The Sussex Woodcraft Society was formed in 1985 for the people of East and
West Sussex who have an interest in any woodworking activity, or derive pleasure
from wood crafted objects.
Secretary: Bob Jubb, 01444 232955: e-mail: robertjubb7@aol.com
Webmaster/Editor: Frank Botterill, 01273 890598: e-mail FABlamorna@aol.com
Web address: http://www.sussexwoodcraft.co.uk
I am pleased to report that the “shed” theme first introduced in our May 2008 newsletter has once more attracted a contributor. Whereas these areas seem to be the domain of the respective craftsmen there seems mutual interest in the creation and sophistication of the working environments enjoyed by others. Your contributions are always welcome so if you have a letter to the Editor burning to be written, on any subject, just put pen to paper or fingers on the keyboard. Although the dead line for publication is the end of the month preceding the month of issue, drafting of each issue commences four months earlier so send material as soon as the urge grabs you.
The GOOD and the BAD NEWS.
Well it has happened again! Yahoo, who have hosted our web site, at no cost, have announced that as from October 26th the facility is to be withdrawn. Whereas only a minority of SWS members take advantage of viewing the site, for those who do, it is a quick and useful reference to the Society’s activities. The good news is that we have succeeded in registering a new domain name that is now up and running. This is noted above as:- www.sussexwoodcraft.co.uk.
Ed
Chairman’s Message September 2009
Welcome back after our break, lets hope we have a fine sunny autumn to compensate for our summer!. Our allotment seemed to enjoy the weather as we have had bumper crops this year so far.
We tried out two new venues for our SWS shows this year the first at Ashdown Llama Centre and the second at the Civic Centre Uckfield. Although some of the Stallholders did sell their products the general feeling and feedback I have received was not very encouraging and it is therefore doubtful whether we will use these centres again.
We do have a good show at Bentley Woodfair every year in East Sussex and 2 shows at the Martletts in West Sussex so we really need to find a suitable venue for our Summer Show. Parham is a possibility as it attracts large crowds at their special events but it would require us to hire/purchase a marquee plus the cost of renting a space and this would prove rather expensive. Members might be willing to provide their own gazebos /tents so we do need to make some decisions in the near future.
Every two years Tom Lednor’s village Thakeham holds a Flower Festival in conjunction with Arts and Crafts Show
This year four SWS members supported Tom in the Craft Marquee and one of Toms friends really made us chuckle as he commented on Tom sitting astride his carving hourse tightening up his nuts!. The flower festival was held in the beautiful ancient village church and was really magnificent with imaginative displays based on the theme of gardens and plants of the Bible.
Graham and I went on a fascinating visit to Sadlescombe farm earlier this year. It is owned by the National Trust and farmed by Plumpton Agricultual College, the farm is open to the public on two occasions during the year but group visits can be arranged. The farm has been there for over 1000 years and has gradually evolved over the centuries and still retains its ancient charm with old wooden beams, a forge, carpenters shop and wheelwright a dairy and a very rare 17th century donkey wheel operating a pump.
The farmhouse is a delight to explore with it’s boot room, large kitchen, scullery, a room where the herbs, preserves and fruit are still stored and a schoolroom where the children of the Quaker Robinson family were taught.
We hope to book the N.T. Warden to come to one of our meetings to talk and show photos of Saddlescombe farm with a view to arranging a visit to the place next year.
Wendy Quantrill
13th May
John Plater described his career in teaching followed by early retirement and a full time hobby in woodturning. A self-taught craftsman John learnt from books and bitter experience. A user of the internet John successfully bid for a whole walnut tree and a whole mulberry tree on E-bay to provide economic material for turning. He projected slides showing his work, his equipment and some of his methods. http://www.johnplater.co.uk/
A
bowl by John Plater
Members’ work reviewed this month comprised.
Two sticks by Ray Osgood
Rams head in hard root, oak and buffalo horn shaft. Hand carved 4 start twist.
Otter head in hazel (work in progress)
Two Birds by Bob Fielding in giant redwood.The prominent grain has been enhanced by the use of heat from a flame
A bowl and small vase in tulipwood by Bob Turner. The production of these items resulted in a band saw accident to Bob’s finger.
17th June
ANTIQUE CLOCKS
Derek Fulford gave a very interesting account with slides of clocks starting around 1850 and then going back in time from there. He said that clocks have very strong family links, and are often passed down from generation to generation, and it is a very nice feeling to think that a clock which is ticking away in the lounge, was doing so for a forefather a century or so ago.
After his entertaining talk, Derek invited club members to bring up clocks they had brought in for comment and valuation. About a dozen clocks were put on the table, including two identical unusual French clocks from two committee members. All agreed it had been a thoroughly good evening.
Members’ work reviewed this month comprised
Bernie Harris with four lion's heads he had carved for a Showman's caravan, including a box with templates for making them all the same.
Ray Osgood with some more walking sticks including the finished otter stick previously mentioned.
Ted Burst with a beautifully made miniature door for a model Showman's caravan that he was making
Bob Jubb brought in a partly carved running hare and a netsuke blue ringed octopus
4th July Summer Show - sale of goods at Uckfield Civic Centre - Ashdown Room. (Associated events – Craft Fair and Farmers Market)
This event was staged during the heat wave of the British summer. There were 4 sales tables manned by Michael Holt, Fred Bennett, Brian Campion and Peter Stokes. Tom Lednor staged an exhibition table and a demonstration table. There was a steady trickle of visitors, which seemed to make it all worthwhile
The shed my Workshop By Shirley Baker Circa 1985
The first shed was our brick coal shed 10ft x 6ft-6in. which I converted after giving it a good wash, and cutting a new door in the end wall with a circular saw, this had been hired, but I had doubts about using it due to the weight
When the cutting began the dust was so intense I could not see what I was doing, so put the saw on to the ground, but then discovered it did not stop turning when switched off, this was even more disconcerting, (yes I was using all the gear) but eventually the job was completed.
Then the original opening had to be bricked up and I inserted a window, which had been found at the dump (in those days you could slip the man a pound or so and walk away with what you fancied), then with my husbands help we fitted the original door in its new position.
A few shelves were put up and I had somewhere to store the tools and workbench I had purchased for Eric over the years, a large (6ft) freezer and as usual an awful load of other rubbish. (He incidentally had severe heart problems) so I was the gopher, and with coercion and a little help was able to get him to make things for our home.
Whilst working as a an accountancy “temp” with a building Company in Reigate, I discovered that they had in store an all in one wooden door & window frame 10ft X 6ft-6in, which was surplus to requirements on an LCC (London County Council) contract, this I managed to purchase for £25.00, an absolute snip, and with my son’s help we built another shed in front of and enclosing the original one. Entry is directly from the kitchen; a mixed blessing when you consider that dust follows you everywhere, and due to the lack of heating cannot be used during the winter, although when desperate I use a small electric fire. I have my lathe on a substantial bench attached to the end wall of the house, with shelves above, and a
bank of 4 electric plugs and electric lights, with wood stored under it, a dust extractor alongside, with a bench and chest of drawers on the other walls, a bench drill above the drawers and a grinder on the wall, with loads of wood/junk etc under & over everything. There is a passage between the garage and house wall, which I can enter from the workshop, on which I have hung shelves and these house all my wood blanks, and I would have loved to have had room for a band saw, there is also a door into the garden, 4 doors altogether.
Like Bob Jubb I am loath to put anything away, although I do hang my chisels up over the bench at the end of a session.
This year, after a lapse of 2 years due to ill health, I hope to resume turning, probably the air will be blue due to getting my hand in after the long absence.
Shirley Baker
Sharpening wheels for woodcarving Tools.
By Bob Jubb
Some years ago, several of us went to Woodworker Show at Sandown Park, where we had a SWS display stand. On a nearby stand was the well known carver Michael Painter, and he had a sharpening device for his carving tools which none of us had seen before. It comprised a number of MDF wheels with different edge shapes on a threaded shaft and the wheels were held in place with nuts and lock nuts. It had a driving motor and a primitive tailstock.
The MDF wheels
were arranged to rotate away from the operator (clockwise) and Solvo Autosol
metal polish was rubbed on the outside
of
each wheel, and is the medium which finally sharpens and polishes. t least two
of our members, Bernie Harris and Brian Corbin, made up a set of wheels
afterwards. Bernie also made me some wheels, and Brian got me some bearings, and
that is as far as I got with mine, and somehow the bits got lost or buried in my
workshop!! Several years later, i.e. a couple of months ago, I used some of
Brian's tools to help him with a carving at carving class. They cut lime like
butter and it was a real treat to use them. I was also in Bernie's workshop,
helping him with the drawings for a carving, when he tickled up a gouge on his
sharpening wheel. I realised that my own chisels were nowhere near as sharp as
they could be. The following week, I went to Bernie's again to help him on the
same project, and there were three MDF wheels mounted on a threaded rod waiting
for me. Thanks Bernie, I now had a second chance and I had to make a sharpening
arrangement straight away. I bought a buffing mop to go on the shaft, and then
dug out an old variable speed drill that can run in both directions, which had
been lurking in one of my workshop drawers.
Using a stout wooden base, I mounted the drill horizontally and raised it up
on a block of wood, so that the wheels would clear the base. I made a wooden
clamping arrangement to hold the drill firmly in place. I put the threaded shaft
in the drill and tightened it right up. I shaped a wooden tailstock and marked
where the shaft would meet it. At this spot I drilled a hole about 3/4 inch deep
and glued a small metal tube in it, so that the shaft would run in it with only
a small clearance. I screwed and glued the tailstock in place, and put the shaft
in the tube.
The
photo shows the finished arrangement. I set the direction of the drill to rotate
away from me, and set the speed to slow and started it up. It was very steady. I
put the Autosol on each wheel and started sharpening my small tools. I did the
outside edge of all tools on the flat wheel, and the insides on one of the
two curved wheels, and then buffed them up to remove any loose bits. Wow, what a
difference, well worth the couple of hours it took to make and put the whole
arrangement together. It doesn't do away with the sharpening stone, but gives a
final finish which is very sharp, and very quick to do.
Bob Jubb
Deluxe Honing Guide
Following on from Bobb Jubb’s previous article, I was introduced by an amateur woodworking friend to this useful accessory. The catalogue price for this item is £7.56 and I am assured gives reliable results when sharpening straight chisels and, as pictured, the blade of a plane. The concept is simple; the roller keeps the edge square and at a constant angle which itself is adjustable
Ed
Bentley Wildlife Carvers
Geoff Weald has advised of the ‘acquisition’ of a large lime tree, which it is hoped, will be seen being planked at the coming Bentley Weald WoodFair (See Forthcoming Events). Obviously the wood will be ‘green’ and the sizes will not be known until the day, but will be subsequently stored on the site in a dry environment. Geoff also advised that the Sussex Woodcraft Society would be able to obtain pieces of lime at very reasonable cost. Members who wish to avail themselves of this wood should contact a member of our committee. Another good reason for a visit to the WoodFair.
Tree of the month
(Downloaded from the Royal Forestry Society web site www.rfs.org)
The Oak
Two native oaks share the British countryside. The English oak (Quercus robur) prefers lowland meadows and woodlands whilst Sessile oak (Quercus petraea) is more at home in stony upland places. Mixed woods of the two species occur, intermediate forms are common, but true hybrids between them are unusual.
Oaks can develop into huge spreading trees reaching 40 metres high and producing stems up to 12.5m in girth. In Britain they can live for over 1,000 years.The deciduous lobed oblong leaves are familiar to most people. They are frequently represented in art, and feature on many logos and brand identities.
In summer a new flush of reddish-brown 'lammas' foliage appears replacing earlier leaves eaten by insects.
Acorns in cups are a well known feature of an oak tree. The Anglo-Saxon name for oak was aik, so the seed was known as aik-com. English oaks bear them on stalks, sessile acorns are stalkless. In a good year a mature tree may produce around 50,000 acorns.
Saplings have smooth lustrous brown bark with paler patches & cross bands. Years later this becomes hard, rugged and deeply fissured.
Following the last Ice Age, oak trees migrated to Britain naturally from mainland Europe by seeding across the land bridge that is now the English Channel.
Strong durable oak timber was traditionally used for houses, ships and furniture. Today the best wood is still used for quality cabinet making, veneers and barrel staves. Rougher material is used for fencing, roof beams and specialist building work.
Oak wood is golden brown with prominent paler flecks (medullary rays) maturing to deep brown when used inside, or light silvery grey out of doors. Freshly cut material has a distinctive pleasant smell.
Besides timber, oak woods once provided a harvest of bark for the leather tanning industry, and in good acorn seasons (mast years) animals were grazed under the trees to fatten them up before winter.
Oak trees are easy to grow from seed. They transplant well but long roots sometimes need pruning. Traditionally oak trees were planted close together and allowed to compete for light. In due course virtually knot free stems with no side branches would dominate. Today trees are planted out more thinly and usually started off in plastic treeshelters.
In the British rural landscape living oaks are cherished. The heritage and conservation value of veteran oaks can hardly be matched by any other trees.
Note from Editor
I have a particular interest in the Oak. The image at the top of this article is the view I see from the window as I type this newsletter. Whereas the two oaks are quite different in their characteristics, producing and shedding their leaves at different times, they both appear to be the English oak. The acorns produce a prodigious number of saplings, which, along with acers, I attempt to bonsai. The example on the left did not survive due to a lack of due care and attention.
Peter Paces Competition winning Woodcarver - Woodcarving Projects
On Peter’s web site (see link from our web site) Peter writes:
QUOTE
These projects are aimed at woodcarvers who wish to 'have a go' at creating relatively easy yet attractive carvings.
Some of these projects are as simple as they get, yet they result in presentable creations, provided the carver has enough self-discipline to see the project through. If nothing else, they may serve as sources of carving ideas.
It is not uncommon to see people taking on projects far beyond their capabilities and never really finishing them. Invariably this is due to the wrong type of subject (usually too ambitious), to the lack of adequate preparation and artwork, to the choice of wrong timber, to inadequate tools etc.
Here I offer to help with some of these problems: the idea, the artwork, and the wood.
UNQUOTE
Here is just one example of Peter’s projects
Perfecting the PPPenguin
Society Members
Mike Wallace has only received a few Email addresses from members. One member has requested newsletters electronically. Please make your wishes known to Mike by Email – mikewallaceuk@yahoo.co.uk
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