Archive | Greenwood carving

Kuksas and Sharpening.

Forging tools as fast and hopefully as well as I can, but still not managing to keep up does get rather wearing, and I have been getting increasingly jaded with the situation. Despite the fact that I am producing tools in larger numbers than ever before they are still hard for people to come by due to the spiralling demand. We are still trying to work on a way to queue orders on the website in a fair manner, it is not as simple as it seemed. If I have to do this manually it will take valuable time that could be spent addressing the real issue in hand which is making tools. I actually did a small run of axes a couple of months ago, I sold these individually rather than through the site.  It took an average of eight emails to complete each sale. If you look at the last batch of hooks I have forged you can see why I need to be able to sell them via the site in an automated manner.

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Last week though Alex and Nicky came over to run two days of his hugely popular Kuksa carving course. It was wonderful to see the workshop transformed into a classroom and have it filled with people, it is rare for me to have visitors to the forge, and it really lifted my spirits.

Tools laid out

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Calm before the storm

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A very different atmosphere in the forge over the weekend

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Some great nests made by a first time swan neck user

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Alex at work

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Two highly successful courses, I managed to squeeze in making a  hazel gate over the weekend, again a pleasant change for me, all my carving in the workshop is in  bone dry ash. It is a joy to carve something green.

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We spent an evening winding down after the courses gilding treen- I had been searching for some batteries in the workshop and unearthed a book and a half of 23.75 carat gold leaf. A week ago- I used to gild some of my decorative forged work but had never tried it on wood before, as you can see the results were stunning. We also had some time testing a pair of prototype axes I made over Christmas, more on those another time as it got rather involved but it is invaluable for me to spend time bouncing ideas of someone as experienced as Alex.

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It was intriguing to watch how different students got on with my tools. Some amazing shavings were made by students that had never used one before. I learnt a long time ago to take note of the shavings that a carver makes. In the end anyone can finish a piece by taking tiny little shavings. What impresses me ( as a toolmaker )  is the bigger chips from the roughing out process. Most informative was how the less experienced students were more likely to struggle with tools that had lost a degree of sharpness. This subtle degradation of the edge wasn’t always that obvious and Alex could carve a lot longer than anyone else with a tool that needed touching up. There were also a few students that brought ‘foreign’ tools in for me to sharpen. It really brought it home to me how important it is for my customers to be able to keep their blades as sharp as when they left my workshop.

I have been unsure about explaining my sharpening  processes to a wider audience for quite some time now. For one there is the horror of having to face the camera. The other issue though has been how much I want to say about my tools. When I started forging blades 6 years ago there was never any need to have a makers mark, my blades were instantly recognisable and virtually nobody was selling forged woodcarving blades. They have of course been refined over the years and certain aspects of my designs became signature features, such as the tramlines on my spoon blades. There have been a few attempts at replicating them over the years but some recent copies are pretty close. I can see the differences, some aesthetic some not, but felt I could say nothing. If I pointed out the differences then the next versions would be closer.

However putting this rather frustrating aspect of business aside it seems like it is time to explain how to sharpen my blades, and to do that it is necessary to explain the edge geometry that I use. So Alex, being a highly accomplished film-maker shot a video- This was his second attempt and actually in total my fourth go at being filmed. We just about got there in the end but I really don’t envy his job in editing it to come out with something coherent, It looks like there will be a full version with edge theory and a shorter one just focussed on the sharpening.

In the meantime Alex made this teaser video, he actually put it all together on the spot picking up my daughter’s much abused guitar – it had got rather damp as it had spent the ‘summer’ outside under our shelter. We felt bad about this so had left it dry by the wood stove.

 

Aspiration vs Perspiration

This post is about the motivation behind my toolmaking. First and foremost there is the need to provide a living for my family and however idealistic I may sound later on there are economic realities that can’t be provided for by the feelgood factor of working with your hands. However, if money was my sole concern then I probably would be an accountant not a craftsman.

When making a tool the aim is to make the best that I can, no concern about time taken or price, it can take years to get a tool to a point that I am really happy with it yet still some tools stall at this point as it becomes obvious that they are going to be too expensive regardless of how good they are; I won’t reduce quality to come in at a certain price point.

In Maine this year I used a wonderful shave horse that Lie Nielsen had made, asking when these would be in production I was told a familiar story, they were too expensive to make, still with the way Green woodworking is taking off in the States it wouldn’t be a great to surprise to see it back in production in the future.

As to processes, my first love is to forge steel. It is important for me to do this rather than grind it or have it lazer cut. In the past I have been selling blades only and will continue to offer these but recently have been completely finishing more of my tools. My preferred method with handles is to cut them green, although some finishing needs to be done when the wood is dry.  As an example I will take you through a knife I took on as a commission a few months back, contrasting it with my preferred methods of making carving knives

This knife was full tang and not really suited to forging so I drew out the outline on a piece of steel and cut out the shape.

 

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I drilled some holes to take to balance the knife a bit better, as this is not something I do very often I ended up not being very happy with the hole placement near the front of the handle, so filled them with weld, unhappy with the welds another bar was marked out and cut, the blade pictured will probably end up as scrap.

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The scales ( wood either side of the full tang ) needed to be bone dry, a pair were cut from Yew and a pair from Spalted box.  I was unsure if the box would work but it was my preferred option, they were cut oversize, then dried, finally they were flattened on a sander to make a good fit on the tang.

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The blade was heat treaded and ground, the box scales survived drying with only minor warping and cracking the latter fixed with super glue.  Everything glued up using some cool mosaic pins that I dug up.

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Finally it was sanded and oiled, it came out well I think, but there are lots of makers that can do this sort of work and for me was very time consuming, largely due to my inexperience in using these methods of construction. The price I charged for it compared to the lost production time meant that this knife actually cost me £1200- which made it abundantly clear that I can no longer take on one off commissions!

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This is the way I prefer to work- steel is cut roughly to shape

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It is then forged to size, in batches- this I find tricky to get right, if the batch is too large I will damage my elbow as I like to forge hard and fast and the steel I use is very tough, too small a batch is not efficient 20 in this size is about right I feel. You can see how effective forging is: the blades are bigger than the blank ( well obviously they can’t be but you get the idea) compare this to all the wasted steel on the stock removal knife.

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Then handles, green ash, cut to length, split with a froe and in this case roughed with an axe. IMG_7900

Final shaping is done on a shave horse although some cleaning up was done with a knife.

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I like 12 sided handles as octagonal tends to feel too sharp to most people meaning that the corners need to be sanded down. The contrast between forged steel and crisp shiny bevels play well against carved handles, I have also been experimenting with different woods and staining as the aesthetic is important to me; a tool that lifts the spirits inspires you to do better work.

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It is also deeply satisfying to use and develop my own tools to do the woodwork with. I could use my powerful linisher to rough out and finish handles at a good speed, but it would be noisy, unpleasant work requiring ear, eye and lung protection. The way orders are stacking up it seems likely that I will be either outsourcing my handles or directly employing someone to make them. I want them to be made this way, if a job is being created it should be one I would want to do myself. It would be disingenuous of me to embrace and promote the dust free ideals of unplugged Green Woodworking and then employ someone to rip out all my handles on a linisher.

A few provisos about the video-  The quality is poor as our camera is ancient. No power was needed so I set up at home, which made a pleasant change. My starting point was split wedges of ash. In this instance all shaping was done on the shave horse, as the ash was  pretty dry I could crack off large sections early on when shaping with the drawknife, it is pleasing working this way as it tells me exactly which way the grain is running. In the second sequence my new drawknife, code named PMPY,  allows me to cut the facets and deal with any unruly grain without having to flip the blank continually. It actually works slightly better with slower deliberate strokes,  but being videoed made me nervous and I worked it backwards and forwards a lot quicker than normally. You can hear how tough trimming the end grain was with a knife, if it is green it is quicker to do it like this, but when it is this dry it would have been better to clamp it vertically in the shave horse and use a drawknife. My much admired shavehorse was made for me by Lee Stoffer although some features were used from Peter Galberts designs, I love it, but a bit more fine tuning will improve my posture and comfort.

 

This post has been much longer than expected; I touched on batch size but will next time talk more about jigs and quantity production, hopefully soon!

 

 

International Bowl Carving Conference ’14

A few weeks back I invited a few friends over to carve some bowls from the large poplar that I currently have access to,  I had forged some tools that needed handling and then testing. We started with this log, it had the potential to give a bowl of 22″ across.

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The first cut revealed some very interesting looking figuring.

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This was then split and a circle drawn on; we made circular bowls, however on reflection I think one reason to carve rather than turn a bowl is the freedom to make a shape other than round.

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We shaped the inside first, the weight of the blanks made clamping unnecessary, Steve had brought an specially ground axe that he used to great effect for both the inside and outside of he bowls, the technique at first seemed odd, as he was trying to break chips away; this looked like he was miss hitting and as I spend a lot of time in my forge trying to ensure accurate square strokes I have to say I found it slightly disturbing despite it being obviously effective. The clincher to my absolute condemnation of this technique is that the workshop is still sullied despite three sessions to clear up the chips he fired far and wide so effectively.

I put a longer handle on my heaviest adze head and this proved pretty effective at both the inside and outside of the bowl.

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Obligatory fruit shot.

 

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We also went trophy hunting.

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Steve put a larger handle on his GB adze, I tidied up the bevels a bit on my linisher.

 

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I didn’t get much bowl carving done, but did manage to fine tune these adzes.

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So a great few days; I learnt a massive amount just watching; found out some very interesting things about adzes- which will be the subject of my next blog post. Didn’t have the time to try out the big axes, but the week after I did set aside the time to carve a large (round!) bowl,  it is now drying and I will be forging and trying out new tools to finish the inside. Anja Sunberg sent me some images of Swedish style scorps that look intriguing, or maybe some specially shaped gouges, if I can justify the time, both.

Carving The Diet Spoon

A little tongue in cheek photo story:

An unhealthy snack tempts the unwary.

Potnoodle spoon

Not a very good picture, but as most people know Potnoodles are better eaten after dark, the spoon is unused and you will have to take my word that although there is decoration in the bowl it is flat.

Stirrin

Add hot water, stir, leave two minutes then stir again.

post stirrin

better image in daylight.

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Mouth feel is ruined, plus the spikes grip the ‘food’ , so eating is difficult and unpleasant- the perfect diet spoon!

Actually this is a spoon carving technique I first saw applied to a carved toad, the characteristic warts were formed in the same way,  this is rather fun but not useful application. Plans are afoot for a more sensible version.

 

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