O'Fallon, IL, US

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Walnut and Cherry Trivet

Walnut and cherry from downed trees...

Remote Control Caddy

Remote control caddy from cherry crating boards

Fold-up Potting Bench

My wife volunteer in the gardens at a local historic mansion and they needed a potting bench but had very limited storage area. The bench is from recycled locust frame with recycled white oak legs.

Recent comments

Re: UPDATE: 3 Book Giveaway! Taunton's Complete Illustrated Guide to...

I've always loved Lonnie Bird's work and would like to learn some of the techniques he uses to produce such beauty.

Re: Dovetails Just Got a Little Easier

Great idea - yet another jig to create. [BTW does anyone actually use jigs? ;-) ]

But now I'm curious - what's a Crosman'2 140 thingy?

Re: Does The Tree In My Front Yard Have Value? Part One: No and Yes

Having grown up in OK and TX where scrubby mesquite are the dominant trees, I couldn't stand the thought of just burning the oak, maple, cherry, and locust trees on our Maryland property that needed to come down. Fortunately we were in rural area and I found a bandsawer and a really great yard guy with a small dump truck and a big Bobcat. I cut the wood into 6/4 and because I had a large lot, I was able to air dry the wood for three years. The locust is now two heaviest Adirondack chairs and a settee. The cherry and oak have made several boxes for military burial flags. I also scored an large old walnut tree which started growing south of DC around 1830 and air dried it. I also have some small branches from a pecan planted in the late 1700's.

When we moved to Illinois (don't ask!) I couldn't bear to leave the wood, so me, a buddy, a U-Haul truck took a 1000 mile road trip. A garage is now full of air dried but badly stickered lumber which I am now able to tap for all manner of projects.

Scott's article is spot on in identifying the many reasons to say no. And he is particularly eloquent speaking about the nostalgic value of turning a historic/beloved tree into a beautiful piece. Given all the various invasive hardwood diseases (Emerald ash borer, walnut thousand cancers disease, sudden oak death, etc.) I just can't see simply burning or shredding a tree if it can be salvaged with reasonable effort.

Charlie Pitts

Re: Accurate crosscuts on the tablesaw

Great Q&D (quick and dirty) solution. Some time ago I fitted my crosscut table with an INCRA fence and no just add a wood face held by recessed screws. But every now and again, my sacraficial wood fence neede replacing but I don't want to take the time.

Re: Cutlists are a waste of space

A cut-list encourages inexperienced woodworkers to try to use power tools to cut wood to a perfect dimension. As I learned to use hand tools, I began to understand how to cut close to final with power then to final with hand tools. On my current project I am using story sticks ~90% of the time, and I usually have no idea of the actual measurment dimension. It did take some courage to step out of the ruler box - but I just remind myself of what one of my mentor said: "it's just wood!"

Re: Cello Box

Wonderful. I particularly appreciate the asymmetry which seems to suggesting both a cello and a crashing wave evoking a cello crescendo. As an apprentice at inlay/purfling, I admire the way the purfling follow the contour to the corner.

Does the hinge have any screws or is it simply glued to the box and top? And I too would like to see inside the box.

Wonderful work - Congratulations and thanks for your explanations.

Re: Can Fine Woodworking and art furniture coexist?

Loeser forgets that good artists are masters of their media - all of the great Rennaissance painters had mastery in the physical nature of their media. Same is true of any of the great furniture makers, carvers, etc. That level of mastery requires a thorough foundation in the basics of the discipline and media of their art. Woodworking magazines like FW concentrate on this foundation knowledge. In any field, there are far more novice- and journeyman-level practitioners than masters - a good thing for a commercial entrprise specializing in teaching particular elements of our woodworking discipline. And FW is different from the Rennaissance guilds' philosophy of "here's the right and only way to do this". Instead it shows "here's ONE way to do this".

Finally - Loeser implies that an 'artist' somehow transcends the confines of a discipline. There is as much 'artistry' in confining one's work within a particular woodworking genre (e.g., Federal furniture) as there is in breaking 'free' of it.

So, Mr. Loeser should maybe not bother to buy FW.

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