A Little Extra Support

I'm in the midst of turning a bunch of legs for 3 kid's comb backs. They are a bit longer than the legs on adult chairs and a bit thinner.

This means that vibration tends to creep in and slow down the process. I can turn them reasonably well by holding my hand at the back of the piece, but still, at some point, the piece will flex a bit and the chatter starts. I use the skew to shave away the chatter in most instances, which works great, but does take some care.

A couple of years back, I gave my shop made steady rest to Tim Manney for the use on the reamers that he produces. It's the one featured in my book. I wasn't doing a lot of turning that required it and up until recently, a little slow down in turning time didn't bother me compared to stopping to make another. But I happen to have some nice plywood on hand so the other day I made a new steady rest.

I covered this jig for the first time about 6 or 7 years ago, you can see the original post and plans here. I've learned a few things that I think make it worth revisiting, plus my own rediscovery of it's usefulness makes me think that you might feel the same. The plan dimensions in the original post are still good, but with this one, I made the notch in the support block 45 degrees on both sides.

It's a very simple affair, basically a weighted wedge (the c clamp is perfect for added weight) pushes a block with a notch against the back of the workpiece, effectively cutting the turning in half, vibration wise. Even on a 23 inch leg, you are never more than 6 inches from a support, which means I can turn more aggressively and not risk chatter. This is especially helpful if you are focusing on developing technique or design.
One of my favorite parts of this design is that you can cut right across the front of where the steady rest supports the work. The weighted wedge simply drops, pushing the block up against the smaller diameter.

I position the rest directly behind the largest part of the vase.

To set the steady for best results, turn the part to round, about 1/16" larger than the largest diameter, then place the steady block and wedge in position. Get the round spinning again and with the steady rest in place, take a very light pass across workpiece opposite of the steady block. This allows the block to seat on the piece and ensures that it's spinning true with the pressure of the block at the back.

Using the same concept as my Galbert Caliper, if you place a piece of tape at the right spot on the steady block, you will know that your dimension near the steady rest is perfect when it just about touches the tape. Of course, something more permanent could do the job, like a stick on a pivot, but I just did this on the fly, so you get the concept.

 

Then use some wax to lubricate the workpiece. I've found that there's no need for bearing guides if you just add some wax.

Turning is fun, or it should be. I know that there is a conversation around certain jigs or techniques being crutches. I get it, but I'm having more fun at the lathe and thinking more about the shapes that I am making rather than the ways of avoiding vibration, which is a way better way to spend my day.

The other side of the Bench

I do have photos that I want to post, but my new Iphone is not playing well with my old computer!

As part of my birthday present, I took a Thai cooking class with the lovely Stephanie H. I love to cook, but with most things, I am untrained, which means that I am deeply committed to screwing things up. Such as the time that I spent three months learning to cook the (almost) perfect poached egg.
In the class, it was  fascinating to observe the instructor's efforts to turn knowledge into information and experience, in hopes that it would become knowledge to the students. It's a problem that I've faced often from the instructors side, but standing there with no experience cooking Thai food gave me an insight into the view that so many students probably have when they enter my class.

I have a huge amount of respect for students, especially adult students. These are generally people who are in some form of mastery in their lives and occupations, who give up the skill and control that they've spend countless hours acquiring while risking failure at something new. This takes great courage and elicits a lot of empathy from me.
I also got to see the instructor struggle to forget what he knows in order to present it to the students without assumptions. I've heard it referred to as "the curse of knowledge", where you can't remember what it's like not to know something. As a teacher, it's a tough thing to be mindful of and it lurks around every corner.
Teaching is the toughest and most rewarding thing that I do, however, my teaching schedule for the next year is rather sparse, and already mostly filled up. I've accepted a residency grant from the State University of New York in Purchase for 4 months at the end 2016 and that eats up just about all the time that I'm willing to stay away from home. It's basically a get paid to make what you want opportunity, and with the book behind me, I feel the call of the shop and new ideas beckoning.

 I will be at North Bennet Street School teaching continuing ed (open to all) in December, but the class is full (you can wait list it) and then again in January, but that's for the cabinet/ furniture program students. I'll then be at Highland in Atlanta in March, but again, I think that it's full, but you can check with them. The final option is a class in May at North Bennet street, you can contact their Continuing Ed program to inquire and maybe even get on a list before the class is officially offered (I shoulda checked with them first, but you never know). I have had a chat with Deneb about a weekend course up at Lie-Nielsen, perhaps a perch, next summer, but we haven't gotten any further. Thanks for your patience, I will be teaching more in 2017 at the some of the schools where you've seen me in the past.

And I must thank those of you who wrote in comments and emails about my loss of Lil, it meant a lot to me. I've loved sharing my time with her on Chairnotes and your support is much appreciated. 

Back Home, sort of

Yes it's been quiet here, largely because I've been in Australia for the last 6 weeks teaching and traveling. I taught 3 courses at Rundell and Rundell in Kyneton just north of Melbourne about an hour. Everything went well and then I was joined by the lovely Stephanie H. for a couple of weeks of travel, including an amazing trip to the Great Barrier Reef.

Coming back from vacation is always a bit jarring but this time is even more so because of the passing of our sweet pup Lily. She died unexpectedly while we were away, and while we did our best to make the best of our time in Australia, I'm finding myself struggling now that I'm back home. Solitary shop life suits my temperament, but I've never truly been alone out there, she was my constant companion for the last 11 years and it seems that there is hardly a move that I make that doesn't instinctively include reaching for her, spotting her out of the corner of my eye or calling for her to join me. Many of you know this feeling and I know better days will come, but the transition from being someone with a great dog, to someone with great memories takes time.

I will be posting my teaching schedule for the next year soon, it's sparse, as I am focusing more on building chairs, but there are a few openings.

Below is a little information about the condition that resulted in Lily's death, I hope that posting it might be helpful to others whose animals are at similar risk.

Lily was staying with a local Vet that also boards dogs. She had a check up before the stay and even though she was 12, she was in excellent health. On her 8th day there, she vomited and collapsed while being walked, she died quickly. The vet said that she thought it was from a twisted bowel, which I'd never heard about. I new about bloat in goats and the dangers it poses, but not in dogs. Apparently it's a common killer in dogs and little can be done once it starts. Basically, for unknown reasons, the stomach flips, cutting off circulation to the intestine which also impairs blood flow to the heart, resulting in cardiac arrest. There are some factors that make dogs more susceptible. Dogs with large chests and narrow waists, like Lil, as well as dogs prone to anxiety, Lil too, are more likely to have the problem. Changes in routine, such as boarding or having a new dog in the house can also stress dogs as well, leaving them susceptible to the condition. There are early signs of the problem and steps that you can take to help prevent it if you think your animal is at risk. If you want to know more about this condition just google "Dog Twisted Intestine" and you will have reading for days.

First you build the chair, then you build the finish

Recently a client asked me to take process shots of his chair being finished, so here they are.
Painting chairs has long been a sore spot as a maker and teacher. Yes, I agree wood is pretty on it's own, but in the service of furniture, sometimes there can be more done with it than swooning at the "figure". Part of what forms the aversion to painting chairs among new makers is the fear that the extra process will lead into unknown territory and problems, which is a legitimate concern, especially because the process is yet another that requires real effort to master.

Here you can see the stained chair in all of it's dull glory.

This chair needs paint!

 I covered this in my book, but it is worth restating, you can't expect a finish to look right until it's done. Just like a single spindle doesn't look like a finished chair. But you can learn to recognize when each step is complete and looks "right" even when "right" is truly homely.

yes, the pine stains terribly

Here are the steps to completing the finish, first the stain, a mix of alcohol soluble dyes from Lockwoods. I change the mix depending on the topcoat of color. For more bluish colors I shift the stain to a complimentary orange and for black over red I keep it relatively brownish.

first coat of red

The first coat of red is knocked back with burlap, steel wool and sandpaper, each used where called for. I want to keep the paint layer thin and smooth but still fully covering, so if the smoothing process makes it too translucent, I paint and smooth it again, usually just using burlap or mirka mirlon gold pads.

The red burnished

Then the black coats, smoothing inbetween again and then finally multiple coats of oil. I start with a penetrating thin oil and then subsequent coats of thicker oil to build the finish.

First coat of black paint

Smoothing the first coat of black with burlap

Oil on the seat after the second coat of paint and burnishing

The warmth of the red helps draw attention to the lower parts that are usually in shadow

Now here's where I might go too far for some gentle readers. Lately, I've been making chairs with butternut seats intended for paint. Now hear me out. I know it is beautiful, somewhat rare and certainly expensive, but it has some qualities that I want in some chairs for strength and scratch resistance. The seats below are destined for continuous armchairs that will live in the Lie-Nielsen showroom and, as public seating they will take a beating from the every joker who carries their keys in their back pockets, you know who you are....

That's right, a butternut c arm

I've used poplar in the past for this role, but it is a dull homely wood even under the paint. I really like  the lovely grain pattern visible when using the white pine, and was concerned that the subtle grain of the butternut as well as the rich color wouldn't shine through. But after making some samples I can see that it does! So no, I have no problem painting butternut and if I wasn't allergic to working with walnut, I'd paint it too.
Maybe paint could even make me want to use some of that horrendous curly maple that I've been meaning to get rid of.

It's a Two-fer...plus Letter to a Woodworker, conclusion...for now

I just found out that a student for the August class at North Bennet Street had to cancel and even though the class has plenty enrolled to run, I thought that I might entice someone to jump on the spot with some news. Tim Manney has offered to teach the class along with me. If you aren't familiar with Tim, you should visit his blog. You will soon know more about Tim as he has a number of articles in the pipeline and as far as I'm concerned is one of the best woodworkers around. Tim and I taught together recently in Washington state and I am positive that the students benefited from his keen insights and skills.

Here is the final installment of the Letter to a Woodworker Series. Thanks for all the feedback that you've sent, it's been an interesting time of reflection for me and I certainly hope that some of it has been useful.

So many times as I've met woodworkers, they've expressed interest in transitioning their craft into a business, either in retirement, where it will be a fun endeavor, or in full blown lifelong pursuit of income. I can see in their eyes as they look at me that they think that I'm "livin the dream". There is one factor I suspect that they miss, which is that woodworking is, and always has been a blue collar trade. To me, this means that the making of the objects is what I get paid for.
If I'm not working, I'm not earning.

Of course, this is obvious, but what is tough to predict is how you will feel when the thrill of learning is replaced by the need to quickly and repetitively perform a task. I try not to dwell on it, but it is a job that bills hourly and the pay rate is tied to market value of what you produce in that time.

 So much of what I enjoy about woodworking is constantly learning new tasks and techniques, but developing a business where constant learning is in the plan is not a good bet. To create an object at a reasonable price point while actually getting reasonably paid requires a predictable means of production and well developed skills, which in most cases means that the joy of discovery must sometimes take a back seat. This is the battle between jigging up to make objects with a market value versus residing on the more risky end of things where you can "find" solutions as you go. Looking back, I personally found that chairmaking is engaging enough in the means of production and design potential that I can always find a place to keep myself challenged even while producing certain designs that I've made hundreds of times. Meanwhile, I am always cooking up some new design, process or understanding.

This doesn't mean that chairs are the be all end all, just that they have provided me with a happy medium to exercise my mind as well as body. Why do I hang on this point? Because I've never had an employer paid holiday,  sick day or insurance since I started and the rewards of showing up every day start to wear thin if you don't consider a ways to take the joy of discovery and keep it alive in your day to day. Sure, sometimes you just have to crank it out, and that has it's rewards too, but don't be too shocked when your motivation is waning and you are faced with a task, or hundreds of them that don't carry the luster of the first time you learned or performed them.

 So I finish this series with where I started, which is urging a deep honest look into yourself to find what it is about this pursuit rings your bell. I believe that there are many paths to success, but there are usually a number or failures along the way and it's vital to have an understanding of your interests and expectations and a good plan for keeping them alive...one hour at a time.

The Shop is Hummin' Now

In case you missed the Lie-Nielsen open house, here are a couple of pics.

The folks who run the show at Lie-Nielsen are fantastic hosts and make spending a weekend in Warren a great time!

Here's Tim Manney throwing an axe, of course this kind of fun happens after the kegs come out!

I'm back in the shop and working on chairs for clients, as well as working out some ideas that have be stewing for some time. Here is a rocker that is nearly done.

I've been lucky to work with some white oak armbow blanks that I got from Dan Monsees recently. You may have seen this already on my Instagram account (you can follow me at petergalbert). I've been helping Dan get logs recently and he is letting store my own supply and dip into them when I need. It's a great arrangement as I don't have the space and he gets to use and sell some super stuff.

I've updated my website teaching schedule so that you can see where to find me at the end of this year and into the next!

Humble Home

I'm back from a great trip to the Port Townsend School of Woodworking and I'm finally settling in to my new shop space here in Boston. This is going to be my first shop in 12 years that hasn't had to do double duty as a teaching shop and tool factory. Speaking of teaching, there are only two slots still open for my August 17th chair class at North Bennet Street School, so if you're interested please check it out soon.
Here are some shot of the space, lots of air and light.

 It's the same size as my other shop, but with a storeroom in the back and higher ceilings.

Working by the front door gives a great natural raking light.

Being a lefty, the lathe is strategically placed to gather the shavings into the corner to contain the mess.

 The sharpening station  has lots of real estate and light.

 Here is the view from the storeroom and workbench area.

 I've been really enjoying making spindles in this space, as you can see.

 Here is a shot of the majestic Rhodesian Ridgeback Kobe, who I am teaching to be a shop dog, but he seems to think it's a bit beneath him.

He needs to take lessons from Lil, she's a pro.

Letter to a Woodworker Pt. 3

The subtitle of this entry should be " A Party of One". As I've reached out over the years and met so many other makers, there is one constant that seems to transcend ability or interest. It's the characteristics of introversion that nearly all of us exhibit. It's especially noticable during a big show like Handworks, wherein exhibitors and attendees alike seem to share this trait. It's like a loner convention.

I suppose it's worth defining what I mean by introvert. A book that I recently read called "Quiet" by  Susan Cain does a great job of describing it. I only realized the extent of my own traits upon reading it and felt a huge sigh of relief to learn that I wasn't the only one. Basically there is a spectrum of introvert extrovert and everyone falls somewhere along it. Perhaps the greatest sign of introversion is that social interaction is draining and alone time is very necessary to "recharge". I am a bit jealous of people that gain energy at social interaction, for me, it is hugely desirable, but leaves me drained.

This may come as a bit of a surprise to those who have only seen be in my role as a teacher or public speaking. But in those moments I am excited and engaged by the challenge of communicating and sharing my love of the craft. Take note of my whereabouts after the talk, I usually slip away to a quiet corner to gather my energy.

What has this got to do with starting a business as a woodworker? Woodworking is a solitary sport and starting a business is a very personal challenge, pitting your abilities and desires against the world at large. If you are uncomfortable with intense periods of alone time or self motivation without external influence or support, you might find starting an operation that stems from a single operator a tough road. Of course the extrovert might find the sales and marketing of their work much easier as they  naturally gravitate towards interaction, whereas the more introverted might prefer to stay in the shop making stuff. Cultivating both abilities, public presentation and private achievement are both essential to making a go of it as a woodworker.

It is worth stating that there will most certainly be periods, probably extended ones in which it's just you, the work and the voices in your head. This should be considered and expected, especially if you are prone to depression or as many creatives are, self doubt. Reaching out to others in the field, such as I do often through shows like Handworks or WIA is a good idea.

I don't have any great words of wisdom on this subject, it's so very personal. I've spent many years both indulging my introvert tendencies and fighting them. If you haven't paid much attention to your own tendencies, starting down this road will likely bring them into focus.

Letter to a Woodworker Part 2