The Great Adze Shortage of ’15

Adze cartoon_NEWIt seems that it is difficult to acquire a good adze these days.  I’m not looking, but I have been getting emails seeking advice on what to do about it.  These folks wish to carve bowls, and are willing to pay for a good adze, but they simply aren’t available.  It seems that the demand has outpaced the supply.  Think about that; in 2015 the demand for hand forged bowl adzes has outpaced the rate at which the makers can produce them! That is both somewhat amazing and quite encouraging.

Drew Langsner addressed this phenomenon in his most-recent newsletter from Country Workshops (scroll down just a bit).  And this is not simply a problem of importing Swedish adzes into the U.S.  Look at the adze page at Woodsmith, a tool retailer in the U.K.

Just to be clear, it is not that nobody knows how to make a good adze for bowl hollowing.  Just look at those made by Hans Karlsson, Svante Djarv, or Gransfors Bruks.  The formula is there.  They all feature the same basic components of a well-designed bowl adze:  good steel, a dense heavy head, thoughtful geometry with some degree of outer bevel, raised lips that won’t catch when taking a heavy cut, and a well-hung handle.  (Again, the Woodsmith page shows a clear comparison).  I discussed some of my thoughts on adze selection in this post back in February.  So this isn’t like a search for the Fountain of Youth.  This is attainable, but you’ll have to wait until the Swedish smiths can catch up; and don’t expect to find a used one on ebay.

By the way, let me explain the “well-hung handle.”  The process of putting a handle on an axe bit is called “hanging.”  This involves many variables that are well explained here.  As one can see, an axe can be hung more open or more closed, which effects how well it works.  This principle is, I believe, even more important when hanging an adze handle.  Since the cutting edge is perpendicular to the plane of the swinging motion (rather than in line with it, as with an axe), the relationship of the bit and bevel to the pivot point (usually near the end of the handle) of the swing is important.  If the hang is too open or too closed, the cutting edge will not enter the wood sweetly.

This is important to consider if one is planning to hang their own handle or replace one. A longer handle, for example, changes the hang (possibly making it too closed) unless the handle is shaped to account for this.  This is why, in the top photo here at Country Workshops, you can see how they have bent the longer handle back, letting the cutting edge enter the wood sweetly with the natural swing of the handle.

But back to the quest for a good bowl adze: I guess for now the only good answer is patience.  Lack of that may lead you to purchase a bad adze, and there are many being made, even by makers that otherwise make excellent tools.  These adzes may have light heads that cause fatigue and pain, bad geometry, bad bevels, or very poorly designed handles — possibly all of the above!  With a great deal of effort and time, these can be made somewhat serviceable, but they will never be great like the ones for which you now, apparently, must wait.

Posted in adze, cartoons, sketch, tools, Uncategorized | Tagged , , , , , , | 43 Comments

New Walnut Bowl

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Walnut Trees Sketch_NEW_0001Last week, I spent some time along the Niagara River.  I saw the Falls again (I live only three hours away), and they are still thrilling.  But what I noticed more than ever before were the beautiful trees on my walks around, especially the abundance of lovely walnut trees.  They are stately like oaks, yet softened by their long slender leaf stalks drooping like willows, the leaflets fluttering in the breeze.

I tried to do many quick sketches on the trip, simply because it reminds me to stop and see for a moment.

Since returning, I’ve finished my efforts to do justice to the inner beauty of a walnut tree that fell closer to home.

Detail of handle end and curved recesses.

Detail of handle end and curved recesses.

In terms of overall size, this is probably the largest bowl I’ve made.  It is 27 inches long, 14 1/4 inches wide, and 5 1/4 inches high.  The decorative carving around the rim is similar to the large triangular recesses I’ve carved on a couple bowls before, but the sides of these recesses are curved, creating a series of Gothic arches of sorts, or maybe petals.

This subtle difference is a bit more challenging to lay out and carve.  I find it best to draw the outline by eye, since the recesses get progressively smaller toward the side of the bowl.  After drawing, I use a v-chisel to remove some of the bulk, then I do the rest of the cutting with a skew chisel.

The upper surface of the bowl is arched, with the rim flowing downward from the handles.

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Exterior view showing the texture, lines, and lovely walnut grain.

On the exterior, a raised ridge line carries the line of the handles along the bowl.  I reflected the texture of the exterior surface on the interior as well.  What a privilege I have to work with this beautiful wood.

Below are a few more assorted photos.

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handle detail

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exterior view

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with a two-foot ruler spanning the hollow

 

 

Posted in bowls, patterns, sketch, trees, Uncategorized, walnut | Tagged , , | 6 Comments

Close Encounters of the Wood Kind

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For those of you that recognize what that is: no, I have not turned to turning.  My turning experience is limited to doing a little spindle turning, mainly on the spring-pole lathe.  But I did make the easy hour-and-a-half trip to Pittsburgh on Friday to check out the work at the American Association of Woodturners International Symposium, and I brought that little piece home with me.

There were two main rooms, one for exhibiting the works, and another for vendors of tools and such. My experience in the room of exhibited pieces was pleasant and contemplative.  The work was stunning, and I enjoyed some enlightening conversations.

IMG_4739In the trade show room, I felt a bit like a fish out of water as I meandered among precision-engineered lathes, computer-guided routers and a turning tool that featured a laser light.  But then I spied a basket full of these.  As I mentioned, I’m not a turner, yet there was instant recognition — cores from bowls turned on a pole lathe.

These cores were part of a display by the Center for Art in Wood (located out east, in Philadelphia), formerly part of an exhibit and collaborative project that featured the “waste” cores from Robin Wood’s bowl turning.  It was a pleasure to talk with CAW’s representative, Levi, and he threw in one of the cores when I purchased a book about the project.

An object like this tells a story and provides much food for thought.  As I ponder it in the shop, I am putting the finishing touches on a big walnut bowl I mentioned a few weeks ago in this post.  I’ve worked on it much more including carving a design around the rim.  I should be posting the final results in another week or so.

 

 

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Moth-Inspired Curves

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Nature will bear the closest inspection.  She invites us to lay our eye level with the smallest leaf, and take an insect view of its plain.  She has no interstices; every part is full of life.

– Henry David Thoreau, “Natural History of Massachusetts”

Nature is our model.  It is replete with curves that effortlessly carry the eye and have a sense of life.

– George R. Walker, “Design Matters” column, Popular Woodworking Magazine #219 — August 2015.

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A recent visitor looking in my shop window

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My somewhat idealized view of the curves when looking from a particular angle.  Moth inspiration.

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The Apple of His Eye

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Near the end of March 1845, I borrowed an axe and went down to the woods by Walden Pond nearest to where I intended to build my house…. The owner of the axe, as he released his hold on it, said that it was the apple of his eye; but I returned it sharper than I received it.

— Henry David Thoreau, Walden

Lending your ax is asking for trouble unless you also trust the borrower to sharpen it as well as you would….If a man wants to borrow your ax, tell him “No.”  If you will not do that, then you do his chopping for him, or buy him an ax, or even give him your wood.  But whatever you do, keep your own ax for your own use.

— Dudley Cook, The Axe Book

Walden might have been a little different if Thoreau had asked to borrow Cook’s axe: “Near the end of March 1845, I asked to borrow the axe of Dudley Cook.  He built my cabin instead.”  Borrowing and lending aside, the quotes of both men speak to the usefulness of an axe, and the importance of keeping it sharp.  I’d like to share a bit about how I sharpen my carving axe and why I use it.

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A 2×6 dia-sharp “stone”. This view shows the left bevel of the carving axe.

The sharpening process is pretty straightforward.  I tend to use DMT’s dia-sharp stones for the majority of the process, but oil stones, wet-dry paper, and so on work just as well.  For sharpening beyond a little touch-up, I like to hold the axe in a vise that secures it steadily and allows me to use two hands on the stone if I wish.

I lay the stone flat on the bevel and use one of two motions: little circles with one hand while I move the stone along the edge of the axe, or sliding parallel to the edge of the axe while holding the ends of the stone with both hands.  In either case, I make sure to keep my hands away from the sharp edge.  These different movements create two distinct scratch patterns that make progress more clear as one pattern removes the former.  Marking across the bevel with a Sharpie marker can also make progress more clear and help to make sure the bevel is staying relatively flat.

My left hand is holding the camera, but I would normally have it on the left end of the stone and move it....

My left hand is holding the camera, but I would normally have it on the left end of the stone and move it….

...along the edge.  This movement will remove the underlying swirl pattern made by the alternative little-circles movement (done with one hand).

…along the edge. This movement will remove the underlying swirl pattern made by the alternative little-circles movement (done with one hand).

Once a small bur can be felt along the entire length of the edge opposite the side being stoned, I flip over the axe and work that bevel, progressing to finer stones.  On my carving axe, there are bevels on both sides, but the left bevel is longer and shallower than the bevel on the right which is shorter and more steep.  Together, it is something like thirty degrees.  By the way, I don’t worry about a bit of overall rounding of the bevel (not abrupt rounding near the edge) — especially on the right side that simply pushes the chips away.

Stone touching the back of the bevel....

Stone touching the back of the bevel….

I usually finish with a very smooth white ceramic stone to polish the edge and remove the fine wire edge.  For this, I remove the axe from the vise, holding it in my left hand so that I can see when the stone is flat on the bevel.  I begin with the stone contacting the back of the bevel, then lower it until it just touches the edge.

...then tilted forward until it just touches the sharp edge.

…then tilted forward until it just touches the sharp edge.I move the stone along the edge, flipping the axe around to work both bevels alternately until the wire edge is gone.  I strop the edge, and give it a test.

 

 

 

 

 

 

 

 

 

 

 

 

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A shameless “man”icure

 

I usually can’t resist the arm hair shave test, but the one that might mean more involves my thumbnail.  With very light pressure, I attempt to slide the edge forward along my thumbnail at generally the same angle I would engage it in the wood.  If it slides forward at all, the edge needs to be touched up.  Dullness or rounding at the edge is causing the edge to slide instead of bite.  It should bite immediately with the lightest pressure.  If so, the axe will bite where I wish in the workpiece, rather than glancing off annoyingly and dangerously.

“It’s your father’s lightsaber. This is the weapon of a Jedi Knight. Not as clumsy or as random as a blaster, but a more elegant weapon for a more civilized age.”

But why do I use the axe at all for sculpting bowls?  Why not remove most of the material from the outside with a band saw or some other tool?  For me, right now, it is the best, most effective, tool for the job.

First of all, it is fast and versatile.  A sharp carving axe can remove a lot of material quickly, big chunks falling away.  Removing the bulk of a green log is no problem with an axe and an adze.    Then I can ease up, continuing to sneak up on the form, literally feeling things as I go.  I can remove another quarter inch here, a sliver there, with this same tool.  I don’t know exactly where I’ll stop until I get there.

Plus, it is satisfying and enjoyable to swing an axe and feel the wood give way, to see the fresh new surface revealed.  It feels good, like hitting a baseball sweetly or, I completely suppose, certain dance movements.  While I won’t be doing any graceful ballet leaps, I plan to continue to enjoy the swing of the axe.

 

 

 

 

 

 

 

Posted in axe, carving, quotes and excerpts, sharpening, Uncategorized | Tagged , , , , , | 2 Comments

We Shall Not Cease From Exploration

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We shall not cease from exploration

And the end of all our exploring

Will be to arrive where we started

And know the place for the first time.

— T. S. Eliot, “Little Gidding”

As one might guess from the title of my blog, I like the idea of exploration.  As children, we naturally see possibilities and opportunities in every tree and creek.  Bill Watterson reminded us of this notion in his final Calvin and Hobbes strip.  In it, is the feeling that all shall be well, a sentiment also found within “Little Gidding” by T. S. Eliot.

IMG_4604As I wondered over Eliot’s writing (the wheels in my head turn slowly), I kept returning to the four lines above, and I designed this walnut bowl as a fitting setting for his words.  Through the layout of the words themselves, the path of the raised ridge along the underside of the bowl, and even the tree on the bottom, I hope the piece reflects return and renewal.

IMG_4644The bowl itself is large and round.  It is from the walnut tree that fell this winter, deep in a ravine not far from my house.  The photo to the left with the lemons may provide a sense of scale.  The diameter of the bowl is 15 1/2 inches and it is 3 3/4 inches high.  If life hands you a lot of lemons, you’ll have room for them.

Carving a round bowl is essentially the same process as carving a long trough-style bowl.  Laying out circles is much easier, in fact.  Then all that’s left to do is hew away with axe and adze. I just make sure to take extra care on the end grain areas near the rim.  I sharpen my axe and emphasize a slicing motion.

IMG_4582The lettering itself was an interesting challenge.  I drew many sketches of various potential letter forms, then, still on paper, worked out the spacing generally so that the verse would finish where it began along four feet of circumference.  I then sketched the inscription onto the wood and began the painstaking process of carving the letters.

IMG_4589 I experimented with different techniques for these letters and found that my finely sharpened pen knife blade worked best.  Slicing with the knife proved to be the best strategy for dealing with the constantly changing grain around the bowl.  It required cutting straight into end grain at times, as well as side grain and transitional areas.

I’ll put a few more photos below if you’d like to see some more shots.  I’ve also just listed it for sale at my website which can be reached by clicking here. (update: sold 6/11)

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Posted in bowls, Lettering, quotes and excerpts, Uncategorized | Tagged , , , | 15 Comments

Chairmaker’s Notebook

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Some of my favorite books have beautifully drawn illustrations.  Books by Eric Sloane and Edwin Tunis come immediately to mind.  I can now add another to that list: Chairmaker’s Notebook by Peter Galbert.

One difference is that, while Sloane and Tunis were primarily illustrators who researched their topics, Galbert is an experienced and gifted chairmaker who can also draw beautifully and instructively.   In this book, he presents an incredibly thorough treatise on the method of chairmaking accompanied by hundreds of drawings.  The drawings are so well conceived, so well done, that one could get the message without reading the text!  But that would be a shame, because, the author has a wonderful writing style.  It is as if he is standing beside you in the shop having a conversation.  He anticipates what potential misunderstandings may occur — what may trip you up — and provides advice to avoid them.

Some of the drawings can be viewed here.

Even if one has no plans to build a Windsor Chair, the book is worth considering.  Galbert includes amazingly detailed and very practical advice on so many things: sharpening, riving, storing green wood, shaving horse design, and on and on.  Although the chapters are organized around the journey, from start to finish, of building a chair, this is not simply or primarily a book of chair plans.  It focuses on the concepts that empower a maker to work closely with wood and make what he or she wishes.  Consider the similarities in the processes of sculpting a chair seat and sculpting a bowl.

No, I don’t know Peter Galbert or Chris Schwarz.  I simply felt it was worth tipping my hat to Peter Galbert for a job incredibly well done.

Meanwhile, I hear some walnut calling me…

 

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Round Top

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I recently completed the green-carving stage of a walnut bowl.  This log was twenty-seven inches long with heartwood about fifteen inches wide.  I wanted the rim of the bowl to sweep gently downward from the handles to the middle. When working with a log “upside down” or “bark-side up,” this occurs naturally as the hollow is carved into the curved outer surface of the tree.  In this situation, I simply laid out a gentle arc on the upper surface (split side) of the log.

IMG_4577To lay out such an arc, I first hew and plane flat the bottom surface of the bowl.  After marking a vertical center line on each end with a square registered on the top of the workbench, I move the log to the edge of the bench.  The center line on the end of the bowl is lined up with a line on the face of the workbench (even extending down the face of the sliding deadman).  I can now experiment with various arcs by adjusting the compass.  Once I find the one I like, I mark the end grain clearly with a sweep of the compass pencil.  Then, keeping the compass set the same, I flip the log around and mark the other end the same way.  This layout is visible in the top photo.  In the photo to the left, the bowl is already roughed out, but I am showing how the setup would be during layout.

IMG_4575On this bowl, my largest compass wouldn’t open wide enough to create the arc I wanted.  I have fiddled around with strings and trammel points before, but I decided to just throw together a quick compass for occasional use with some scraps and a bolt.  It really only took about ten minutes, and works fine.

2014-1 butternut bowl sideA steeper arc during layout creates a more dramatic sweep along the handles and rim.

 

IMG_4339A shallower arc creates a more gentle sweep along the handles and rim.

Once the arc is laid out, then I hew the excess away before the final refinement with a drawknife.  For this big bowl, I got to the final upper surface with a scrub plane (which, in my case, is just an old Stanley jack plane with the iron shaped to a heavy camber) and then a longer plane.  Then I lay out the plan-view outline of the bowl onto the arched surface (which also involves compasses) then grab my adze.

IMG_4569This bowl is so big, that after hollowing with the adze, I tried evening the surface of the hollow with a travisher I’ve used in the past for working chair seats.  Worked pretty well.  Not a critical tool or step, but it was an interesting experiment.  The outer surface has been hewn, and now it’s drying time.  After a couple weeks, I’ll revisit it and make some finer chips.

 

 

Posted in layout, proportions, Uncategorized, walnut | Tagged , , | 5 Comments

Quiet Green Places

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Industrial progress may be likened to a wide road of modern design, along the centre of which traffic is speeding at tremendous and dangerous velocity.  At the sides there are footpaths where old people may saunter and children may loiter; there are many who are not made for the speed track, but for the quiet by-roads.  We have to find a way for the slow and quick to live together.  Might there not be more bridges from the centre to the stiles and grassy lanes that lead into quiet, green places where, like children, we have time to live and think and grow wiser?

— K.S. Woods, Rural Crafts of England (1949)

Not long ago, I received a thoughtful email from Glen Campbell with a book suggestion:  Rural Crafts of England by K. S. (Katharine Seymour) Woods.  I found an original, published in London in 1949.  It is a charming and insightful book, with thoughts that still resonate today.  In the preface, Woods herself describes her experience and hopeful vision: “The author has had the opportunities of paying many visits to craftsmen, both after the First World War and again in recent years.  She has been privileged to watch two generations at their work, and to hear them talk about the things that are their life…. The craftsmen have greatly enriched her experience of life in a field which she believes may shelter, deep beneath the scars and furrows of a troubled period, the seeds of a new growth that can be brought to fruition for generations yet unborn.”

IMG_4562Her philosophical insights are sprinkled throughout the reader’s journey through the workshops, fields, and rooftops of England.  There is practical information for the craftsman and revelations into changing preferences:  “In skilled hands the cleaving-axe works with astonishing speed.  The older axemen, accustomed in the past to making their own handles, prefer English hand-cleft ash, which is springier than American hickory and does not sting the hands.  Hickory is hard and smooth and is increasingly popular with the younger woodmen.”

Below are some additional photos showing the contents and some examples of the illustrations and photographs within the book.

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Woods was writing this book shortly after the Second World War.  While there was a call for modernization, efficiency and production, it was also a time when shortages and sacrifices necessitated a renewed reliance on traditional crafts and skills.  These  adaptations were encouraged and guided by the Rural Industries Bureau, a division of the ever-watchful Ministry of Agriculture.  Woods refers to the Rural Industries Bureau many times.  One way to step back into that period of time, and revisit many of the skills that Woods discusses in her book, is to view the BBC eight-part series Wartime Farm.  I’ve put a link below to the first episode, but the other seven are on YouTube as well.

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New Walnut Bowl

IMG_4525IMG_4516I have finished this fluted walnut bowl. While the flutes are nice, I tried to make the other, more hidden, side of the bowl interesting as well.  I hope it is like a pleasant surprise when somebody picks it up.

As can be seen in the top photo, the junction of the side and the lower surface of the handle continues on, subtly, across the outer surface of the bowl.  I also like the way the outer texture feels against the fingertips.

The flutes themselves are carved with a shallow gouge, so the raised ridge lines between them are strong and durable.  At 21 3/4 inches long, 16 3/8 inches wide, and 3 1/2 inches high, it should hold a couple dozen dinner rolls.  If you’ve got a small dog, it might even work as a coracle.

IMG_4522On the upper surface, the handles sit a little below the level of the rim and are set apart from it by a carved flute.  On this bowl I wanted the line of the outer rim to flow completely around, and this flute, or gutter, defines the outer rim at the handles.  Below are some additional photos.

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Posted in bowls, patterns, Uncategorized, walnut | Tagged , , | 12 Comments