Salad Tongs (great wedding gift!)

I found the inspiration for these salad tongs while perusing old magazines. They are a perfect way to use pieces of cherry veneer that are too small for tables and cabinets. They are finished with a light coat of a food safe oil. All they need after tossing your salad is a gentle wipe with a damp cloth. Your salad oil will further enhance the finish. These are not dishwasher safe. Click on any of the images to go to my Etsy shop where it is easy to place an order.

Oh btw, a set would also make a very nice house warming gift.

A small table from scrap pieces

I had intended to post part II of the Three Rivers series before posting about anything else, but it has been some time since I’ve posted about furniture and I’ve just finished this new piece so I thought I’d sneak this post in now.

We needed a table of just the right height to hold a fan in our bedroom window at home.  Although I am in the midst of a pretty big project just now I thought I’d check out a few of my scrap piles to see if there was anything there to inspire me.

And, while I was at it, maybe I’d check out the paint locker and see what was lurking in there.

Here’s what caught my eye:

A couple of pieces of MDF, some interesting walnut cut-offs and a nice green latex paint.

I glued up the MDF pieces into a block 1-1/2″ thick-

Cut the walnut cut-offs to a uniform length-

Then drew a pleasing curve to shape the legs.

I cut out the first leg, used it as a pattern to trace out the other two, cut them on the bandsaw and sanded the curved cut.

Next I created a guide for my router to cut out the mortises into the top that would hold the legs.

The legs were rounded over on the router table on the long straight face.

I used a variety of implements to draw out a pattern for the top, created a template for 1/2 of the top, transferred that shape onto the top, flipping over the template to get the other half so that the curves would be symmetrical and shaped the top.

I wanted to create an interesting joint detail where the legs met the top. I did some sketching and decided that the top should have its bottom edge rounded. This was done on the big shaper, a finger chewing machine if there ever was one.

I managed to get the top rounded with out loosing any fingers and proceeded to cut the mortises on the under side of the top using the jig I had created earlier.

I adjusted the fit of the legs into the mortises by carefully sanding down their final thickness.

You can start to see what this table will look like at this stage. I still need to square off the round corners left by the router bit in the mortises. I did this by hand using a sharp chisel.

Now I was able to see if the joint detail came out like I had hoped.

OK, this was what I wanted. A look as if the legs were cradling the top. This is reminiscent to me of the original tripod that held a bowl or tray from eons ago.

And here’s the table before finishing:

I painted the top, glued in the legs, rubbed on some of my special oil/ varnish mix and the table was complete.

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The next table. part 4

The delivery date nears and I still want to apply a few more coats of finish so it looks like, once again, I won’t be able to take the time to properly photograph a piece before it leaves the shop.

I have been building up the polyurethane finish to a point which I can then sand it flat.

At this point the table is ready for the final coats.

Although these shots don’t really show it there is a subtle wood grain showing through.

Here’s the table with two more coats to go.

Part 3 is here.

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The next table. part 3

With the veneers glued on I do some final trimming of the top.

I use sharp chisels with masking tape applied the areas that will ride along the face adjacent to the veneer being trimmed so that I only cut what needs to be trimmed. A sharp knife and guide board also comes in handy.

I then use a card scraper to flatten the veneers.

Once everything is as flat as possible without scraping through the veneer to the paper backing beneath I apply a black dye and start building up the layers of polyurethane finish.

This process will take some time and will require a few adjustments as it progresses. I’ve started with gloss polyurethane varnish to build up the base coats but will finish with a semi-gloss finish. It is important to keep the shop, or at least this area of it, as dust free as possible while the varnish dries.

Part 4 is here. Part 2 is here.

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The next table. part 2

So, the “machine” turned this:

into this:

And this is the lower part of the table. A top will be added to this. Then I will apply the veneers. In this case I am using maple veneers on a paper backing.

Each piece of veneer is  trimmed to prepare for the next piece  on the adjacent face.

I am using a very sharp, rather flat carving gouge to trim the veneer. One wrong move and… well it’s not worth thinking about at this stage.

I don’t use a vacuum bag to clamp  these veneers, primarily because I don’t have the set up. Instead I use just about every trick in the clamping book.

I am using weights, clamps (shop made and store bought) and long spring sticks that go up to the ceiling. I have a product known as kerf-board ontop of the veneer to help spread the clamping pressure. The most important thing is the glue I use. It is made for applying this particular kind of veneer, that is,  paper backed veneer. It is a water based contact cement that you set by applying hand pressure with something known as a veneer hammer. The glue needs to be “dry stacked”,  that is,  have some pressure applied,  for 24 hours after you use the veneer hammer, so that is what all of this in the above picture is about.

Just before writing this I just finished applying the final piece of veneer, the top piece, and will post the final finishing steps soon.

part 3 part 1

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Oh what a long time it’s been…

…since I’ve last posted.

I have been working on such a number of interesting projects. There’s one, really interesting one that has been mostly in the planning stages.  I’ll have to wait just a little longer before I can post about it. But, I’ve been busy in shop as well.

I’ve been working on a couple of tables for a long time client. Both of these are headed for my client’s Florida home. The first one is a very large coffee table. It measures 88″ by 55″. But the wild thing about it is that it is not flat. The top is wavy.

Todd cutting the table to size.

Here I am cutting of the end of the glued up butternut planks. The table was too big to run through my table saw and a sharp handsaw works just as well.

The planks had a natural curve to them so during glue up I took as much advantage of this as possible.

Carving the surface with disc grinder.

Here you can see some of the waviness. The table was so large and heavy that I had to plan my work to minimize how often I turned the piece over. I carved out the bottom face first then flipped it using a block and tackle.

I used a number of tools to shape the top.  Here are a few, ready at hand.

The final sanding was very tedious, but since this table was to be varnished with a gloss spar varnish it was very important. I spent a lot of time carefully sanding the top.

Careful sanding was a must.

The table is wrapped in blankets now and I haven’t taken any pictures of the final finish. I’ll try and get to that before the trucking company shows up.

Update: I found s few more images.

One of the base units being fit to the table top.

This and the next picture is of the table upside down as the two boxes that act as the base for the table are being fit to the wavy underside of the table top.

The 2 base boxes being fit.

The next project was another table with curves, for the same clients. That’ll be in the next post.

Update 2: I pulled back the blankets and took a picture of the finished table top.

Steel, Stone and Wood

Go to the bench stone, use your two hands and achieve the fundamental knowledge, experience and wisdom in your heart and mind. -Toshio Odate

The sharpening area in my studio.

Sharpening high carbon steel is basic to working wood.

Years ago I use to take all of my saw blades, jointer and planer knives and shaper cutters to a man who ran a small sharpening shop just west of downtown. Besides sharpening tools he also sold machinery, power tools, planer and jointer knives and saw blades. He had been connected with woodworking for many years and knew a lot about the trade, the tools, the people and the shops in Milwaukee. I wish I could remember his name. We always called him the guy out on State Street. His shop was actually a block north of State Street, but there wasn’t much else out that way back then so you could always find him if you drove just west of 12th Street on State.

There was a time when most large companies had woodworking shops as part of their organization. I was in one once, as it’s tools were being sold off, that had been on the top floor of a very large department store in the heart of downtown.

When I bought my table saw at an auction the guy on State Street knew that very saw. He asked me if there was still a stain on it from the time such and such had cut a couple of fingers off. The stain is still there, a reminder of the relationship between consequences and inattention.

I bought my shaper from the State Street guy. I discussed it with him for some time working out what I needed and what I could afford. He then ordered it from the manufacturer, set it up in his shop to make sure it worked, made a few adjustments, took it apart again and then delivered it and set it up again in my shop. He showed me a few of the more obscure aspects of that machine even throwing in an extra spindle at no charge. He was generous, but it was also good business. He knew that I was likely to buy more shaper cutters from him if I had two different size spindles.

He sharpened my blades and knives for me but I sharpened my own chisels. Wood chisels have to be kept very sharp at all times or they can be a dangerous tool. If the blade doesn’t do what you are intending it will likely slip. A slip with even a dull blade can cut through skin, tendons and muscle.

There is much said about how to sharpen tools. Just about any discussion among folks who rely on tools tends to get very esoteric about every detail in sharpening. Some folks swear that certain oils used to lubricate the sharpening stone are critical to a “truly sharp edge”. Others insist on particular stones mined from a particular region in Arkansas are absolutely essential to obtaining the “truly sharp edge”. Angles of bevels and micro bevels are studied and discussed. Some sharpening stones are best lubricated with oil, some with water. Water stones need special treatments.

I would walk into the State Street guy’s shop and bring up some of these cabalistic axioms, maybe hoping for some sage advice to set me on the path to the “truly sharp edge”. He took pity on me at some point eventually taking me back into the shop where his one employee was finishing up a set of jointer knives for me.

I don’t know what the guy on State Street would’ve thought of Toshio Odate’s words about sharpening. He died of prostate cancer some years ago. His wife tried to keep the shop open for a while, but what that shop offered was him and he was gone. The many wood shops around the city were gone as well. The neighborhood had gotten rough. One day I found a sign on the shop that it had closed.

What I did learn from the guy on State Street was that there really is no one path to the “truly sharp edge”. He showed me that he used water to lubricate an “oil stone”. That the grit of the stone was what he paid attention to, not where the stone had been mined or manufactured. He showed me that it was how you held your body, when you stroked the blade over the stone, that held the blade at the right angle. In a way he showed me that it was my steel, my stone and my wood that counted.

My set up works for me. I can stand comfortably holding the blade to the stone. I can lean as one with the blade, my hand, my arm, my back moving across a stone that I’ve had for at least 20 years. Water is at hand for lubrication.

I get my knives and blades sharp enough to easily shave a few of my hairs off the back of my wrists. That’s sharp enough. I know how sharp they are so I know how they will work the wood. I feel the cutting and know when to sharpen again. It takes time when I use my two hands. A very deep, very long time.

Carving

In going through my images I also came across this carving I did for a name plate for the boat China Swan. Some of you that sail in the Milwaukee area may recognize the name. The name plates were carved in Honduran mahogany, the owner applied the finish and installed them.

Surf Board Table III -vi

I mix a custom blend for my wipe on, oil finish. After the oil mix is applied I allow it to soak into the wood then wipe it dry. I’ll apply at least three coats, buffing with very fine steel wool in between coats. Each coat takes a day to dry.

After the second coat of dye dries on the base I’ll apply the oil mix over the dye.

 

Next

Surf Board Table III -v

I’ve attached the cross pieces onto the base structure and after a little final sanding it is ready to be dyed black.

I use a water based aniline dye. It will take two applications with some light sanding in between to give a nice even color. The water based dye will not fade when exposed to uv light as will alcohol based dye. Water based dye does raise the grain a little, hence the extra sanding step.

While the base dries I work on sanding the edges of the top.

It’s important to not overlook any detail at this stage. Soon I’ll be applying the finish and any touch-ups or adjustments will be very hard to do after that.

The edges are staring to look nice and wood grain is starting to show it’s beauty. The top needs a final sanding and I will be ready to apply the finish.

As I work through ever finer grades of sandpaper, to bring out the true beauty of the wood, various small scratches begin to appear. They were always there, but were so fine that they weren’t visible until the wood around them is sanded with a very fine grit. The scraper takes very fine shavings off these areas, which will then be further sanded so that the top has a uniform, very fine, surface.

Next

Surf Board Table III -iv

The table base is glued up. While the glue sets I’ll start sanding the boards I’ve glued up for the top. First I set up some cross pieces on a work bench.

By using shims I can get the three cross pieces aligned in a single plane. This helps as I need to now sand the top as flat as I can. Having the work piece rest on a flat plane helps a lot. And now I begin sanding the top. Table tops take a lot of sanding.

I start with a belt sander.

To make sure that I am sanding the work piece flat I check it often with a pair of winding sticks.

And then I go back to sanding. Eventually I get one face flat, then I turn it over and work on the other face. After an hour or so of using the belt sander I turn to a jig I developed some years ago to further flatten the work and to take out the machine marks left by the power belt sander.

It’s good exercise!

When the top is flat and smoothed I lay the pattern back on it, trace the outline one more time and then cut it out with a jig saw.

Sorry about the dust on the camera lens. Things are pretty dusty at this point.

The sawn edge is smoothed by using a sharp block plane.

The edge is then rounded over with a router.

And the top is starting to look like a surfboard.

 

Next in the series.

Ice storm today

Today we are being hit with an ice storm. The forecast is for up to 1/2″ of ice this afternoon. No way was I about to drive my old pick up truck into work this morning. I live on one side of the Milwaukee River and my shop is on the other side. You have to travel down into the river valley and then back up going in either direction and the roads can get pretty treacherous with an ice covering. Luckily I only live about 2-1/2 miles from my studio so when I need to I can walk. There have been times when I’ve cross country skied in. Today I chose to walk it.

As I walked. more like trudged in I was thinking about some of the images of my shop I posted yesterday. They sure make the shop look messy. I know that part of it has to do with the nature of photography, collapsing the foreground and background onto a single plane, and I didn’t monkey with adjusting the depth field on any of the shots. But, to be honest, my shop is pretty messy. When I look at some of the woodworking magazines I subscribe to I am always impressed with how clean and organized the shops they show in them look. Although, I must say, there is definitely a trend toward showing ever cleaner, ever more well organized shops in some of those magazines over the last 20 years.

I think that messes are very personal, neat and organized is very impersonal. Of course every one can be neat in their own way, but there are some obvious rules about neatness and organization that everyone must follow if they want a space to look organized and neat to others. As far as the magazines go it maybe that neat, organized shop spaces appeal to more people than more individualistic spaces. More appeal, more copies sold.

There is also the issue of safety. An organized, clean and neat shop is without doubt safer if there are several people working in that shop. Actually, there is an imperative to organization and neatness when working with several people in one shop. Each person will likely need to know where all the various shared tools are to be kept so that they can find them. When I’ve had apprentices and employees my shop has been much neater, if for no other reason than there are more people available to put things away and sweep up.

Yesterday, as I was working on the surfboard table base I reached for my cabinet scraper and it wasn’t in its little cubby hole where I keep it. I spent about 15 minutes searching for it. That is actually a pretty rare experience for me. My shop looks messy, but it is really very personalized and I can usually put my hands on any of the 100’s of tools in the 2,500 square feet of the shop within a minute or less. I really hated to loose that scraper. I’ve had it for at least 15 years. Eventually I grabbed another, even older one for the task but kept my mind exploring for that thing.

Pop, of course, I used it when I had gone out to help a friend with a finishing problem, and there it was packed away in my touch-up tool kit.

Here it is, in its plastic case. It is a small tool but immensely useful.

Part of the reason I hated loosing it so much is that I’ve worked that scraper so many times, both in sharpening and scraping wood. The sharpening process is particularly a matter of feel and interaction with your skin and hands. It’s almost like your hands have to know how to sharpen it more than your brain. You start by using a file to square the long edges with the faces as the scraper is held in a vice. You have to hold the file as square to the faces as you can, using your knuckles to brace and guide it, then you lean your whole body forward to push the file along the edge. You repeat this with a sharpening stone to remove the file marks.

At this point you should be able to run your finger across the face, over the edge and feel a smooth path. You then hold the scraper down on the bench with one hand and take a tool called a burr, a piece of very hard steel that is either a rod or a rounded in an oval and draw it down the edge of the scraper at just the right angle to push up the corner edge made between the scraper edge and face to create a very small curl of metal. This hook is very sharp and can make the finest shavings if scraped against a piece of wood.

There are other tools that I am quite connected to. Here are a couple of hand planes.

The larger plane is a jack plane that once was my dad’s. When he gave it to me I had to tune it up and have, over the years, slightly modified it to suit me. The smaller plane is a block plane which I have also tuned and modified. Both I keep within easy reach, sometimes just needing to take a few strokes to get the final dimension of a work piece just right. Sometimes I’ve spent an entire afternoon planing wood by hand with one of these.

One more tool for now, as I really need to get back into the shop. Something about a snowy day that seems to say everything is different today. Anyway, I made this mallet many years ago while working in the shop of a great freind of mine.

As a matter fact, the friend is Dan Cramer and you can see his link in my blog roll. He was teaching about the wood lathe and I made this as an exercise. Somehow I got it just right the first time and although I’ve made several other mallets over the years this one fits my hand the best. The little knob at the end of the handle keeps the mallet from slipping out of my grip without me having to hold it really tightly and it can be used to give a very gentle tap by reversing the mallet.

I was thinking about saying something about the various wood shapes I stash in my shop.

And the lathe in the northeast corner of the shop.

The lathe which I just recently used to complete a small turning project and haven’t yet cleaned up, but I really need to get back to work now. Maybe more on neatness later.

Surf Board Table III -iii

The legs are cut to fit up against the center arc at a 30 degree angle and mortises or slots are cut on that beveled face to receive the tenons that fit through the arc. I use the arc pattern to locate the slots in the arc.

After cutting those I do the final shaping on the arc. The convex curve is shaped on the belt sander table.

And the concave curve is shaped by hand using a spoke shave.

A test assembly of two of the legs to the arc reveals an interesting form.

I often take a little time to consider the forms created by accident when assembling furniture elements. To some degree there is not that much “accident” involved as I intentionally created the parts with the goal of creating an interesting or compelling shape.

I use to whip out an old Polaroid camera and take a few shots. Then I’d pin them to my office wall. I still study them for ideas.

Now I use one of digital cameras and my hard drive has become the studio wall. I actually like the studio wall better.

Adding the second set of legs makes it easier to see how this could turn into a coffee table.

Next I’ll shape the top, add some cross pieces and I can glue up the base.

Next post is here.

Surf Board Table III -ii

Part 2 in the making of the surf board coffee table.

One more check of the pattern with the boards test clamped then I trace the pattern onto the boards to help me align them during glue up.

I gather up my supplies- wood glue, shop made applicator, extra clamps, wax paper and a rag -and bring them to the glue up frame area of the shop. You can see the boards set on the glue up frame in preparation of a test clamp. Once you start spreading the glue you have to work fast to get the boards set up on the frame, aligned and clamped so it pays to have everything you may need at hand.

Here’s the glue up frame with the work pieces all clamped in the test clamp. This is the time to decide if you need more clamps, cross palls or other supplies.

The cross palls are, in this case 2 x 4s, clamped across the direction of the glue joints to hold the boards in alignment and in a single plane. They also keep the whole glue-up assembly from popping off the frame when I crank down on the bar clamps.

Now I take everything down and spread the wood glue on the edges to be glued.

Did I mention that you have to work fast to do this?

While the top is in the clamps as the glue sets I work on cutting out the legs.

Once the legs are cut out on the band saw they go to the drum sander to sand out the saw blade marks and get the legs to their final shape.

to be continued…. here

Surf Board Table III

Hmm, maybe it should be “surfboard table” instead of “surf board table”. I better check it out.

I got another order for one and have taken a few shots of the some of the steps in making one. This is a very general description of the process and is not intended as instructional.

The first step was to check my lumber supply to see if I had some nice pieces on hand that would work for this table. I generally make these out of maple and ash, with a nice strip of walnut as the stringer, the center strip of wood on the top. I didn’t have enough maple and needed a little more ash so I drove down to my favorite lumber yard last Friday and sorted through their stacks. I found some nice maple and just enough ash.

I like to let the wood sit in my shop for a few days before I start working with it, especially in the winter when the heat is on and my shop may be warmer and drier than the lumber yard. Wood is a fickle material and to work it you need to understand and respect it. Moisture moves in and out of wood through hollow cells that are arrayed in unique ways for each piece of wood. As the moisture enters the wood the cell expands, as it leaves the cell shrinks. When you get thousands of these cells expanding and contracting the piece of wood changes shape. My job is to work with the wood to shape it into the shapes that I want. Sometimes that means just letting the piece sit for awhile and acclimate to a new environment.

I planed flat and glued up the ash for the long arc under the top and laid a pattern for the arc over the wood, traced the outline and cut it out on the band saw.

I then selected the wood for the top. I start by eyeing the boards to check for warp and twist and carefully noting the grain pattern. I use the half pattern for the top to determine the best way to cut the boards to length.

Here is the half pattern on the boards that I’ve cut to roughly the length I need.

A half pattern is a great way to make sure that a shape is symmetrical. You just trace the shape out on one side and flip the pattern over, line it up and trace the other side.

The next step is to flatten the boards to eliminate as much twist and cupping as you can before glue up. The narrower pieces can be run over a jointer, face down. This tool has cutters on a drum that rotate so that the top edge of the cutters is exactly even with the outfeed table. Several passes and you have a flat face, for now.

The wider pieces have to be run through my planer with a carriage. A planer has the cutters above the board and will trace the same twist and warp that a board already has as the board passes through it. By shimming the work piece so that it doesn’t rock, onto a flat carriage that can then pass through the planer you can cut off the high points and after many passes arrive at a relatively flat board.

Eventually I can get the boards relatively flat at least on one face.

I then pass each of these boards through the planer again, but with out the carriage. I place the flat face down and the planer will trace this flat surface onto the opposite face, hopefully ending with a very flat board.

I qualify the above because I also have to take into account the way a piece of wood reacts when you remove part of it. Some of those cells that take on and give off moisture were held in tension by others. By removing some of the cells the others can relax into a different shape. As this happens I try different strategies while running the boards through the planer to compensate. I may flip and reverse a board, I may press on it as it comes out, it is surprising how physical an activity this really is.

After the boards are flat on their faces I lay them out again as they will be glued up and lay the pattern on them once more. I now determine how wide each board has to be to be able to create the pattern of grain movement and color that I want for the table top. This also allows me to see which edges I need to straighten by running the edge over the jointer.

After I get one of the edges straight and square with the two faces I then saw the board to its final width by passing it through the table saw.

This process of truing the edges is time consuming as it is critical to getting good glue joints.

I recheck with the pattern to make sure the pieces are lining up with true edges the way I want and I’m ready to glue the pieces together into one large blank ready to be cut out, sanded and finished.

I’ll blog more on this process soon.

 

 

Part 2 here

 

Gozanoishi, Like Tazawa

Yesterday’s New York Times included a stunning picture taken by Raymond Meier of the Gozanoishi Shrine gate on Lake Tazawa, Japan.

Part of the beauty of that image, there are so many parts, but one part of is the clear view of the joinery of that massive gate. Horizontal cross pieces projecting tenons, locked by wedges through the uprights. I love this type of joint. In this case the visual image says massive beams locked through stout uprights. I can almost hear the mallets pounding the wedges home, the joints setting into their matching cuts, locking everything tight.

I’m not sure if the joints were cut with tapers to form locking dovetails as is common in a wedged, through tenon joint used in many woodworking traditions but I suspect that is the case. I once built a bed, designed as a Shaker style bed, and used this method to join the side rails to the bed posts of the head and foot boards.

If you look in the lower right corner of this picture (a “snap shot” that appears grossly ugly in comparison to the other images in this post, for which I apologize) you can see one of the wedges locking the joint.

Both the Shaker and traditional Japanese woodworking traditions valued the beauty of showing well cut joinery

The Gozanoishi Shrine gate also struck me by the use of the small roofs on top of the posts. This is both a visually pleasing way of topping off a vertical line and an immensely practical way of preserving the posts from damage caused by rain infiltrating the ends of the wood grain creating a perfect opportunity for rot to take hold. This roof image is carried up to the sweeping top beam creating a beautiful feeling of shelter and movement at the same time. It is too bad that the online version of this image crops this sweeping top beam.

In looking for other images of this magnificent gate I came across this image of a woodblock print by Kawase Hasui dated 1926.

A couple of differences are visible. The first one I noticed was that Lake Tazawa was higher when Hasui saw it. I have no idea whether level of Lake Tazawa normally fluctuates or whether we can see once again signs of global warming. The next obvious difference is the color of the gate and we can see as well that the little roof tops of the posts are of a different style and I notice that the wedges locking the through tenons are located on the insides of the posts instead of the outside. This gate was likely rebuilt, maybe after World War II.

One other element of the original image draws my attention. That is the draped rope with the tassels. I wonder if the tassels are strands from the rope itself, cut and allowed to drape decoratively. As a sailor I have done a fair share of rope work including various types of splices that often entail a similar sectioning and cutting of the rope strands.

On My Desk

I’ve got a lot to do today as I will be taking tomorrow off to haul the Orca out of the water for winter storage and I took off a little early yesterday to go surfing with my son. Sailing on the Great Lakes means storing your boat on land during the winter. I also take down the mast, set it on two “A” frames I set up on the boat and cover it all with a huge tarp.

Anyway, I thought I’d just look through one of the piles on my desk to see what’s there.

On top is the December 2007 issue of Fine Woodworking with a couple of book marks I’ve stuck on (I like to use these little post-it sticky tabs as I scan magazines). One is for an article that discusses how to weave Danish cord for a seat. I love the look of a Danish cord seat and have been meaning to explore some ideas for seating based on that. I have a book that describes how to do it but this article has a lot of great pictures. The other article marked is about yet another set up for routing tapered, sliding dovetails which is a great way to hold shelves into the sides of a case for bookcases.

Next I have the December 2007 issue of Woodwork with an article marked that discusses wipe-on finishes and the “unfriendly” labeling many of them have. It’s important to get beyond the front labels and understand something about the chemistry of these finishes.

I also have the November 2007 issue of Dwell with a cover article about green architecture and sustainability. Designer Jennifer Siegal graces the cover as well. From skimming the article about her practice in the magazine she appears to be just my kind of designer, something about “crunchy-granola-meets-industrial-vibe”.

OK, American Style just arrived this morning with an awe inspiring article about the glass artist David Bennet. His use of blown glass and cast bronze in figurative sculpture is great.

I’ve got three or for sheets I printed out of mock-ups for my new web site with penciled in notes. I took a couple of them home to show my wife to get her feedback. Well worth the effort.

And now my copy of “The Yachtsman’s Guide to the Bahamas” originally compiled by Harry Etheridge (1910-1957) with Harry Kline as editor and illustrator. This edition came out in 1970 and was brand new when I got it. The cover is missing now and pages are well thumbed. At the time I was unpaid crew on board a chartered sloop, something about 40 feet long or so, that my captain had contracted to teach sailing and navigation on for the Bahama Sailing School based in Eleuthra. What a summer that was.

Moving on I see the Summer 2007 copy of Epoxyworks from the Gougeon brothers. This is a great little publication full of projects, tips and in depth data about using epoxy.

There’s also a July/August 1995 issue of Wooden Boat with an article marked about making the Six Hour Canoe. Earlier this summer I did a workshop for the Milwaukee Community Sailing Center in which we taught a group of teenage girls a little about boat building by building two 6 Hour Canoes in three sessions. On the fourth session they were able to paddle them around in the inner harbor. Many of these girls, although they live in Milwaukee, had never seen Lake Michigan.

Enough desk top excavation for now. Tomorrow I’ll haul out Orca so I won’t likely be back to blogging until next Monday. Have a great weekend.

Todd