actually made a chair with Pete Galbert a week or so before I arrived in the States. Apparently Tony had found out about Pete after Jeff had told him that I was going to visit Pete when I arrived. It's great how these connections come about. After chatting for a day or so, I found Tony had a very similar eclectic range of careers like me, prior to getting involved with woodworking. And, after a few days with Tony in the workshop, it's obvious he's made a good choice.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The first thing that is apparent when you walk into Jeff's shop is how well it's set out. Two rooms are connected by a large opening, with machinery in one and a bench and hand tools in the other. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">On the machinery side of things, there's pretty much everything you'd expect. Table saw, jointer/planer, thicknesser, mitre saw, drill press, bandsaw, lathe, dust extraction etc etc. What is surprising is how well it all functions in the space it's contained in. It's done well.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Good low level chair makers bench.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The bench room is no different, a well thought out workbench with simple but effective wood racks on one wall, mass clamp storage through to sharpening stations and plenty of cupboard space. Handy rolling benches also offer good storage and effective clamping stations.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Good food for thought in all of it.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The Beast in Question</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Now about the chair. You might ask why a windsor chair maker would want to make a ladder back chair? No? Ok well I'm going to tell you anyway. Returning to the home of the chair I make reminds you instantly that Australia is not the ideal place to make American Windsors.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Our wood essentially just does not cut it. Before I get a barrage of emails telling me that I'm barking up the wrong tree ( pun intended ), let me expand on the last comment. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">We have timber that splits well and we also have timber that bends well, but a lot of those species, such as Blackwood, Mountain Ash, Celery Top Pine etc etc are not easy to come by, in that tall straight examples are generally locked up in National Parks or other areas that are no longer accessible. Other species that meet certain criteria well, often fail elsewhere, say by being too heavy. So that leaves bifurcated garden, paddock or street trees often as the only option. Not ideal chair wood. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6W-IbWCiKpGVJm6rzexnpZGXpJDx0r6N32PypHVQhV1d6QrwfXqFLB0vvarnoHDvW6tOJJhQ3XKo82ct38DhotrAT_3bIlx-MDgvSXMRfwrNil_soyziuNFuE0mJtSIV3204D0PKE5FjE/s1600/IMG_3897.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6W-IbWCiKpGVJm6rzexnpZGXpJDx0r6N32PypHVQhV1d6QrwfXqFLB0vvarnoHDvW6tOJJhQ3XKo82ct38DhotrAT_3bIlx-MDgvSXMRfwrNil_soyziuNFuE0mJtSIV3204D0PKE5FjE/s1600/IMG_3897.jpg" height="400" width="300" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;">With 30" spindles this is not the sort of chair you want to make with short grain issues!</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">When you add into the equation the long lengths needed for parts like the crest rail for a Continuous Arm ( 1485mm/49-ish" ) or say spindles for a Comb Back arm ( 760mm/30" ) that's when problems arise. Even species like the Pin Oak ( Quercus Palustris ) which thankfully were planted in plentiful numbers, just aren't the same as the Red Oaks of the U.S.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Which brings me back to the 'why?' I want to make traditional wooden chairs. Chairs with great joinery techniques, chairs without screws, nails or epoxy being the critical element holding them together. But having made Windsors for a few years now, chairs that are more suited to the timbers I have to work with. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">I've been making one of the more difficult traditional US Windsors for years now and dealt regularly with the limitations of our timber in making it well. The Continuous Arm for instance, is not the right chair for the place I live and work. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Which is why when I return, I'll be offering Windsor chair courses and chairs that fit that criteria more closely. The ladderback is one of those chairs. No, it's not a Windsor, but 50mm/2" thick seat stock is also becoming difficult to source, so in a way it fits the bill even more so.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">But it is also an exceptionally strong and well made chair, and the alterations Brian Boggs has made to the traditional design, mean that it is also exceptionally comfortable. It's not the end of me making and teaching the Continuous Arm Chair. It's just the beginning of making and teaching even better chairs. I hope you enjoy the journey.</span></div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-70978778150428575922014-07-17T19:29:00.000-07:002014-07-17T19:40:04.219-07:00See you soon<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTjips-GFiTcL4NQtxPt-BuGpr57EQJ_44YwXkjAPauQsAMxOxwYxdj0Ozc5ek9fYEGVnexHFlcFgyAOYWYKfV_OJgPsmpGKnMbHlyUL_WB83umosXLESlIwi2xSQrogFXgLpubEmUOn8k/s1600/IMG_3718.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTjips-GFiTcL4NQtxPt-BuGpr57EQJ_44YwXkjAPauQsAMxOxwYxdj0Ozc5ek9fYEGVnexHFlcFgyAOYWYKfV_OJgPsmpGKnMbHlyUL_WB83umosXLESlIwi2xSQrogFXgLpubEmUOn8k/s1600/IMG_3718.JPG" height="231" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">It had to end sooner or later, as most good things do. And so last Sunday morning Pete and I jumped into his pickup and he dropped me up the road at the hire car place for the beginning of another leg of the journey. Back on the road again.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">There's so much I could say about the past few weeks spent in the company of Peter, Claire and Charlie, but I'm intentionally going to keep it brief. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">People who know me well will also know my fondness for Winston Churchill quotes ( particularly the one about the occasion he was drunk and rebuked by Bessie Braddock, who in turn was told she was ugly....but I digress ) So Pete this ones for you. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">'Without tradition, art is a flock of sheep without a shepherd, Without innovation, it's a corpse.' Winston Churchill.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"> Your the innovator mate that will ensure the art of Windsor chair making lives on. Thanks.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Charlie and Claire and young woodworkers like them, are the future of woodworking in the U.S. and in my eyes it's in good hands. Their obvious thirst for knowledge, considerable talent and energy are inspiring. Their sense of humour is infectious and woeful attempts at Aussie accents hilarious. You're in good hands too guys.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Sterling's loss is Asheville's gain. I expect and hope it won't be too long until I see each of you again soon. </span></div>
Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-90550942182964678572014-07-15T21:38:00.001-07:002014-07-15T21:38:56.147-07:00That's some House….<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4OCiCVwVOpSmgZ0Y5uJ4eXPgzFkbVuf4wO51_9kJlnLnUBrxyHLK08qBPbmqKYaXjoBRhblnog1FJ-WKxrEwrWEUDP90xK8qGuXV3uVRe6hisA-dveCSXox6CDx3sy2lqe41e_jXF0ar/s1600/Unknown-1.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC4OCiCVwVOpSmgZ0Y5uJ4eXPgzFkbVuf4wO51_9kJlnLnUBrxyHLK08qBPbmqKYaXjoBRhblnog1FJ-WKxrEwrWEUDP90xK8qGuXV3uVRe6hisA-dveCSXox6CDx3sy2lqe41e_jXF0ar/s1600/Unknown-1.jpeg" /></a></div>
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When I arrived at Pete's a few weeks back, we we sitting on the porch chatting ( possibly having a beer? In fact a 'Lagunitas' - 'A Little Sumpin' Extra Ale,' rated 5 Star by Ratebeer.com..... sorry, got a little sidetracked there ) when Pete mentioned that he was demonstrating at the Lie Nielsen Open House Event in Warren, Maine the following week. </div>
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"Oh, that's awesome!" I said. I'd just tasted the beer...... Oh, really Lie Nielsen eh? "Yes," said Pete, "and you should come along." And so after a lot more beer and a lot more days, I did.</div>
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So with the pickup packed, we headed up the Highway for Maine. I don't know that I had any pre-conceived idea about what the Lie Nielsen workshops/factory might look like, but it was exactly what I had hoped it might. Very cool indeed.</div>
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It's a little odd to be at a show like this when your surrounded by the likes of persons you've previously only known via magazines and the internet. </div>
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Taking a photo of Peter's axe was the only way I could see it not moving….</div>
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Highlights? The whole weekend. From Peter Follansbee carving spoons and bowls to meeting Mary May, hanging out with Charlie, Claire and Pete at their bench and us all having dinner together with the very cool Tico Vogt. </div>
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Listening to Christian Becksvoort speak about his Shaker reproduction furniture and having an array of very nice Wetterlings Axes to play and chop out spoons with and meeting their CEO Julia Kalthoff.</div>
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Having access to test drive every hand tool made by Lie Nielsen to meeting and speaking with Tom Lie Nielsen and Deneb Puchalski themselves. It was all great and very enlightening. </div>
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That's 100% authentic Maine Seaweed steaming away…. </div>
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Oh, and did I mention the Saturday afternoon? It's apparently a Maine tradition. A good 'ol fashioned Losbster Bake, with corn on the cob, clams and hard boiled eggs ( oh, and more beer ). I'll let the pictures do the talking…..</div>
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170 odd Maine Lobsters right there!</div>
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Now that's how to cook corn</div>
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Ready…</div>
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And if that was not enough, we were treated to Peter Follansbee doing what he does best, inspiring us all, by talking about what he does. </div>
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Magic stuff indeed. A big thank you to all who were demonstrating there, giving a little bit of themselves to make a great weekend for the rest of us. And particularly, thanks Mr. Lie Nielsen, it was quite a show. Cheers.</div>
Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-19358783853115577682014-07-15T20:42:00.001-07:002014-07-15T20:42:19.528-07:00Jeepers.<div class="separator" style="clear: both; text-align: center;">
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Seen whilst on the road. Makes you wonder what the drag coefficient is on a crucifix ?? </div>
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Sweet rims, colour coded bumpers and tinted windows too….</div>
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<br />Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com0tag:blogger.com,1999:blog-8725409018758599572.post-8102350914729594692014-07-15T19:28:00.002-07:002014-07-15T19:28:49.711-07:00Ahhh Brimfield<div class="separator" style="clear: both; text-align: center;">
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Just over an hour West of Boston is the smallish town of Brimfield. It's the usual quiet New England style of place, with a big white weatherboard church and the like....... except on the day Pete and I arrived. Where the place is transformed into the biggest antique market in the US, with over 5000 dealers spread over a mile and about 80 acres of field. And they run it 3 times a year.</div>
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I've been to a lot of garage sales, flea markets, car boot sales and antique fairs back home, but really, this was crazy. By the time we had walked around for a few hours and had to sit down to the best pulled pork roll I've ever eaten, I reckon we would have been lucky to have perhaps seen 5% of it. If that.</div>
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It was insane. In fact I had sort of given up by then too. In the sense that the more cool stuff I saw the more it frustrated me that I was in no position to get it home! .... But here's a snapshot or two.</div>
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I can see me riding to work on this....</div>
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Or paddling down the Campaspe River in this.....</div>
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Yes this is really the only Harley Davidson I've ever really wanted....</div>
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Nice old tredleys, barn fresh as they say...…</div>
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Cast Iron Sir? How many ton would you like?</div>
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This guy had the pick of the tool selling tents we saw... and the highest prices too, but the range and quality were astonishing…. this was one of 3 isles.</div>
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By far one of the highlights and there were many, was this dovetailed chest with a coopered lid.</div>
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As clearly painted on the front it was made around 1838, dovetailed, beautifully painted and had a handmade lock and key. Stunning piece.</div>
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So did I pick anything up? Silly question really.</div>
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Quite early on I saw this little 1880's Gerstendorfers Gold Paint container. On opening the lid the instructions, 2 piece paint brush and original bottle with golden contents sealed by a cork were all there. Snapped that up. </div>
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Then there was an old 1940's Mallard decoy, which although not hand carved, has a great patina. </div>
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An H.F Osborne round leather knife, HF was CS Osbornes brother, who CS bought out around 1905, which means that any HF Osborne tool has definitely had a long and interesting life.</div>
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A Barton Hoop driver for the bucket courses back home.... Get a load of that George!</div>
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Plus a couple of other bits and pieces. Moral to the story, if your in Massachusetts when this show is on, get yourself there and make sure you've had your vitamins for the day, it's incredible.</div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com4tag:blogger.com,1999:blog-8725409018758599572.post-77138540813121363462014-07-13T20:52:00.000-07:002014-07-13T20:52:00.797-07:00Where do you go?<div>
It's an interesting prospect making Windsor chairs for a living in Australia. On one hand your a relatively good sized fish in a small pond, demographically speaking. On the other, there's none too many other chair makers just hanging around for you to chew the preverbial fat with. And so, with the exception of good mate Bern, I tend to spend time searching for inspiration, as opposed to perhaps being inspired by others plying the same craft.</div>
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So you can imagine what it is like for me to be fairly and squarely in the workshop of one of the States best Windsor chair makers and a house full of his creations. Suffice to say it gives you food for thought.</div>
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Playing with the Tim Manney made Adze…. amazing fun</div>
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The time to actually be present in a workshop that is not yours and doesn't have all the limitations and boundaries of your own, is an interesting place to find yourself in. To have time to carve or steam bend a part that is not earmarked for a commissioned piece, but to you is an exercise purely in honing skill or understanding a technique in a greater sense, can be very rewarding. To have no time limitations is a bonus too. To work green and dry timber alike, that is of text book quality as opposed to scrounging for a log of that species, let alone one that is straight enough to fashion a spindle from.</div>
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It seems a lot like a dream at present. Pete put it well just the other day when Charlie expressed concern to him about me being out in the heat splitting maple. "Don't worry about him, he's just having fun experiencing what it's like to be a chair maker here."</div>
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Oh Well, I guess I'll make another few spindles outta this horrible wood...</div>
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But there's also a more confronting aspect to the picture. It begs the question, are you becoming staid? Are you at the forefront of your craft or is isolation from or lack of interaction with other makers meaning that you are treading water? I've asked and answered that questions of myself a few times since I've been here. ( No, I'm not audibly talking to myself in a corner somewhere ).</div>
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There's been no real resolution and I think I'll have to see through the end of the trip before I'm quite assured of the answer, but I am content that the process of asking those questions is valid given my circumstances. And hell, even if the ultimate answer is not what I want it to be, then more reason to work towards changing that, and achieving the right end goal. Win win eh?</div>
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But while on the subject, I feel very fortunate to have been a guinea pig of sorts for a while in Pete's workshop. As you would all be aware Pete is currently in the process of writing his book on Windsor chair making. He has also kindly given me access to parts of the draft copy to read. </div>
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One part was in reference to a technique for fitting a part of one of the chairs featured in the book. Pete asked me to read it and then based on that, complete the physical task on that particular chair part </div>
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( sorry I can't give away any more detail for obvious reasons ) But what I can say, is based on Pete's text and illustrations alone I completed the task and it worked about as perfectly as you could ever want. I was supremely impressed.</div>
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So how good do I think this book will be? Well lets just say that I will strongly recommend that anyone taking one of my classes in the future reads Pete's book first. Despite the fact that in doing so they probably won't need to take a class with me at all.......?? Hmmm might have to rethink that one…. </div>
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But seriously, I honestly believe it will be the 'go to' book of our time for anyone wanting to make Windsor chairs. It truly is that comprehensive. And it is beautifully illustrated by Pete too. He is a rare talent.</div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com4tag:blogger.com,1999:blog-8725409018758599572.post-29774338429595070832014-07-07T12:52:00.000-07:002014-07-07T20:28:55.541-07:00The Leach FactorA trip to Massachusetts for me now is not going to be complete without visiting the home of Patrick Leach. You may know Patrick from his monthly tool lists which contain a plethora of quality tools, including a couple of special categories for wooden and Stanley planes and the like.<br />
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Or possibly from his reproduction of the famous Stanley No.1 under the guise of the <a href="http://www.supertool.com/601.htm">The Superior Works</a>.<br />
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Then there's Patrick's Blood and Gore, his famous information overload regarding Stanley planes. Or perhaps you just remember the post I wrote about him the last time I was here in 2011. Here it is - <a href="http://rundellandrundell.blogspot.com/2011/11/joseph-goostrays-pattern-makers-chest.html">Patternmakers Chest</a>.<br />
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But which ever is the case, a visit sure makes for a fun afternoon and Patrick did not disappoint this time round either.<br />
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I had purchased a few tools here and there from previous tool lists and had asked Patrick to hang on to them rather than send them, as I knew that I would be here to collect them in person and what better excuse for a visit.<br />
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On arrival we were greeted with the view of a 'barn fresh' 1922 Buick sitting outside the garage. According to Mr. Leach, he is the second owner and from memory I think he said that it had done less than 25,000 miles. Pretty sweet eh?<br />
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The original green paint was terrific. What a great colour.</div>
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Got to love that tail light.</div>
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So down to business and I had a look over the things Patrick had put aside for me. A hatchet and set of number stencils made from copper sheet, a Millers Falls sharpening jig and a nice old Slick- cranked too!</div>
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A quick look around the rest of the tools and Pete asked if Patrick would mind showing Charlie the 'Inner Sanctum' to which Patrick readily obliged. ( see above post for some insight ) While we were all collectively drooling at the museum quality pieces jammed in like sardines I spied something I hadn't seen last time. A canon.</div>
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in situ</div>
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Yup, you read it right. A canon. Sitting there, plane as day under the work bench. "What's the go with the canon Patrick?" "Oh that's just a Winchester canon, they made a ton of those things, drag it out."</div>
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Although only smallish in size, the little canon was a beautiful bit of work. Apparently they were made primarily as a starters canon to fire blanks and operate with a 10g shotgun shell blank.</div>
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" Oh what the hell, we didn't let off any crackers for the 4th, let's go and fire off that little b*#%@d!"</div>
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Need I say more :)</div>
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<br />Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com2tag:blogger.com,1999:blog-8725409018758599572.post-1685855137217673732014-07-06T17:15:00.001-07:002014-07-06T18:46:44.524-07:00It's a Chinook Salmon!The East coast of the United States, for those of you who haven't ventured there, is a pretty green sort of place. Sterling Massachusetts is no different. Sure we have 'green' at home, but a more drab eucalyptus sort of green. Here it's lush, vivid green, made up of a dense canopy and undergrowth of Maple, Oak, Hickory, Pine, Birch and a whole stack of other stuff. And it's no wonder when you experience the humidity from heavy showers and healthy sun like we have the past few days here. It's a recipe for growing trees. Good straight ones.<br />
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So on the first day out of the blocks at Pete's I weighed in for an hour or so…….splitting blocks. Or logs really, with Charlie in the front yard of Pete's place. Charlie is one of a talented pair ( Claire being the other ) of young furniture makers currently staying with Pete.<br />
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Under a tarp in the front yard is a pile of Oak and Maple logs. "30 bucks a log for the maple," said Pete with a grin, as I muttered something under my breath. I don't think the White Oak was any more expensive. Now a couple of the logs had a bit of wind to them, but compared to our White Oak and Hard Maple logs back home……..oh yeah, that's right, we don't have them do we.<br />
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So as Charlie busted open the Oak log I measured out 2 foot lengths around knots and the like on the maple flitches, then docked them to length with the chainsaw.<br />
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I then started to break those respective quarters down with the wedges and froe into 2 1/4" slabs, then<br />
2 1/4 " square blanks.<br />
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Said slab.</div>
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And Leg blanks</div>
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But as I began to split those parts out, I noticed one big problem. The rotten things were all figured. Damn, talk about all the bad luck eh?</div>
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You can see it more readily in the bottom block.</div>
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And here in the ones I rounded down and the double bobbin leg I turned. Bummer eh?</div>
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So of course when you have such bad luck with rubbish maple, then what's there left to do but split Oak. The following day, amongst other stuff, I went down, cut a another couple of lengths off the Oak flitches Charlie had split out, marked them and started splitting some spindle stock.</div>
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Well that's a bit more like it. Nice even growth rings and straight long grain</div>
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Well, I guess you might call that split 'ok?' You know, if that's as good as you can get it. So I started splitting a bit more out.<br />
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Mmmm, not bad. 1 inch square and straight for about 2 foot ( 600mm )…..<br />
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Now that's a fairly good pile. enough for a couple of side chairs. And so about that time I showed Pete. "Oh, that's kinda curly which is not ideal for spindles, I'll go and ring the guy I get my logs from and see if I can't get another log."<br />
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It immediately took me back to those 1980's John West salmon and tuna adds. You know where the Aussie guy is in Canada and is blown away by a big Salmon a Canadian fisherman is holding. The Canadian proceeds to tell him it's rubbish. "it's a Chinook! Chinook salmon, flesh is too course, colour's all over the place, not enough oil. John West buy all our best salmon." "Ahhh" says the Aussie. "So this is fish John West reject?" "Riiiight." says the Canadian. Then blazed on the screen. It's the fish John West reject that make them the best……..<br />
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And so, the figured spindle stock was rejected……And that's why Pete is making the best chairs going around.<br />
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But to hell with that! So I made them into spindles :) I'm comfortable being that other guy, when it comes to that wood. Chinook or not.</div>
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And I have to say, curl or no curl, they were pretty damn fine to shave down. I even made a few spares. I think a little bow back side chair when I get home might just be the place for those horrible curly spindles.</div>
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Amongst other things it's just been nice to have the time to chat with Pete about all things chair related and his latest work. And to delve in deeper about green wood to.</div>
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Here's the blanks I rounded down, turned by Pete into Baluster legs. (yup, there's that nasty fiddleback again) These things are that green that not only are the tools wet afterwards, but look at the moisture contained below those bulbous sections. Makes you want to grab them and wring them dry.</div>
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Pete's workshop, no matter what is going on in there, is a great inspiration for anyone being there, whether taking a workshop or not. Stay tuned for more….and less about salmon.</div>
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Glen Rundellhttp://www.blogger.com/profile/09691688542690125957noreply@blogger.com6