Sam's notebook

A Moment of Doubt November 5th, 2003, 2PM


In which I wonder for a while if my work is crap, and then decide that it’s not.

I have nailed six of the eight corners of the box: through the first tail and into the next pin, and I tried to offset the holes so the joint would be pulled tighter when the treenails were driven home. This failed to happen on most of the joints and has left gaps in some, and made me feel that the whole box was not of a very high standard. After some reflection though, I have rembered that the whole motivation for the box in the first place was to make something without glue or metal fasteners, and I am doing that. It is resulting in an aesthetic quite different from the norm, and that’s okay, that’s what I wanted to explore. Anyway, I couldn’t think how to progress; I couldn’t even decide on what I wanted the box to be, so I jumped on my bike and rode over to F&S to see what I could scrounge from their skip, and returned triumphant with an ash door jamb.The doorjamb I found at Facilities & Services. I will now make a small box, possibly to go inside the large one, and I’ll glue it.

I would like to research a bit more about PVA and its manufacturing process, especially from an environmental point of view because it is this which concerns me. Nothing quite like an uninformed radical opinion, eh?

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Fine Woodworking on Treenails November 5th, 2003, 12PM


What Fine Woodworking has to say about making small treenails or pegs for pinning joints.

Squaring a drilled hole. Begin by drilling through the leg and tenon with a bit just smaller than the width of the peg. Make sure you don’t drill through the other side of the leg. Use a 1/8″ chisel to square up the first third of the hole.
Making peg stock. [Irrelevant – SW]
Whittling pegs.With the pegs cut into 2″ lengths, round over the first third with a small knife. Rounding the ends of the pegs prevents then from splitting the legs.
Driving it home. After applying a small amount of glue to both the peg and the hole, tap the peg with a hammer. Keep the peg aligned and stop hammering when the peg bottoms out (you’ll hear a change in tone); otherwise, you risk splitting the leg.
— p.65, Fine Woodworking, Taunton Press, Jan/Feb 2001.

So perhaps I do not need to make a pencil sharpener after all! I have been trying to make round treenails, using some varient on the idea of a plane I saw in use on Duyfken; I’ll give this simpler idea a go.

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The Speed Of Response November 4th, 2003, 4PM


The speed at which one is required to respond in various forms of a) long-distance communication, and b) woodworking.

I have been thinking about the various forms of long-distance communication that are in common use, such as email, telephone, and snail mail, and in particular the length of time each gives one to respond to what the other person says. With traditional postal correspondence one has ample response time — months if so wished — and this I think gives letters a distinctly ‘thought about’ tone. The same is true, to a lesser extent, with email: although it is easy to quickly rap out a reply to someone and send it without really thinking, there is still the opportunity for leisurely consideration of what you want to say, over perhaps a couple of days. This is not true with the telephone — it is at the extreme end of this ‘speed of response’ continuum and necessitates a faster and less considered reply than even a face to face conversation. Silence just doesn’t work on the ‘phone, and can’t play the important role of reflection and consideration that it does in all other forms of long-distance communication — including postal and electronic mail.

There is a parallel between this increasing response time in communication and the time that one has when working with wood to respond to the tools, materials and workshop environment. Take the saw as an example: a portable circular saw can give you very little time indeed to change your grip, stance or in some other way avoid being hurt — its a bit like a ‘phone; a table saw is more forgiving because the table, blade, fence(s) and work-piece are all (hopefully) fixed in their positions or trajectories and are therefore more predictable, but there is still the opportunity for rashness and accidents — similar to email one might say; the handsaw is the slowest of the saws and as such gives the user much more time to respond to the work-piece moving, or an unseen knot that puts the saw off a bit, or any of a thousand other things that necessitate a response to the timber or tools — I would liken using a handsaw to sitting down and spending an hour or so writing a letter, knowing that far from being a ‘waste’ of time it is just more time spent being close to a dear friend.

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I Wheel My Wheelbarrow... November 4th, 2003, 9AM


In which I bring my desk back to school to finish finishing it and then get it assessed.

Walking my desk to (or from?) art school.

What a marvellous morning! I brought my desk back to school this morning to get it assessed next Monday; I walked here with it on my wheelbarrow. It’s not a long walk — an hour or so — and an a day such as today it’s quite a pleasure. Not often do I feel like smiling at motorists (in their stinking, noisy vehicles) but when possessed by the good vibes of happy woodworking their childish “get off the road!”s touch me but little. Walking this morning prompted me to reflect on just how important it is for every stage of making — including the transporting of the finished piece — to be of right ordering.

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The nth Day Ends November 3rd, 2003, 4PM


I won’t fill you in on the background of anything; I have to start sometime, and it might as well be now.

The box is coming along well, better this afternoon once I gave up for the time being trying to make A Thing to cut trunnels. I turned instead to getting the bottom finished: I am putting a low divider in towards the front of the box and cut the rebates and tenons on it this afternoon. The work went really smoothly and pleasurably; I love it when it happens like this. I would’ve kept going but I wanted to get in here (the library computer lab) before 7:00PM, and also home before dark.

I began today feeling pretty down and wanted only to sit in my room and read, so that’s what I did. Didn’t last long though, before I hauled myself out of there and down the hill to school — why on Earth should I feel guilty?! I was sorry I had come when I got here, but after retiring to the library to read The Unknown Craftsman for a couple of hours I started to remember what it was that I was so excited and happy about towards the end of last week: letting go and just flowing with the wood; being guided by what it wants to do.

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We Begin! November 3rd, 2003, 3PM


After many weeks of thinking, scheming and proposing I have at last settled upon this blog form, and so must begin. Have I anything to say? Not much, but this morning Yanagi (yet again) gave me something to think about, and I think it worth sharing.

“Crafts are of and for the great mass of people and are made in great quantity for daily life. Expensive fine crafts for the few are not of the true character of craftsmanship, which, being for everyman, are appropriately decorated with the patterns of everyman. It is natural that craft objects should be associated with patterns that are also, in a sense, communal.”

—p.117, The Unknown Craftsman, Soetsu Yanagi (1972), Japan.

If we didn’t have injection-moulding machines to make inexpensive chairs, we would still need chairs, and those chairs would in fact still be inexpensive compared to the alternatives — they would just be vastly different in character. It is this folkcraft that I wish to develop in my work; to make useful things quickly and without over preoccupation with the ‘fine’. A table will fulfill its purpose admirably whether its surface is smoothed a mirror polish or no — and if one wants to to be putting tea cups on its surface it will probably be better that it is not smoothed excessivly.

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