Seems to me like a lot of unnecessary steps. Isn’t it simpler to use a thin piece of wood and then flex it to the radius you want. What are you thoughts? Do you find this method and simpler and why?
Trying to drill a hole accurately with a wobbly bit is a pain in the backside. This pain I lived with for several months until I figured out what was wrong. When I bought this eggbeater, I never had such issues, but since I dismantled the chuck for cleaning several months back, I noticed the wobble started.
I will go through the steps I have taken to find a solution. You can also follow these steps when you’re next at flea markets before buying a hand drill. You don’t want lemons because these hand drills aren’t cheap anymore.
The first thing I checked was the bit. I laid it flat on my table and rolled it. There were no irregularities, for good measure I placed it in my drill press and it was fine. So, I crossed that off the list.
Open and close the jaws in the chuck and watch if the jaws open and close evenly together. If not, get a new chuck.
Next unscrew the chuck completely off the threaded shaft and inspect the shaft. Crank the drill and eyeball shaft carefully. Your eyes will pick up any irregularities if the shaft is bent. You’ don’t need any expensive gizmos for this.
Next pop out the jaws and inspect the flat milled back that holds the bit. This must be clean, undamaged, and milled perfectly flat. It is highly unlikely that it isn’t perfectly flat, so inspections by eye are close enough. There can’t be any dings.
By now I was frustrated and I mean really frustrated. I checked everything I could check, and they all passed with flying colours, but did I. There was one last thing I didn’t notice when I put the darn thing back together again. Since I don’t know the part name, the two pictures will give a better picture of what I’m referring too.
That’s right folks, that part that I’m pointing too was flipped the wrong way round. The bit rests in the cylindrical depression you see in the middle, which aids in keeping the bit centred (centered for the yanks) coupled with the jaws holding the bit in place. These two combined aid the drill bit from wobbling whilst drilling. Amazing, isn’t it? Something that’s so easy to miss can lead to months and months of frustration and hair loss.
By fix it club
Most do-it-yourselfers still refer to various grades of “sandpaper,” but the proper term for these sanding sheets is “coated abrasives.” There are four factors to consider when selecting any coated abrasive: the abrasive mineral, or which type of rough material; the grade, or the coarseness or fineness of the mineral; the backing (paper or cloth); and the coating, or the nature and extent of the mineral on the surface.
Sandpaper can be held in the hand or wrapped around a sanding block.
Paper backing for coated abrasives comes in four weights: A, C, D, and E. A (also referred to as “Finishing”) is the lightest weight and is designed for light sanding work. C and D (also called “Cabinet”) are for heavier work, while E is for the toughest jobs. The coating can be either open or closed. Open coated means the grains are spaced to only cover a portion of the surface. An open-coated abrasive is best used on gummy or soft woods, soft metals, or on painted surfaces. Closed coated means the abrasive covers the entire area. They provide maximum cutting, but they also clog faster and are best used on hardwoods and metals.
There are three popular ways to grade coated abrasives. Simplified markings (coarse, medium, fine, very fine, etc.) provide a general description of the grade. The grit refers to the number of mineral grains that, when set end to end, equal 1 inch. The commonly used O symbols are more or less arbitrary. The coarsest grading under this system is 4 1/2, and the finest is 10/0, or 0000000000.
The following chart contains information on sandpaper types and uses.
|Rust removal on rough-finished metal.|
|Rough sanding of wood; paint removal.|
|General wood sanding; plaster smoothing; preliminary smoothing of previously painted surface.|
|Final sanding of bare wood or previously painting surface.|
|Light sanding between finish coats; dry sanding.|
|High finish on lacquer, varnish, or shellac; wet sanding.|
High-satinized finishes; wet sanding.
1 F = flint; G = garnet; A = aluminium oxide; S = silicon carbide. Silicon carbide is used dry or wet, with water or oil.
2 No grade designation.
There are higher grits of course that I have seen up to 7000. They possibly go even higher however, the likelihood that you will ruin your timber is high. From experience, the coloured high grit sandpaper above 2000 will burn its colour onto the wood when using a lathe. Even if you sand with a very light touch, it still occurs. The same cannot be said for grey coloured sandpaper. The 3M 3000 grit foam is an excellent choice for sanding the final coat.
It’s fine to use on a high-speed lathe, but don’t expect to leave enough grit for second rounds. Hand sanding is fine. I have successfully reused this paper at least 15 times before I had to discard it.
The other one is their next grit size up the 5000 grit.
The colour of this is blue and without a doubt will leave its colour embedded on the wood if used on a lathe. The same will apply even if applied by hand. If you concentrate too much on a particular area, the heat will build up quickly and melt the paper onto the wood. This is extreme, but I have done it. Using this paper will aid in burnishing. The cost of 3M paper is ridiculously expensive, and I do not understand how they can justify it. I don’t know of any other company who makes foam pads of this type.
If you wish to burnish your project you must be made aware that irrespective of how small and insignificant the mark on your work is, it will be highlighted significantly when burnished. Just like all marks are highlighted by the stain when staining, so will any damage be highlighted on burnished timber.
I mentioned earlier that shellac will harden (fully cure) within 10-13 days before the product can be shipped. Some expressed scepticism, whilst others shrugged it off as mere fictitious jargon, but here is the proof.
Whilst this is thankfully only a sample piece for an upcoming project, I am grateful it happened so I can help you not make the mistake I did so long ago. You may wonder what caused this, well, I placed it in my vice not clamping hard at all to plane the edges. I wanted to figure out just how to French polish small pieces as I intend to do so on small jewellery boxes.
Why shellac when there are so many cheaper and faster alternatives? Because no other finish in my opinion can give me the clarity, depth and glass like finish that shellac can and oh almost forgot; longevity. Museums are full of antiques coated with shellac that still don’t need re-coating. Shellac has stood the tests of time whilst modern day products such as lacquer and polyurethane will never outbid shellac, neither in longevity and most definitely in appearance. I understand that there is a need for modern finishes as they come with many benefits such as ease of application, shorter drying times, ready to go out of the can etc, but shellac will always be my most go to finish. It doesn’t mean I don’t use other finishes it means that I use shellac more often than not.
Found this in an old finewoodworking magazine. I don’t build many drawers but at times when I had this tip would had saved me time. It’s a no brainer.
By H. C. Standage
Boil 1 pound of logwood chips 1 hour in 2 quarts of water. Brush the hot liquor over the work and lay it aside to dry. When dry, give another coat, still using hot. When the second coat is dry, brush the following liquor over the work: 1 oz. of green copperas to 1 quart of water, to be used when the copperas is all dissolved. For staining, the work must not be dried before the ﬁre, but in the sunshine. If in a warm room then away from the ﬁre.
Polishing the Work
To polish this work, ﬁrst give a coating of very ﬁne glue size, and when dry smooth off very lightly with No. 180 paper, only just enough to render smooth, but not to remove the black stain. Then make a rubber of wadding about the size of a walnut, moisten the rubber with French polish, cover the whole tightly with a linen rag, put one drop of oil on the surface and rub the work with a circular motion. When the work has received one coat, set it aside to dry for about an hour. After the ﬁrst coat is laid on and thoroughly dry, it should be partly papered off with No. 180 paper. This brings the surface even and at the same time ﬁlls up the grain. Now give a second coat as before. Allow 24 hours to elapse, again smooth off and give a ﬁnal coat as before. Now comes spiriting off; great care must be used here, or the work will be dull instead of bright. A clean rubber must be made as previously described, but instead of being moistened with polish, must be wetted with 90 per cent alcohol, placed in a linen rag screwed into a tight even-surface ball, just touched on the face with a drop of oil, and then rubbed lightly and quickly in circular sweeps all over the work, from top to bottom. For the ﬁne ebony black stain, apple, pear and hazel woods are the best wood: to use. When stained black they are the most complete imitations of the natural ebony. For the stain take gall-apple 14 oz., rasped logwood 3 1/2 oz., vitriol 3 1/4 oz. For the second coating a mixture of iron ﬁlings 3 oz. dissolved in strong wine vinegar 1 1/2 pints is warmed, and when cool, the wood already blackened, is coated with it 2 or 3 times, allowing it to dry after each coating. A strong lye is now put into a suitable pot to which is added coarsely bruised gall-apples and blue Brazil shavings, and exposed for the same as the former to the gentle heat of an oven which will yield a good liquid.
Staining the Woods
The woods are now laid in the ﬁrst named stain, boiled for a few hours, and left in it for 3 days. They are then placed in the second stain and treated as in the ﬁrst. If the articles are not thoroughly saturated, they must be once more placed in the ﬁrst bath and then in the second. The polish used for wood: that is stained black should be white (colourless), to which a little ﬁnely ground Prussian blue should be added.
I’ve had this clock for a while that my daughter bought for my birthday some years ago. The movement died and since I have many movements left from my previous clock making days; I thought it would be a great opportunity to demonstrate on how to replace a battery powered movement.
This is the pin that holds the hands on the movement. Not all clocks have pins some are nuts (open and closed). Pull this out with your fingers to remove the hands.
This is the nut that holds the movement on the face. It is only finger tight. Unscrew the nut and pop the movement out.
The movement I’m replacing is a cheap Chinese-made movement. They cost around 0.30cents to buy in bulk from alibaba and only last about 3 years. They are good if you want to build a reputation for producing rubbish. For battery powered movements you need to buy the best there is, and Takane movements are it. They are made in the USA and come with a warranty of 10 years, even though they can last longer than that. They cost around $22 each, which is significantly higher than the Chinese model, but you get what you pay for.
Insert the shaft through the hole, replace the washer and screw on the nut using finger tight pressure only.
The plastic shaft on the movement which holds the hour hand isn’t the same diameter as the hole in the hour hand, I have to make some adjustments to reduce its diameter. I will hammer the outer walls of the hole inwards.
Reinsert the hands and screw on the nut. Discard the pin that came with the previous movement.
I discarded the metal hands altogether and make some new ones from wood I had left over from the jewellery box project I made for my niece.
Have you ever wondered why many clocks for sale read 1:50? It’s an old psychological trick that sellers still use to make their clocks seem more attractive. It’s a smile and meant to make you feel good when you look at the clock in the shop’s window. You’ll never see a clock reading 8:20 as that represents a frowning face.
If an axe breaks, it is almost always the shaft/handle that is the culprit. A poor quality or damaged shaft is a major safety risk. However, if the head is still in good condition, you can re-use your tool by fitting a new shaft.
When fitting a new shaft to your tool, it’s important to ensure that the shaft is dry. If it’s not and dries after the head as been fitted, there is a danger that the head will come loose. This also applies to the wedge if you fit a new shaft using a wooden wedge.
To fit a new shaft to your axe, do the following:
- Cut off the existing shaft just below the head.
- Drill a number of holes in the eye.
- Tap out what is left and clean the eye.
- Press and tap the head onto the new shaft, firmly but carefully. Cut off the protruding part of the shaft.
- Fit the steel wedge so that the end of the shaft fills the eye. If the steel wedge is not sufficient, you should fit a wooden wedge before the steel wedge. You can make this by cutting a wedge from a dry piece of hard timber. Then split the end of the shaft using a chisel. Apply some wood glue, tap in the wooden wedge and then cut off the excess.
- Tap the steel wedge out so that it locks the wooden wedge in position. Then apply oil to the end of the shaft to protect it against moisture.
- Use a convex edge for applications such as delimbing, felling and splitting.
- Use a straight edge for hacking.
- An axe that has been sharpened at an angle is dangerous to use as it can easily slip!
- A concave edge entails a high risk of the axe splintering.
You can sharpen your axe edge using sandpaper or a bench grinder. The safest way to sharpen is using a wet grinder, but sometimes it may be necessary to first grind out burrs or other damage using a different method, e.g. a bench grinder.
NB: It is very important that you take care when sharpening and ensure that the axe is not affected by heat! If any part of the axe turns a blue colour, it signals that its tempered zone has disappeared in that part of the axe and it is no longer as resistant to wear.
Never store your axe in excessively dry places, e.g. in boiler rooms or leaning against a heater. You then risk the shaft drying out and the axe head coming loose whilst being used.
Never strike the neck of the axe with another tool. Never use the axe as a sledge. Only sledge axes can withstand being used as a sledge.