tag:blogger.com,1999:blog-7507681145711759082024-02-19T07:51:22.412-08:00Designs on Wooda blog to guide and enthusestuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.comBlogger19125tag:blogger.com,1999:blog-750768114571175908.post-46402319691256643522009-10-12T10:20:00.000-07:002009-11-12T07:16:45.704-08:00Painter's Lives and Techniques<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQh9zuqcB7alsSrcSchay9V6_Ofimh5j9zZVvBBptVxQiq9YDcBMO8arMEDGpKP-xZUj8w0FHrytWZK30j-MKTeb5-s4_a9l02hxHnsAe09XDBjNPZ5sAfQYnxK8hIbDwmlBwn4ABSBLQ/s1600-h/xl_girl_with_the_red_hat.jpg"><img style="cursor: pointer; width: 225px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQh9zuqcB7alsSrcSchay9V6_Ofimh5j9zZVvBBptVxQiq9YDcBMO8arMEDGpKP-xZUj8w0FHrytWZK30j-MKTeb5-s4_a9l02hxHnsAe09XDBjNPZ5sAfQYnxK8hIbDwmlBwn4ABSBLQ/s320/xl_girl_with_the_red_hat.jpg" alt="" id="BLOGGER_PHOTO_ID_5391785864825331346" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iNiLNn4Dzn1yCDC5f1r-PptLwmWkXfwQHFljhvgIHmjbODrHSxw1anYkn8zrDThLb2Nc053f1ICI2yPlR6xUu8_nhIMRA-FM-ajvB9F4-70EREaN-emZFm2dpsWP6vlNqLaOZJbVp50/s1600-h/_45293129_rembrandtbig_ap226b.jpg"><img style="cursor: pointer; width: 226px; height: 282px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iNiLNn4Dzn1yCDC5f1r-PptLwmWkXfwQHFljhvgIHmjbODrHSxw1anYkn8zrDThLb2Nc053f1ICI2yPlR6xUu8_nhIMRA-FM-ajvB9F4-70EREaN-emZFm2dpsWP6vlNqLaOZJbVp50/s320/_45293129_rembrandtbig_ap226b.jpg" alt="" id="BLOGGER_PHOTO_ID_5391785857530035714" border="0" /></a><br /><br />If you are interested in the works of Rembrandt and Vermeer and other Dutch painters, it is worth looking at these three Blogs and the one for the National gallery. I guess there are as many interpretations on technique of artists as there are viewers of their work, probably more, when rembering that there have been many art historians in the past that simply made interpretations based on hearsay.<br />Looking at these Blogs you can at least feel some connection to the world in which the artists lived, many in situations that would be counted today as unfortunate or down right bad luck. Vermeer is of interest in his seemingly disinterest in earning money but over interest in producing children, especially when he seemed to produce very little and not sell enough to pay for the up keep of his increasing family. Whether this then led to the sad state of health of his children I would not know, many died in infancy. He produced a few allegorical paintings from when he was 25 being very much in the Carravagio style and then moved to produced a collection of paintings that almost exclusively used his home and family as their base and had a soft focus photographic quality. The other strange thing was the absence of any drawings, he produced works with huge precision and yet without seemingly doing any preliminarily sketches. Rembrandt on the other hand seemed to have created a huge folio of work which gives a good sense of progression and a guide to the artists approach.<br />It is certain to my eye that in many ways the two artists produced outstandingly modern visions, Vermeer the clear light and photographic technique, whilst Rembrandt put texture and expressionism, most notable in his last few works.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MF0M3DiM02b92PWccjC9mNVffdhMGnzQonEfpbFx_uDMbNNhZV2HDW_8FxVaCjn5Pe7cDRZ6yrA66F9f3XfkdD-_EUGcKT-u5C-o-3fNlTJHL7Yr2taibCTwl5GM_5mJ5RX7bHmlRT4/s1600-h/DSC02443.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 346px; height: 346px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4MF0M3DiM02b92PWccjC9mNVffdhMGnzQonEfpbFx_uDMbNNhZV2HDW_8FxVaCjn5Pe7cDRZ6yrA66F9f3XfkdD-_EUGcKT-u5C-o-3fNlTJHL7Yr2taibCTwl5GM_5mJ5RX7bHmlRT4/s320/DSC02443.JPG" alt="" id="BLOGGER_PHOTO_ID_5403235999866875330" border="0" /></a>My own unfinished copy of a Vermeer<br /><br /><a href="http://www.rembrandtpainting.net/rembrandt_van_rijn_legend_and_man.htm">http://www.rembrandtpainting.net/rembrandt_van_rijn_legend_and_man.htm</a><br /><a href="http://flyingfox.jonathanjanson.com/">http://flyingfox.jonathanjanson.com/</a><br /><a href="http://www.essentialvermeer.com/vermeer_the_man.html">http://www.essentialvermeer.com/vermeer_the_man.html</a><br /><a href="http://www.nationalgallery.org.uk/">http://www.nationalgallery.org.uk/</a><br /><a href="http://www.getty.edu/art/gettyguide/artMakerDetails?maker=473">http://www.getty.edu/art/gettyguide/artMakerDetails?maker=473</a>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-57299436244628786492009-03-26T19:12:00.000-07:002009-03-27T04:37:49.898-07:00Natural resins for varnishing and polishing<o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="country-region"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"></o:smarttagtype><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Font Definitions */ @font-face {font-family:Wingdings; panose-1:5 0 0 0 0 0 0 0 0 0; mso-font-charset:2; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:0 268435456 0 0 -2147483648 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:595.3pt 841.9pt; margin:27.0pt 90.0pt 27.0pt 90.0pt; mso-header-margin:35.4pt; mso-footer-margin:35.4pt; mso-paper-source:0;} div.Section1 {page:Section1;} /* List Definitions */ @list l0 {mso-list-id:1502506025; mso-list-type:hybrid; mso-list-template-ids:2113706824 134807553 134807555 134807557 134807553 134807555 134807557 134807553 134807555 134807557;} @list l0:level1 {mso-level-number-format:bullet; mso-level-text:; mso-level-tab-stop:36.0pt; mso-level-number-position:left; text-indent:-18.0pt; font-family:Symbol;} ol {margin-bottom:0cm;} ul {margin-bottom:0cm;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]--> <p class="MsoNormal"><b style="">The alcohol available to wood finishers in earlier days was often of unknown quality, it was usually distilled from wine or brandy, and may easily have contained up to 50% water, as there was no readily available way of measuring the water content in the alcohol. This water causes the varnish to become cloudy, so it was of more than interest sake to measure accurately the purity of the alcohol used in varnish making. An early method was to put a quantity of gunpowder in a spoon and cover with the alcohol to be used for polishing. This was set alight and if, after the alcohol has burnt off, the gunpowder would ignite, it was counted as pure enough to use, if the powder would not ignite, then it contained too much water and would be discounted from use. Later the use of the hydrometer meant that a careful calculation of the purity and water content could be made. <o:p></o:p></b></p> <p class="MsoNormal"><b style="">Some of the basis of varnish is natural resins, differing locations of these resins and their differing inherent nature, was the diference for many styles of polishes and varnishes.<o:p></o:p></b></p> <ul style="margin-top: 0cm;" type="disc"><li class="MsoNormal" style=""><b style="">Anime</b> is the archaic name for fossil copal resin. Fossil resins are mined from deposits found underground, they are found in areas of prehistoric forest, and as such the resin is virtually exhausted today. The original resin the word anime refers to copal resin and is no longer available, but Kauri resin, from <st1:country-region><st1:place>New Zealand</st1:place></st1:country-region>, is a certain substitute for the original resin. Kauri resin is a superior quality resin, and makes fine quality varnish, used extensively during the 1800’s as the ingredient in most fine quality varnishes, used in both oil and spirit varnishes.</li><li class="MsoNormal" style=""><b style="">Balsam</b> is a resin collected from coniferous trees such as pine, fir, spruce, balsam, and larch. It was historically considered an inferior ingredient in varnishes, but was used to give the varnish a high gloss. It may be seen to be refered to in old recipes, as chian turpentine (derived from Mediterranean pines), Strasburg turpentine (derived from German fir trees), and <st1:city><st1:place>Venice</st1:place></st1:city> turpentine (derived from European larch trees). Balsam should not be confused with modern turpentine, the product that is now sold as turpentine, was called turpentine oil or spirits of turpentine, and is a liquid solvent made from the distillation of pine-tree sap. The balsam that is available today, is called copaiba balsam and Canadian balsam.</li><li class="MsoNormal" style=""><b style=""><span style=""> </span>Benzoin</b> is a resin from the styrax benzoin tree that grows in tropical <st1:place>Asia</st1:place>. It was used in spirit varnishes of the 16<sup>th</sup> and 17<sup>th</sup> centuries. It has a pleasant odour that is still faintly recognisable on antiques, and for this reason is often added to classic varnishes to reproduce the characteristic smell. In old formulas, it may well be referred to as Benjamin.</li><li class="MsoNormal" style=""><b style="">Copal</b> , various resins have been called copal, some types of copal can be mixed with oils to make oil varnish, and the copal varnish sold in art supply stores, is an oil-based varnish. The type of copal used in spirit varnishes is called spirit or manila copal. This resin is harvested from the trees of the Agathis genus, and is used as an additive to give toughness to the varnish.</li><li class="MsoNormal" style=""><b style="">Elemi</b> is a soft resin produced by the trees of the Burceraceae family, and is added to varnishes to make them more elastic. In old formulas it may be found to be called allemy, and may be bought in art supply stores.</li><li class="MsoNormal" style="">Gum Arabic is a resin produced from the trees of the Acacia genus. It is included in some old formulas for spirit varnish, and also is used by artists as a resist, this can also be bought in art supply stores.</li><li class="MsoNormal" style=""><b style="">Lavender oil</b> is oil distilled from the lavender plant, and first produced during the 1500’s, being very similar to turpentine oil, but that turpentine oil will not mix with alcohol, while lavender oil will. It is used in spirit varnishes to make the varnish level out and smooth more easily, so the brush marks flow out better. It may also be refered to as oil of spike or spike lavender.</li><li class="MsoNormal" style=""><b style="">Mastic</b> is a soft resin that is very clear, with a pale yellow colour that may darken with age, and was used in the past when a pale light-coloured varnish was required or desired. It is harvested from the Pistacia lentiscus tree that grows in the Mediterranean region. The best mastic comes in small drop shaped beads called ‘tears’, these have been harvested while still attached to the tree. The lower grades of mastic have been harvested from the ground, and contain impurities. Mastic can be bought in art supply stores.</li><li class="MsoNormal" style=""><b style="">Rosin</b> is the resin that is left after the balsam from the trees such as pine, fir, spruce, balsam and larch, is distilled to make spirits of turpentine, and like balsam, it was considered an inferior ingredient in varnish, but used to give varnish a high gloss finish. In old formulas it may well be referred to as colophony, when it was derived from the American pine trees, or as greek pitch, when it was derived from the <st1:city><st1:place>Aleppo</st1:place></st1:city> pine.</li><li class="MsoNormal" style=""><b style="">Sandarac</b> is a brittle resin, derived from the Alerce tree (Tetraclinus articulate) that grows in the <st1:place>Atlas mountains</st1:place> of <st1:place>North America</st1:place>, and <st1:city><st1:place>Cypress</st1:place></st1:city> pine trees (Callistris quadrivalvis), in old formulas, it may be refered to as gum juniper. It was probably the most widely used resin for varnish making, because it is very clear and dissolves easily in alcohol. Since sandarac, used alone, forms a very brittle film, elemi was often added to sandarac varnish to improve its elasticity. Sandarac varnish starts almost colourless, but with age it becomes darker and slightly reddish. The best quality sandarac is harvested while still attached to the tree, and is called ’tears’ of sandarac, the lower grade is harvested from the ground and contains impurities. Sanarac also can be obtained in art stores.</li><li class="MsoNormal" style=""><b style="">Shellac</b> is unique amongst natural resins, since it is produced by insects on a plant. Shellac varies in colour depending on<span style=""> </span>the shellac used. Early varnish formulas used seed-lac, button-lac, or orange shellac, and the varnish produced had an orange or dark brown colour. Seed-lac was considered the best for use in spirit varnish during the 1600’s, and it produced a lighter colour of varnish than the orange shellac. In older formulas, when gum lac is specified, kausmi seed-lac is probably being referred to. When old formulas specify shellac, it is appropriate to use the orange shellac. Lighter coloured shellacs were not available until the late 1700’s, although shellac was used in a limited way for a long time, its dark colour made it less desirable, at a time when finishers were striving for a pale light-coloured finish with the varnish. After lighter forms of shellac became available, it soon became one of the most sort and used components in a spirit varnish.<br /></li></ul>To give an idea of the different varnishes available to artists during the 1800's. here are some of the types that were sold by colourmen such as Windsor & Newton, Reeves, Roberson and Rowney, from 1800 to 1890.<br /><ul><li>Mastic varnish later called mastic varnish for varnishing pictures 1835</li><li>Copal varnish later called copal (oil) varnish 1835</li><li>Copal spirit varnish later called white copal spirit varnish 1856</li><li>Fine picture copal varnish 1835</li><li>White spirit varnish 1835</li><li>Brown spirit varnish 1835</li><li>Transfer varnish 1835</li><li>Double mastic varnish later called doble strength for Magilp 1840</li><li>White lac varnish also called lac varnish 1840</li><li>Crystal varnish later refered to as crystal or map varnish 1840</li><li>Caustic or transfer varnish 1840</li><li>Raising varnish 1840</li><li>Roberson's fixing liquid for chalk and pencil drawings, in bottles 1840</li><li>Grecian varnish 1840</li><li>Field's white lac varnish 1870</li><li>Photographic varnish for negatives 1870</li><li>Amber varnish light 1883</li><li>Amber varnish dark 1883</li><li>Soehnée varnish 1883</li><li>Soehnée Frére's varnish for pictures 1890</li><li>Soehnée Frére's varnish for paper and etc. 1890</li><li>Picture copal varnish 1890</li><li>Paper varnish 1883</li><li>Vibert's vernis á retoucher 1896</li><li>Vibert's vernis á tableaux 1896</li><li>Mastic varnish No 2 for pictures 1896</li><li>Rowney's picture glaze 1907.<br /></li></ul>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-61096922662744256872009-03-26T10:15:00.000-07:002009-03-26T19:12:38.888-07:00Varnishes:Till Your Art and work may Call for its Assistance<!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:595.3pt 841.9pt; margin:27.0pt 90.0pt 27.0pt 90.0pt; mso-header-margin:35.4pt; mso-footer-margin:35.4pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><p class="MsoNormal"><span style=""> </span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p>Spirit and oil varnishes have a long history, the word varnish is often applied to the brushed on, thicker type of<span style=""> </span>boiled finish, whilst it’s shellac base may well be called polish. Here we have two types of varnish, the spirit based and the oil based varnishes.<br /><table id="wn"><tbody><tr><td valign="top"><br /></td><td><b>spirits of wine</b> - rectified ethyl alcohol<div class="Rel">ethanol, ethyl alcohol, fermentation alcohol, grain alcohol - the intoxicating agent in fermented and distilled liquors; used pure or denatured as a solvent or in medicines and colognes and cleaning solutions and rocket fuel; proposed as a renewable clean-burning additive to gasoline</div></td></tr></tbody></table><br /><span class="hw">shel·lac</span> also <b>shel·lack</b> <script>play_w2("S0333500")</script><object style="margin: 1px;" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,0,0" width="13" height="21"><param name="movie" value="http://img.tfd.com/m/sound.swf"><param name="menu" value="false"><param name="wmode" value="transparent"><param name="FlashVars" value="sound_src=http://img.tfd.com/hm/mp3/S0333500.mp3"><embed src="http://img.tfd.com/m/sound.swf" flashvars="sound_src=http://img.tfd.com/hm/mp3/S0333500.mp3" menu="false" wmode="transparent" type="application/x-shockwave-flash" pluginspage="http://www.macromedia.com/go/getflashplayer" width="13" height="21"></embed></object> <span class="pron" onmouseover="return m_over('Click for pronunciation key')" onmouseout="m_out()" onclick="pron_key()">.</span>n.<div class="pseg"><i></i><div class="ds-list"><b>1. </b> A purified lac in the form of thin yellow or orange flakes, often bleached white and widely used in varnishes, paints, inks, sealants, and formerly in phonograph records.</div><div class="ds-list"><b>2. </b> A thin varnish made by dissolving this substance in denatured alcohol, used to finish wood.</div><div class="ds-list"><b>3. </b> An old phonograph record containing this substance, typically played at 78 rpm.</div></div><br /><b>seed lac</b> - granular material obtained from stick lac by crushing and washing<div class="Rel">lac - resinlike substance secreted by certain lac insects; used in e.g. varnishes and sealing wax</div><div class="Rel">stick lac - lac in its natural state as scraped off twigs and dried.<br /><br /><br /><b style="">Spirit Varnish</b>. </div><p class="MsoNormal">This is a varnish that has the natural resins dissolved in alcohol, and shellac is the now most commonly used spirit varnish, although in the past there were many types of spirit varnishes in use. They can be be a very hard and resistant finish, and their clarity can enhance the wood with a fine finish, but do suffer from moisture penetration and marking, being<span style=""> </span>also less resistant to common alcohol and spirit use.</p> <p class="MsoNormal">Before modern finishes were developed, the spirit varnish and polish, was favoured for its clarity and high degree of fineness in the finish, although the harder varnishes had a tendency, with time, to become very brittle and develop fine crazing over the surface. There are hundreds of recipes for all types of varnish, here I will give some idea of how they were made, in the Dr,Ure’s Dictionary of 1840, he writes these recipes;<b style=""><o:p></o:p></b></p> <p class="MsoNormal"><b style="">White Hard Spirit Varnish</b>, or the white hard spirit of <i style="">wine </i>varnish,<br /></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9SBQF8wa_CJk2FZw5sLupbu_yBK_kHKFjvXG12lARbFYgvRs64yt9iQNVSbZ_1RXE9T-Pn7dTIk7z-GhfmtOABKQY-U_lWATKoAc1d1n-i0a2YQEzCqtmkgLJ9n_49G_IO02kPiMdl9w/s1600-h/restauracao157.jpg"><img style="cursor: pointer; width: 320px; height: 122px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9SBQF8wa_CJk2FZw5sLupbu_yBK_kHKFjvXG12lARbFYgvRs64yt9iQNVSbZ_1RXE9T-Pn7dTIk7z-GhfmtOABKQY-U_lWATKoAc1d1n-i0a2YQEzCqtmkgLJ9n_49G_IO02kPiMdl9w/s320/restauracao157.jpg" alt="" id="BLOGGER_PHOTO_ID_5317549681151595938" border="0" /></a><p class="MsoNormal">Put 5 pounds of gum sandarac into a 4 gallon tin or bottle, with 2 gallons of spirits of wine, 60 over proof (too strong to drink) and agitate until all is dissolved, exactly as is directed for the best mastic varnish, recollecting, if washed glass is used, that it is convenient to dip the bottle containing the gum and spirits into a copper-full of hot water every 10 minutes- the bottle to be immersed for only two minutes at one time- which will greatly assist in the dissolving of the gum; but, above all, be careful to keep a firm hold of the cork of the bottle, otherwise the refraction will drive the cork out with the force of a shot, and perhaps set fire to the place ! The bottle, every time it is heated, ought to be carried away from the fire (remember this is alcohol inside) and the cork should be eased a little, to allow the now rarefied air to escape: then driven tight, and the agitation to be continued in this manner until all the gum is properly dissolved; which is easily known by having an empty tin can in which to pour the vanish, until near the last, which is to be poured into a gallon measure. If the gum is not all dissolved, return the whole of the mixture into the 4 gallon tin/bottle, and continue the agitation until it is ready to be strained, when every thing ought to be quite ready,and perfectly clean and dry,as oily tins, funnels, strainers,or any thing damp, or even cold weather, will chill and spoil the varnish. After it is strained off, put into the varnish 1 quart of very fine turpentine varnish, and shake and mix the two well together. Spirit varnishes should be kept well corked: they are fit to use the day after they are made.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl5uVC0bq3FH5DsrclU5t3j5azGdmoFgYQwWGeuyK2V-6L_93k2BukfPTAELyGDx8oUtY9u-7HC1yyxatoxWxXWCnrAyZiIKaeFShbvUP97iCgdtR4jMNnPvYoFf4g3XwpAuHh2cRLsuI/s1600-h/restauracao156.jpg"><img style="cursor: pointer; width: 320px; height: 190px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl5uVC0bq3FH5DsrclU5t3j5azGdmoFgYQwWGeuyK2V-6L_93k2BukfPTAELyGDx8oUtY9u-7HC1yyxatoxWxXWCnrAyZiIKaeFShbvUP97iCgdtR4jMNnPvYoFf4g3XwpAuHh2cRLsuI/s320/restauracao156.jpg" alt="" id="BLOGGER_PHOTO_ID_5317549669529627106" border="0" /></a><p class="MsoNormal"><b style="">Brown Hard Spirit Varnish.<o:p></o:p></b></p> <p class="MsoNormal">Brown hard spirit varnish is made by- putting into a bottle 3 pounds of gum sandarac, with 2 pounds of shellac ( shell-lac) and two gallons of spirits of wine, also 60 over proof; proceeding exactly as before directed for the white hard varnish, and agitating it when cold, which requires about 4 hours of time, without any danger of fire; whereas, making any spirit varnish over heat is attended with a degree of danger. No spirit varnish<span style=""> </span>ought to be made near fire or candle light. When this brown hard is strained, add 1 quart of turpentine varnish, and shake and mix well: next day it is fit for use.</p> <p class="MsoNormal">French White Spirit varnish.</p> <p class="MsoNormal">The following are reckoned to be good French recipes for varnishes: </p> <p class="MsoNormal">White spirit varnish – Sandarac, 250 parts, mastic in tears, 64; elemi resin, 32; turpentine (vernice), 64; alcohol, of 85 per cent,1000 parts by measure. The turpentine is to be added after the resins are dissolved. This is a brilliant varnish, but not so hard as to bear polishing.</p> <p class="MsoNormal">For large quantities of the spirit varnish, Dr Ure recommends the following:</p> <p class="MsoNormal">“ When large quantaties of spirit varnish are to be made, a common still, mounted with its capital and worm, is the best vessel employed for containing the materials, and it is placed in a steam or water bath. The capital should be provided with a stuffing-box, through which a stirring-rod may pass down to the bottom of the still, with a cross piece at the end, and a handle or winch at the top. After heating the bath till the alcohol boils and begins to distil, the heat ought to be lowered, and the solution may continue to proceed in an equable manner, with as little evaporation of the spirits as possible. The operation may be supposed to be complete when the rod is easily turned round. The varnish must then be passed through a silk sieve of proper fineness; then filtered through porous paper, or allowed to clear leisurely in stone jars. The alcohol which has come over should be added to the varnish, if the just proportions of the resins have been introduced at first”.</p> <p class="MsoNormal">If I can get hold of the software for text recognition, I have a large number of recipes, in many books, and covering many periods of history, and it would be good to post them on the net. However the work load to simple read and then rewrite these is rather greater than I would like to undertake at the moment, text recognition would allow me to scan and copy into word, direct, and then also give me the opportunity to translate into other languages and also copy and translate Italian and Spanish reference into English.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRC97gEIsFB12GVFc48XJf4WJ4cdSXaag6PrTSP0DcvIdPI0gBO6-kgQwjyIAYiwVjbZBIYYjMT8haVX8XyfLeOtcHygcu4jim6BQfBIr8dQd2fEKBIUbRQl1AJ4ucDS6UioGhJ7uDkdY/s1600-h/restauracao158.jpg"><img style="cursor: pointer; width: 320px; height: 149px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRC97gEIsFB12GVFc48XJf4WJ4cdSXaag6PrTSP0DcvIdPI0gBO6-kgQwjyIAYiwVjbZBIYYjMT8haVX8XyfLeOtcHygcu4jim6BQfBIr8dQd2fEKBIUbRQl1AJ4ucDS6UioGhJ7uDkdY/s320/restauracao158.jpg" alt="" id="BLOGGER_PHOTO_ID_5317549688658134690" border="0" /></a><p class="MsoNormal"><b style=""><o:p> </o:p></b></p> <p class="MsoNormal"><b style="">A Treatise of Japaning and Varnishing; Stalker and Parker, 1688.<o:p></o:p></b></p> <p class="MsoNormal">This excerpt gives recipes that have not changed over the three centuries that have now passed since the writing of their treatise.</p> <p class="MsoNormal">“Take one gallon of good spirit, and put it into as wide a mouthed bottle as you can procure, for when you should afterwards strain your varnish, the Gums in a narrow mouthed bottle mat stick together, and clog the mouth, so it will not be easie task to sparate or them them out. To your spirits add one pound and a half of the best seed-lac, let it stand the space of 24 hours, or longer, for the gum will be better dissolved, observe to shake it very well, and often, to keep the Gums from clogging or caking together. When it hath stood for some time, take another bottle of the same bigness, or as many quart-ones that will take your varnish; and your strainer and flannel made as foresaid in the book. Fasten it to a tenter hook ( it was the custom for butchers to hang meat and game on a hook, until the meat relaxed and became more tender, thus getting the name of tender or tenter hook) against a wall, or some other place that is convenient for straining it, in such a posture, that the end of your strainer may almost touch the bottom of your tin-tunnel, which is supposed to be fixed in the mouth of your empty bottle, on purpose to receive your strained varnish. Then<span style=""> </span>shake your varnish well together, and pour or decant into your strainer as much as it will conveniently hold, only be sure to leave room for your hand, with which you must use to squeeze out the varnish, and when the bag<span style=""> </span>by so doing is almost dry, repeat it, till all your strainer is being almost full of dregs of the Gums, shall (the moisture being all pressed out) be required to be discharged of them; which faeces or dregs are of no use, unless to be burnt, or fire your chimney. This operation must be continued, till all your varnish is after this manner strained; which done, commit it to your bottles close stopt, and let it remain undisturbed for two or three days, then into another clean empty bottle pour off very gently the top of your varnish, so long as you oberve it to come clear, and no longer, for as soon as you observe it to come thick, and muddy, you must by all means desist: and again, give it time to rest and settle, which twill do I a day or two; after which time you must attempt to draw off as much of you fine varnish, and having so done you may lay it up, till your art and work may call for its assistance. Tis certain, that on any emergency or urgent occasion you may make varnish in less time than 24 hours, and use it immediately, but the other I recommend as the best and more commendable way: besides, the varnish which you have from the top of the bottles first poured off, is of extraordinary use to adorn your work and render it glossy and beautiful. Some artists, through haste or inadvertency, scruple not to strain their varnish by fire or candle-light; but certainly day-light is much more proper, and less dangerous; , for should your varnish through negligence or chance take fire, value not that loss, but rather thank your stars that your self and work-house have escaped. Should I affirm, that the boiling the Lacker and Varnish by the fire, were very prejudicial to the things themselves, I could easily make good the assertion; for the y are as well and better made without that dangerous element, which any after this caution will undertake, they may feeling assure themselves that tis able to spoil the experiment and operator. On the other hand, no advantage or excellence can accrue either to Lacker or Varnish, especially when, as some of them do, tis boiled to such great a height, that this Aetna is forced to throw out its fiery eruptions, which for certain consume the admiring Emperdocles, who expires a foolish and negligent Martyr; and it would almost excite one’s pitty, to see a forward and ingenious undertaker, perish in the beginning of his enterprise; who might have justly promised to erect a noble and unimitable work of art, as a lasting monument of his fame and memory: but (unhappy man) his beginning and his end are of the same date; his hopes vanish, or frightfully represented in a Puppet-shew, or on a sign-post.</p> <p class="MsoNormal"><b style="">To make shell-Lac varnish</b>.<o:p></o:p></p> <p class="MsoNormal">Whosoever designs a neat, glossy piece of work, must banish this as unserviceable for, and inconsistent with, the rarities of our art. But because tis commonly used by those that employ themselves in varnishing ordinary woods, as olive, Walnut, and the like, tis requisite that we give you directions for the composition of it, and if you conveniency or fancy lead that way, you may be supplied with materials for the performance. Having therefore in readiness one gallon of the best spirit, add to it one pound and a half of its best Shell-lacc. This mixture being well stirred and shaked together, should<span style=""> </span>stand about 24 hours before tis strained: You might have observed, that the former varnish had much sediment and dregs; this on the contrary has none, for it wholly dissolves, and is in consequence free from all dross or faeces, tis requisite however to strain it, that the sticks and straws, which are often in the Gum, may by this percolation be sparated from the varnish. But although this admits of no sediment, and in this case differs from the aforementioned varnish, yet tis much inferior also to it in another respect; That this will never be fine, clear and transparent, and therefore twill be lost labour to endeavour, either by art or industry, to make it so. This shall advantage however doth arise, that you need not expect or tarry its perfection, for the same minute that made it, made it for use. This, has I hinted before, is a fit varnish for ordinary work that requires not a polish, and look well for the present, yet like the handsome lady’s beautiful face, it hath no security against the injuries of time; for but for a few days will reduce it to its native mist and dullness. Your common varnish-dawbers frequently use it , for tis doubly advantage to them, having greater body than the Seed-lacc, less labour and varnish goes to the perfecting of the work, which they carelessly slubber over, and if it looks tolerably bright till tis sold, they matter not how dull it looks afterwards;<span style=""> </span>and lucre only being designed, it can compass that, farewell and admiration. Poor insufficient pretenders, not able to make their work<span style=""> </span>more apparent, or more lasting than their knavery ! And tis pretty to think that this same misty cloak will not cover the fraud or the impostor! That the first should be a foil to the second, and the dull foggy work serve only to set off the knavish artist in the most lively colours ! But to conclude, if with a pint of this varnish you mix two ounces or more of Venice-turpentine, it will harden well, and be a varnish good enough for the inside of drawers ( remember that it is not necessary to use good hard varnish in every part of a piece of furniture, a lesser quality can surfice for areas of less wear), frames of tables, frames of chairs, stools, or the like. Painters lacker (lacquer) made also from this varnish, and something of a larger quantity of turpentine put to it, serves very well for the lackering of coaches, house, signs, or the like, and will gloss with very little heat, and, if occasion be, without”</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj56caPv9lO12jdGqq9MlSmK8bmiqrzgHe6J8igjEH-w0_D3T9vm0BK2XGHT87AiLsRDNUEKlgOegaS4pTOnkLQFK3nGB_fV0kJd-CB9vaMNRFR6ShNDVywVEjrsSmxbWSEm_sDQ5UJD6w/s1600-h/restauracao159.jpg"><img style="cursor: pointer; width: 186px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj56caPv9lO12jdGqq9MlSmK8bmiqrzgHe6J8igjEH-w0_D3T9vm0BK2XGHT87AiLsRDNUEKlgOegaS4pTOnkLQFK3nGB_fV0kJd-CB9vaMNRFR6ShNDVywVEjrsSmxbWSEm_sDQ5UJD6w/s320/restauracao159.jpg" alt="" id="BLOGGER_PHOTO_ID_5317549698540831858" border="0" /></a>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-64358469620065120232009-03-23T08:47:00.000-07:002009-03-23T08:59:44.649-07:00Use of tree Oils. Varnish and Berenice<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFT2984_I0dccc5_YXEdNQIgURAupgmfvUpMwj_-b12dwbEZpkqGQgZJx6YXyeDKOtJtUhyBr7nCDEgTeOldftKCN7XqpNp9TpAkdO1QAxE5rFpQq8Pwzzdoci1f84Wg8n34KxITslYCM/s1600-h/800px-Walnut03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFT2984_I0dccc5_YXEdNQIgURAupgmfvUpMwj_-b12dwbEZpkqGQgZJx6YXyeDKOtJtUhyBr7nCDEgTeOldftKCN7XqpNp9TpAkdO1QAxE5rFpQq8Pwzzdoci1f84Wg8n34KxITslYCM/s400/800px-Walnut03.jpg" alt="" id="BLOGGER_PHOTO_ID_5316411219855629010" border="0" /></a>> <o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="State"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="country-region"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"></o:smarttagtype><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:595.3pt 841.9pt; margin:35.95pt 90.0pt 27.0pt 90.0pt; mso-header-margin:35.4pt; mso-footer-margin:35.4pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]-->The word "varnish" comes from Latin vernix meaning odorous resin, which etymology comes from Greek Berenice, ancient name of modern <st1:city><st1:place>Benghazi</st1:place></st1:city> in <st1:country-region><st1:place>Libya</st1:place></st1:country-region>, credited with the first use of varnishes and where resins from the trees of now-vanished forests were sold. Berenice comes from the Greek words phero (to bring) + nike (victory). <o:p></o:p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Berenice II (267 or 266 BC - 221 BC), was the daughter of Magas of Cyrene and Queen Apama, and the wife of Ptolemy III Euergetes I, the third ruler of the Ptolemaic dynasty of Egypt. <o:p></o:p></p> <p class="MsoNormal" style="text-align: justify;">During her husband's absence on an expedition to <st1:country-region><st1:place>Syria</st1:place></st1:country-region>, she dedicated her hair to Aphrodite for his safe return, and placed it in the temple of the goddess at Zephyrium. The hair having by some unknown means disappeared, Conon of Samos, explained the phenomenon in courtly phrase, by saying that it had been carried to the heavens and placed among the stars. This story is parodied in Alexander Pope's The Rape of the Lock.<o:p></o:p></p> <p class="MsoNormal" style="text-align: justify;">The predecessor of the modern city <st1:city><st1:place>Benghazi</st1:place></st1:city> was refounded by her and received her name: Berenice.<o:p></o:p></p> <p class="MsoNormal">After the marriage of Ptolemy III to Berenice, daughter of the Cyrenean Governor Magas, around the middle of the third century, many Cyrenaican cities were renamed to mark the occasion. Euesperides became Berenice and the change of name also involved a relocation. Its desertion was probably due to the silting up of the lagoons; Berenice, the place they moved to, lies underneath <st1:city><st1:place>Benghazi</st1:place></st1:city>'s modern city centre. The Greek colony had lasted from the sixth to the mid-third centuries BC. </p> <p class="MsoNormal" style="text-align: justify;"><o:p> </o:p></p> <p class="MsoNormal" style="text-align: justify;">The <b style="">asteroid </b>653 Berenike, discovered in 1907, is also named after Queen Berenice. </p> <p class="MsoNormal"><span style=""> </span>The name Coma Berenices or Berenice's hair, applied to a constellation, commemorates this incident. Callimachus celebrated the transformation in a poem, of which only a few lines remain, but there is a fine translation of it by Catullus. Soon after her husband's death (221 BC) she was murdered at the instigation of her son Ptolemy IV, with whom she was probably associated in the government.<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The <b style="">Candlenut</b> (Aleurites moluccanus), is a flowering tree in the spurge family, Euphorbiaceae, also known as Candleberry, Indian walnut, Kemiri, Varnish tree or Kukui nut tree. </p> <p class="MsoNormal">Its native range is impossible to establish precisely because of early spread by humans, and the tree is now distributed throughout the New and <st1:place>Old World</st1:place> tropics. It grows to a height of 15–25 metres (49–82 ft), with wide spreading or pendulous branches. The leaves are pale green, simple and ovate, or trilobed or rarely 5-lobed, with an acute apex, 10–20 centimetres (3.9–7.9 in) long. The nut is round, 4–6 centimetres (1.6–2.4 in) in diameter; the seed inside has a very hard seed coat and a high oil content, which allows its use as a candle (see below), hence its name.<br /></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeiZXu_fnbKPPnipDdLf0M7EWixEHGWRmn9ODwyfS8VNLKPxj14pIJlbZn0UIj04YlWggVNjWpY4_36ehg1bvylCCtUVU1EcvD6ufP3S1bgIbmOtyyDWtB7sYhPb1-DAMivzra4CxVpe4/s1600-h/Aleuritesmoluccana1web.jpg"><img style="cursor: pointer; width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeiZXu_fnbKPPnipDdLf0M7EWixEHGWRmn9ODwyfS8VNLKPxj14pIJlbZn0UIj04YlWggVNjWpY4_36ehg1bvylCCtUVU1EcvD6ufP3S1bgIbmOtyyDWtB7sYhPb1-DAMivzra4CxVpe4/s320/Aleuritesmoluccana1web.jpg" alt="" id="BLOGGER_PHOTO_ID_5316412720987394194" border="0" /></a><p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Koelreuteria paniculata (<b style="">Goldenrain tree</b>, Pride of India or China tree) is a species of Koelreuteria native to eastern <st1:place>Asia</st1:place>, in <st1:country-region><st1:place>China</st1:place></st1:country-region> and <st1:country-region><st1:place>Korea</st1:place></st1:country-region>. </p> <p class="MsoNormal">It is a small to medium-sized deciduous tree growing to 17 m tall, with a broad, dome-shaped crown.<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The leaves are pinnate, 15-40 cm (rarely to 50 cm) long, with 7-15 leaflets 3-8 cm long, with a deeply serrated margin; the larger leaflets at the mid-point of the leaf are sometimes themselves pinnate but the leaves are not consistently fully bipinnate as in the related Koelreuteria bipinnata.<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The flowers are yellow, with four petals, growing in large terminal panicles 20-40 cm long. The fruit is a three-parted inflated bladderlike pod 3-6 cm long and 2-4 cm broad, green ripening orange to pink in autumn, containing several dark brown to black seeds 5-8 mm diameter. </p> <p class="MsoNormal"><b style="">Walnuts</b> (genus Juglans) are plants in the family Juglandaceae. They are deciduous trees, 10–40 meters tall (about 30–130 ft), with pinnate leaves 200–900 millimetres long (7–35 in), with 5–25 leaflets; the shoots have chambered pith, a character shared with the wingnuts (Pterocarya) but not the hickories (Carya) in the same family.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumRUMr_6QXMfqCKhp_MUVXyr4iESjxSHECqGrRoJDQXn_d7bzmbE6klcRBiq0T5iAm-bws-ABw2J9gDItbMm_G673BnwPfpmrrxnuayYJZzj9BVqApP4HnD-ptBbmaZ2Y5k4yiDwQbyc/s1600-h/400px-Fruits_of_Koelreuteria_paniculata.jpg"><img style="cursor: pointer; width: 214px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhumRUMr_6QXMfqCKhp_MUVXyr4iESjxSHECqGrRoJDQXn_d7bzmbE6klcRBiq0T5iAm-bws-ABw2J9gDItbMm_G673BnwPfpmrrxnuayYJZzj9BVqApP4HnD-ptBbmaZ2Y5k4yiDwQbyc/s320/400px-Fruits_of_Koelreuteria_paniculata.jpg" alt="" id="BLOGGER_PHOTO_ID_5316411849227705042" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKq7FpCjL3T3We88easyyu4JrHe_fWyO5w0JF-REkB3bTkiV278-ky6bczTBsjGqfoF_qScJ0O8b7BVtQU6a1iMMGBWqkzI_Ru860hThKqO9_oiq7TKxl8MNKtO9BTdXeBjmEddJylkU/s1600-h/450px-Leafage_of_Koelreuteria_paniculata.JPG"><img style="cursor: pointer; width: 238px; height: 319px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdKq7FpCjL3T3We88easyyu4JrHe_fWyO5w0JF-REkB3bTkiV278-ky6bczTBsjGqfoF_qScJ0O8b7BVtQU6a1iMMGBWqkzI_Ru860hThKqO9_oiq7TKxl8MNKtO9BTdXeBjmEddJylkU/s320/450px-Leafage_of_Koelreuteria_paniculata.JPG" alt="" id="BLOGGER_PHOTO_ID_5316411846882370850" border="0" /></a><p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The 21 species in the genus range across the north temperate <st1:place>Old World</st1:place> from southeast <st1:place>Europe</st1:place> east to <st1:country-region><st1:place>Japan</st1:place></st1:country-region>, and more widely in the <st1:place>New World</st1:place> from southeast <st1:country-region><st1:place>Canada</st1:place></st1:country-region> west to <st1:state><st1:place>California</st1:place></st1:state> and south to <st1:country-region><st1:place>Argentina</st1:place></st1:country-region>. The Latin name, Juglans, derives from Jovis glans, "Jupiter's acorn": figuratively, a nut fit for a god.<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The word walnut derives from Old English wealhhnutu, literally "foreign nut", wealh meaning "foreign" The walnut was so called because it was introduced from <st1:place>Gaul</st1:place> and <st1:country-region><st1:place>Italy</st1:place></st1:country-region>. The previous Latin name for the walnut was nux Gallica, "Gallic nut". </p> <p class="MsoNormal">In some countries immature nuts in their husks are preserved in vinegar. In <st1:country-region><st1:place>England</st1:place></st1:country-region> these are called "pickled walnuts" and this is one of the major uses for fresh nuts from the small scale plantings. In Armenian cuisine, walnuts are preserved in sugar syrup and eaten whole. In <st1:country-region><st1:place>Italy</st1:place></st1:country-region>, liqueurs called Nocino and Nocello are flavoured with walnuts, while Salsa di Noci ("Walnut Sauce") is a pasta sauce originating from <st1:state><st1:place>Liguria</st1:place></st1:state>. In <st1:country-region><st1:place>Georgia</st1:place></st1:country-region>, walnuts are ground along with other ingredients to make walnut sauce.</p> <p class="MsoNormal">The nuts of all the species are edible, but the walnuts commonly available in shops are from the common walnut, the only species which has a large nut and thin shell. A horticultural form selected for thin nut shells and hardiness in temperate zones is sometimes known as the 'Carpathian' walnut. The nuts are rich in oil, and are widely eaten both fresh and in cookery. Walnut oil is expensive and consequently is used sparingly; most often in salad dressing. Walnuts are also an excellent source of omega-3 fatty acids, and have been shown as helpful in lowering cholesterol. They need to be kept dry and refrigerated to store well; in warm conditions they become rancid in a few weeks, particularly after shelling. Oil paint often employs walnut oil as an effective binding medium, known for its clear, glossy consistency and non-toxicity. <o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Walnuts are heavily used in <st1:country-region><st1:place>India</st1:place></st1:country-region>. In <st1:place><st1:city>Jammu</st1:city>, <st1:country-region>India</st1:country-region></st1:place> it is used widely as a prasad (offering or gracious gift) to Mother Goddess Vaisnav Devi and, generally, as a dry food in the season of festivals such as Diwali. </p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><b style="">Cleansing and polishing</b>: Walnut shells are mostly used to clean soft metals, fiberglass, plastics, wood and stone. This environmentally friendly and recyclable soft grit abrasive is well suited for air blasting, de-burring, de-scaling, and polishing operations because of its elasticity and resilience. Uses include cleaning automobile and jet engines, electronic circuit boards, and paint and graffiti removal. For example: In the early days of jet transportation, crushed walnut shells were used to scour the compressor airfoils clean, but when engines with air cooled vanes and blades in the turbine started being manufactured this practice was stopped. The problem being that the crushed shells tended to plug up the cooling passages to the turbine, resulting in turbine failures due to overheating.<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Oil well drilling: The shell is used widely in oil well drilling for lost circulation material in making and maintaining seals in fracture zones and unconsolidated formations.<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Flour made from walnut shells is widely used in the plastics industry.<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Paint thickener: Walnut shells are added to paint to give it a thicker consistency for "plaster effect" ranges.<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Explosives: Used as a filler in dynamite.<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Cosmetic cleaner: Occasionally used in soap and exfoliating cleansers<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Walnut husks are often used to create a rich yellow-brown to dark brown dye that is used for dyeing fabric and for other purposes. When picking walnuts, the husks should be handled wearing rubber gloves, to avoid dyeing one's fingers, as the dye does not require a mordant. </p> <p class="MsoNormal">Walnut as wildlife food plants<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Walnuts are used as food plants by the larvae of some Lepidoptera species. <o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Brown-tail (Euproctis chrysorrhoea)<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* the Coleophora case-bearers C. laticornella (recorded on J. nigra)</p> <p class="MsoNormal"><span style=""> </span><span style=""> </span>and C. pruniella.<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Common Emerald (Hemithea aestivaria)<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Emperor Moth (Pavonia pavonia)<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* The Engrailed (Ectropis crepuscularia)<o:p></o:p></p> <p class="MsoNormal"><span style=""> </span>* Walnut Sphinx (Amorpha juglandis)<o:p></o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">In addition, the nuts are a popular snack among woodland creatures, specifically mice and squirrels.<o:p></o:p></p>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-9662794746671772302009-03-07T11:40:00.000-08:002009-03-07T12:03:03.979-08:00Re Lining of paintingsHaving spent a considerable time copying this reference material, from one of my books, in order to then, translate into Portuguese for a friend, I thought that it would benefit from a greater airing to a wider public, but I will publish it in English, as it will be for a greater benefit.<br />I have a number of books that are of varying degrees of complexion, this is from a compilation of the history of conservation and historical letters on the same subject, that was published by the Getty Foundation, they have, along with the Courtauld Foundation, produced a vast and incredibly useful selection of books and articles, all of merit. This is from the Issues in the Conservation of Paintings(2004). it is an account of the lining process but by no means an account from which to base your own work, there are many more recent books that are very detailed and helpful to the restorer, but this is of interest and worthy of a read.<br /><span style="font-size:130%;"><br /></span><span style="font-size:130%;"><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"></o:smarttagtype><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"></o:smarttagtype><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="country-region"></o:smarttagtype><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="address"></o:smarttagtype><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="Street"></o:smarttagtype><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="State"></o:smarttagtype><o:smarttagtype style="font-weight: bold;" namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceName"></o:smarttagtype></span><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:612.0pt 792.0pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:36.0pt; mso-footer-margin:36.0pt; mso-paper-source:0;} div.Section1 {page:Section1;} /* List Definitions */ @list l0 {mso-list-id:379984557; mso-list-type:hybrid; mso-list-template-ids:1732429912 134807567 134807577 134807579 134807567 134807577 134807579 134807567 134807577 134807579;} @list l0:level1 {mso-level-tab-stop:36.0pt; mso-level-number-position:left; text-indent:-18.0pt;} @list l1 {mso-list-id:1667394470; mso-list-type:hybrid; mso-list-template-ids:956851280 784789880 134807577 134807579 134807567 134807577 134807579 134807567 134807577 134807579;} @list l1:level1 {mso-level-tab-stop:36.0pt; mso-level-number-position:left; text-indent:-18.0pt;} ol {margin-bottom:0cm;} ul {margin-bottom:0cm;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]--> <p style="font-weight: bold;" class="MsoNormal"><span style="font-size:130%;">The Lining Cycle by Westry Percival-Scott ..1974</span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p>The early 19 century impregnation methods aiming at strengthening a weakened canvas, were almost entirely superseded by the lining of paintings using a new canvas support. <span style=""> </span>Francois-Xavier de Burtin’s treatise on pictures written in 1808 at <st1:city><st1:place>Brussels</st1:place></st1:city>, descriptions and criticisms of lining methods of the time are particularly valuable. Lining can be demonstrated to be of value to a painting if it is well carried out. “But” he writes, “I must say also that many persons undertake it who acquit themselves so ill, that pictures come out of their hands as rough, and with the breaks and cracks as visible, as when they were put into them, or if they appear at first more united and in better condition after the lining, their old defects are not long in reappearing; they peel off, or shrink, blister, show as many disagreeable lines as there have been joining in the sheets of paper with which they had been covered during the operation, exhibit all the traces of the frames, and however little the season may be a damp one, it is not uncommon to find a villainous mould appearing upon them from the bad size which had been employed, and which even shows itself through the varnish At other times the use of size too dry and hard renders the picture stiff and brittle, and causes them almost to bend the stretcher. It is very lucky indeed if workmen so audacious and unskilful do not ruin the picture, by scorching it by using irons that are too hot, or by raising pieces of it from the ground; or destroy the glazing by the employment of mordents without sufficient caution, in order to remove the yellowish mould which is the necessary consequence of there having burned the varnish, and often the colours themselves, by the application of too much heat. In truth, the dangers to be encountered are so apparent to me, that I know not how to advise amateurs that have pictures to line. Whether from ignorance or stupidity, I have seen with regret during my travels that most liners neglect the proportions and depart from the process employed in <st1:city><st1:place>Paris</st1:place></st1:city> (then thought to be the centre of excellence for picture restoring) by artisans more justly famous in this branch. These last, in place of lining the pictures on their own stretchers by means of very hot irons, always do it, so far as their size will permit, on false stretchers, in such a manner that they can work them from two sides; and they supply the place of the great heat used by the others, by use of heavier irons (generally a 15 lb weighted iron was used), longer continual labour, and more frequent renewal of paper. They do not spare any exertion either, to obtain a paste and a ground size that shall be perfect, and a fine canvas without knots, thus every picture coming out of their hands united like a mirror, and always remains so.”</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">In a later note he says, “Their workshops present an imposing aspect from the immense tables, the pulleys, the smoothing irons of all weights and sizes, and the other implements, which announce at the first glance a substantial establishment, and inspire one’s confidence.” He goes on to praise the qualities of Monsieur Foucque, one of the liners for the Musee de Paris, “that I owe him the return of making this public acknowledgment of his talents. The pictures that come out of his hands are so united like glass, without any vestiges of old creases, or marks of the facing paper, which is renewed four or five times if there be occasion. In place of burning the colours, as so many others do, he employs irons with so little heat, that he is obliged to supply the place of heat by using them of much greater weight, and by applying more labour.”</p> <p class="MsoNormal">De Burtin goes on to say that the two major causes for bad lining are the over heating of the irons or the bad quality of the composition<span style=""> </span>for fixing the old canvases to the new. “ A most certain occasion for<span style=""> </span>failure in lining” he says, “results from the size used being too strong, or from the mixture of other ingredients which attract moisture which, especially in Winter, attract mould….. Lastly from the use of<span style=""> </span>certain mixtures for this purpose liable to be affectected by variations in the atmosphere,” he recommends, “ a composition which Monssieur Fontaine of <st1:city><st1:place>Paris</st1:place></st1:city> has prepared.”</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The composition is made by taking any given quantity of jelly (cold size) made from parchment, sheep’s skin, or other skins, by boiling, to which add an equal quantity of water, and a fourth part of the same quantity of rye meal. The whole<span style=""> </span>is heated, and used warm. The jelly or size made from the skins is the same as that used by gilders, except that it ought to be only half as strong.</p> <p class="MsoNormal">The consistency should be that when cold the jelly will support vertical a spoon placed in it.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Here are two recipes given:</p> <ol style="margin-top: 0cm;" start="1" type="1"><li class="MsoNormal" style=""><st1:city><st1:place>Venice</st1:place></st1:city> Turpentine….1 lb</li></ol> <p class="MsoNormal" style="margin-left: 21pt;">White resin………….0.5 lb</p> <p class="MsoNormal" style="margin-left: 21pt;">1 stone of flour……..</p> <p class="MsoNormal" style="margin-left: 21pt;">adding thinned glue to give consistency</p> <p class="MsoNormal" style="margin-left: 21pt;"><o:p> </o:p></p> <ol style="margin-top: 0cm;" start="2" type="1"><li class="MsoNormal" style="">2 quarts of paste</li></ol> <p class="MsoNormal" style="margin-left: 36pt;">0.5 pint of made glue</p> <p class="MsoNormal" style="margin-left: 36pt;">0.5 do Venice Turpentine</p> <p class="MsoNormal" style="margin-left: 36pt;">2 tablespoons of boiled linseed oil</p> <p class="MsoNormal" style="margin-left: 36pt;">1 table spoon of Paris White.</p> <p class="MsoNormal" style="margin-left: 36pt;"><o:p> </o:p></p> <p class="MsoNormal">The editor of the 1845, English edition of Burtin’s treatise makes the following note, ”The following two recipes for size are, it is believed, used by some of the best London liners, for fixing pictures on new canvas.”</p> <p class="MsoNormal">Fielding, writing in 1847 in <st1:city><st1:place>London</st1:place></st1:city>, had no hesitation in advising that paintings should be lined. “In almost all cases, if the picture has not already been lined, it would be best that this should be done before any other operation takes place; and it is so much better performed by those that make it their business, that we recommend none that have the opportunity of getting it done in London, or other places where there are persons accustomed to its management.” He then goes on to recommend a method which, in our eues, would only result in extreme distortion and produce an adhesive which would be extremely difficult to remove. This is very typical of linings of this period.</p> <p class="MsoNormal">“Take the old picture from the stretcher frame and lay it on a perfectly flat surface, as a table, or a large drawing board, something larger than the picture, the front of the picture upwards; lay on the surface of the picture a sheet of paper covered with thin paste, particular if the picture is broken in the paint, or has holes in it. Afterwards take some thin glue size, and with it make a paste of wheat flour; this by some is used moderately warm; others prefer it cold, and at least one day old; perhaps the former would be considered the best. The picture is made something less than the new stretcher frame on which it will have to be placed when ready, by cutting a little of its edge; and the canvas or unbleached cloth, which is to constitute the lining, must be so much larger than the picture as to leave a sufficient quantity to admit it being nailed on to the new stretching frame. The picture now must be laid on the table, or level board, front downwards, the table or board having previously been<span style=""> </span>made a little damp with a sponge; this will make it adhere to the table in some measure; but if it be wished that the picture be immoveable, as in the process of transferring from an old cloth to a new one, described here in another place, the best mode is to have the paper that is attached to the front of the picture something larger than the picture, so that the edges may be made fast to the table with glue or paste. The back of the picture is next to be covered with paste, of a very strong copal varnish, or with a cement, or a kind of glue, made from a good cheese that has been well pounded in a mortar, and then washed with warm water to carry off the most soluble part of it. The substance which is left can only be dissolved if beaten up with lime water, to a paste again in a mortar, to which it is added gradually, until it become sufficiently diluted for use. But wich ever of the above may be used, it must be well brushed into the back of the picture, and the lining well pressed down on to it, by pressing the hand down on it in every direction. The outer edges of the lining, are to be nailed to the table with a great number of small tacks, so drawing the canvas as tight as possible in every way; afterwards a piece of wood, with a rounded edge, is passed over the lining with a tolerable hard pressure, to perfect the adhesion of the picture.</p> <p class="MsoNormal"><span style=""> </span>“The glue made from cheese is said to have valuable property of being, when dry; perfectly incensible to any wet or moisture. When the lining is so far dried, that the paste or glue, which has penetrated through, will not stick to the iron, it is to be passed all over with a heated iron, moderately hot, and the greatest care must be taken that the hand does not stop for an instant, or the mark of the iron will be so impressed on the painting that nothing will obliterate it. The picture is now ready to be nailed on to a new stretching frame.</p> <p class="MsoNormal">The combination of washed cheese solids and<span style=""> </span>lime water produced an irreversible casein glue of a traditional type. At the same time it was introduced into the manufacture of commercial painting grounds, which in turn led into the embrittlement of many of the paintings of this period.</p> <p class="MsoNormal"><o:p> </o:p></p> <p style="font-weight: bold;" class="MsoNormal"><span style="font-size:130%;">Crisis in <st1:city><st1:place>Venice</st1:place></st1:city></span></p> <p class="MsoNormal">The following of the Venetian oil technique in the 16<sup>th</sup> and 17<sup>th</sup> centuries when the confidence in the capabilities of the method encouraged the painting and production of massive ceiling pieces and the painting of a size far beyond the physical capabilities of the support, this period can be used by us as a useful landmark in the sequence of deterioration which I have called the lining cycle. Glues and grounds of the type described by Vasari in 1550 have only got a period of limited life. Consolidation of the paint layers by impregnation with glue would only produce factors which would cause in time further deformation. The impregnation techniques that were used up to 1670,<span style=""> </span>when lining at last came into common practice might have strengthened<span style=""> </span>the paint layers<span style=""> </span>and consolidated the canvas, but would have done little to prevent the subsequent mechanical breakdown which would come in the form of tears and the falling away of the canvas from the top stretchers. A reasonable estimate of the period of time required for this kind of weakness would be anything between 100 to 150 tears would be the outside limit before a picture would have to receive either strip lining or attention for structural weakness. Thus, if we look at the period of Venetian history from the beginning to the end of the 18<sup>th</sup> century, we will find an historical landmark of immense importance in the history of conservation.</p> <p class="MsoNormal"><span style=""> </span>I will now take my descriptions of these events from extracts from an original manuscript by Signore Giovanni Okelly Edwards of <st1:city><st1:place>Venice</st1:place></st1:city>, 1833, The author of this manuscript was the only son of Signore Pietro Edwards, who practised restoration in <st1:city><st1:place>Venice</st1:place></st1:city> under the ventian republic and subsequently under the Austrian government. He died in 1821 at the age of 76. In a paper entitled, “On the Restoration of the Royal Paintings under the Ventian Government” he refers to the number of reports on the poor condition of the paintings between 1725 and 1775, no less than 751 reports were prepared at this time.<span style=""> </span>All mentioned the decay of the pictures and earnestly called the attention of the public to the urgent necessity of repairing the greater part of them. A report prepared for the Society of Painters in 1727 showed the number of paintings requiring restoration at that time amounted to 20. It was, however, thought Signor Edwards, “very fortunate that the Government should have acted with great circumspection until the year 1777 in consenting to the general and universal restoration of all the royal paintings, because the art of repairing paintings damaged by the time had not then attained perfection.” By the 1770’s the situation had changed radically and in the years to follow, hundreds of paintings received restoration treatment. Signor Edwards lists 41 paintings by Jacomo Tintoretto,<span style=""> </span>11 by Bassani, and a few of Titian; in all 405 pictures were restored between the years 1779 and 1785 under the direction of the Venetian Senate, who entrusted the undertaking of this general restoration of the President of the College of Painters. These pictures were contained in 32 public buildings in the district of St Marks and the <st1:city><st1:place>Rialto</st1:place></st1:city>, after which 270 more were restored between the last mentioned period and the year 1788 under the direction of the same person, making a total of 675 public paintings restored out of 1187.</p> <p class="MsoNormal">The pictures were divided into classes and the sums of money for the restoration were based on square footage. “The pictures of first class that were restored, computed by the Italian square feet, comprised an area of 6,458 sq ft and 26 inches, of the second class 6,407 sq ft and 5 inches in total in square feet 12,865 and 31 inches. 26 artists acting as restorers were retained in public service during this period of restoration, and they worked under a Royal Inspector of Pictorial Restorations and continued to work in <st1:city><st1:place>Venice</st1:place></st1:city> until 1779, in restoring 82 further pictures under the Austrian Government. This restoration continued, and when Mrs<span style=""> </span>Merrifield met Edwards in 1833, she had an opportunity of seeing<span style=""> </span>one of the canvases by Paulo Veronese which had been removed from the ceiling. “Had an opportunity of closely examining one of these works which had been removed from the ceiling for the purpose of being repaired. The picture had been lined, but much of it had absolutely decayed and there were large blanks on the new canvas. The ground of the picture was extremely thin, and was not visible; the paintings were much worn in places and some if it had scaled off.”</p> <p class="MsoNormal"><span style=""> </span>When Mrs Merrifield was visiting <st1:city><st1:place>Venice</st1:place></st1:city> and was going through the papers of Signor Pietro Edwards, Director of Restorations, she came across one contract for the restoration of a picture by Signore Floriani. The painting in question was the Assumption of the Virgin by Titian, formally in the church of the Friary, and now in the Academia. The date of this document ascertained that the paste used for the lining the picture was composed of flour paste, <st1:place>Flanders</st1:place> glue and Ox gall, the use of the later ingredient was to preserve the paste from the attack by insects.”</p> <p class="MsoNormal"><span style=""> </span>“ The method of pressing freshly lined pictures pursued by Signore Edwards differed from that practised in this country(<st1:country-region><st1:place>England</st1:place></st1:country-region>). The process was described to me by his son. It was as follows:</p> <p class="MsoNormal"><span style=""> </span>The face of the picture being secured by pasting paper over it, it was laid on the polished Venetian floor, or, as it is called ‘terrazzo’ and the lining was fixed to it. Hot sand was then laid all over it, beginning always in the middle of the picture, whence the sand gradually spread to the edge, and the picture was covered to a certain height. By this means, the air was pressed out from between the canvas and the picture, and an equal degree of warmth and pressure was communicated at the same time to the whole surface, much more safely and effectively than with a hot iron.”</p> <p class="MsoNormal"><span style=""> </span>Glue has continued to be used as a consolidant for flaking paint from the 17<sup>th</sup> century to the present day, when it is an everyday occurance in many Italian and Russian studios. In “Il restauratore dei Dipinti,” published in <st1:city><st1:place>Milan</st1:place></st1:city> 1866, Signore G Secco Suardo describes a colletta for consolidating the painting.” This is recipe No.8. “Take<span style=""> </span>12 parts the glue in transparent flakes, which is improperly called ‘Colla di Pesce’ (fish glue) while it is only a<span style=""> </span>strong glue of the most refined sort, which is used in cooking for gelatine, and dissolve it in 12 parts of water. Put <span style=""> </span>in 4 parts of molasses, mixing it with hot water, as much as necessary to reduce it to the necessary fluidity, which varies according to the case, but on the average it can be of the consistency of milk, but if instead you want to keep it, you should add one part of good white vinegar, then, in a glazed earthenware, very spread out, keep it in a milk warmth so that it can evaporate without fear of burning and condense like a ‘vischio’ (mistletoe. sticky !) “He goes on to say, “Monsieur Merimée teaches that animal glue will tolerate an eight of oil, but does not announce how to add the oil to the glue would be that when there is little water in it. Hence, having just obtained the colletta, as indicated in recipe No. 8, unite with it a little at a time, nut oil in the proportion of one part to eight of glue, weighing it before it is melted, mixing it very carefully so that the two substances are perfectly incorporated.” For his lining mixture, Secco Suardo uses heavier glue. This recipe is No.12. “Take flour of linseed, one part, put it in a casserole and unite it in the usual way with 24 parts of water, put in also two parts of strong glue, and boil it for half an hour. Take it from the fire; put it in a vessel three parts of corn flour and the same of rye flour, put into it a little at a time, the mixture in the casserole, manipulating it qith a spatula, so that it is well mixed, then pass it through a sieve, pressing it.”</p> <p class="MsoNormal"><span style=""> </span>“Throw the remains from the sieve, away, place that which passes through into the casserole, and that on the fire, and stirring constantly bring it to the boil; and when it is well cooked, that is to say, when it has boiled for a few minutes, take it off, for the glue is made, except that, before it cools, put in it also one part of molasses, so that it remains sufficiently elastic. It is very useful and I recommend it.”</p> <p class="MsoNormal"><span style=""> </span>Glue mixtures of the type here described by Secco Suardo are still used today. That has the advantage of being glues of low cohesion strength which limit the stress exerted on the painting canvas, and which make the eventual removal of the lining canvas comparatively easy.</p> <p class="MsoNormal"><span style=""> </span>The ever-increasing rate of decay of pictures in the late 18<sup>th</sup> and early 19<sup>th</sup> centuries, is reflected in the rise of the number of restorations recorded, and in the wave of interest shown in lining and transfer techniques. The attention of the art world was gripped by the amazing technical feats of transfer carried out in <st1:country-region><st1:place>France</st1:place></st1:country-region> by Hacquin and Picault. Although almost all of these methods were based on the use of animal glues and casein, and on marouflage using pigment/oil cements, the first experiments with wax, both for lining and blister laying, had been carried out in the mid 18<sup>th</sup> century. But the earliest record of wax as a firmly established lining adhesive is not until 1858, when it was in use by Carbonelle of<span style=""> </span><st1:city><st1:place>Brussels</st1:place></st1:city> for this purpose. A detailed account of this period in the history of restoration may be found in Marijnissen</p> <p class="MsoNormal"><o:p> </o:p></p> <p style="font-weight: bold;" class="MsoNormal"><span style="font-size:130%;"><o:p> </o:p></span></p> <p style="font-weight: bold;" class="MsoNormal"><span style="font-size:130%;">Origins and development of the Use of Wax.</span></p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal"><span style=""> </span>Much of the enthusiasm for the use of wax impregnation springs from the work of Count Caylus, who devised a new method of painting in encaustic pictures by first applying paint, onto to a canvas that had first been coated with beeswax. On completion, the painting was heated in front of a fire, and the wax was allowed to penetrate into the unlocked colours. The burst of interest in this unusual method might well have waned had it not been for an enthusiastic painter, Mr. Muntz, who carried out a series of exhaustive experiments, using the Caylus principle proving the value of wax as a protective coating and consolidate. Mr. Muntz carried out his first tests in 1757, and in 1760 he gave a description of the results of his experiments. “I had all the colours used in oil painting carefully ground with water at Mr. Sandys colour merchant, and from these colours, I composed 90 various tints of each a two ounce galley pot full, tempered with water, I left them well screened from dust to dry, divided each into four equal parts; two of each set by for comparative use, the other two used as follows</p> <p class="MsoNormal"><span style=""> </span>One part tempered with water, the other with the finest nut oil according to custom, each painted over a space of 6” x 2”.</p> <p class="MsoNormal"><span style=""> </span>The encaustic ones brought to the fire as instructed, each piece of cloth cut into five equal parts .</p> <ol style="margin-top: 0cm;" start="1" type="1"><li class="MsoNormal" style="">One of each in the open air, exposed to sun, dew, wind and rain.</li><li class="MsoNormal" style="">One of each nailed to wall of cellar.</li><li class="MsoNormal" style="">One of each nailed to kitchen ceiling, near chimney, with fire all year.</li><li class="MsoNormal" style="">One of each nailed to living room.</li><li class="MsoNormal" style="">One of each between several quires of paper, in close drawer without air.</li></ol> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">Left them all for 27 months, then tempered remaining tints with water and nut oil, and prepared fresh cloths with the colours.”</p> <p class="MsoNormal"><span style=""> </span>His detailed tests on the canvases led him to several conclusions. </p> <p class="MsoNormal">“Encaustic colours, having resisted the injuries of the weather better than oil for 27 months, they will be more lasting for longer times…”</p> <p class="MsoNormal">“Having resisted corrosives, alkali, aqua fortis etc. the circumbient air, however impregnated with saline particles, cannot affect them…. If pictures of this kind are damaged, fire will restore them.”</p> <p class="MsoNormal">He then carried out an investigation on oil colours painted on waxed grounds and biterely came to the conclusion that “ground is more the cause of the colours changing than the colours themselves, perhaps owing to the desiccated saline particles of the oil, which are dissolved and mix with the new oil and colours; or to the super abundant quality of salts contained in the ground or priming, which is generally composed of the coarsest oil and colours, frequently half chalk.”</p> <p class="MsoNormal"><span style=""> </span>By 1796, much finesse had been brought to this method, and combinations of the use of solid beeswax or beeswax mixed with turpentine were used in the preparation of not only encaustic painting but special kinds of crayon drawings. Here is the wax impregnation method as described in the Hand-maid of the Arts, published in <st1:city><st1:place>London</st1:place></st1:city> in 1796. “The picture deemed finished and the colours dry, prepare a clear coal fire, and set the picture with the painted side towards it, at about 2’ distance from the fire. Let it grow warm, and then by degrees bring it closer to the fire, till it be 1’ distant, but never advance it nearer. The picture may be held perpenticularly, or a little inclined, as may be found most convenient, and when it is too large to receive the effect of the heat at once, first one part and then the other, may be brought parallel to the fire at the distance prescribed. When no further change seems to be made in the picture, but the whole surface is shining and the colours rendered darker and fuller in an equal degree, it may be concluded that the wax be sufficiently melted, and duly absorbed by the colours, the picture must then be removed from the fire in the same gradual manner it is made to approach it, and kept from any rude touch until the wax be entirely set and grown hard.”</p> <p class="MsoNormal">“If there be found any defective parts where the wax has not undergone the due degree of heat required in melt it, such parts must be perfected by bringing a red hot poker, or any other such metallic body near them. And if there still appear any spots where, after duly melting the wax to commix it with the colours, a deficiency must be supplied by rubbing the proper quantity on the back and melting it by any means of a hot poker or other proper implement of metal in the manner.” The whole technique sounds so modern in principle, that apart from the crude methods of heating, it is hard to realise that this method of impregnation was carried out of 200 years ago. We still face the same problems of even impregnation and the treatment of small areas which are starved of wax.</p> <p class="MsoNormal"><span style=""> </span>Muntz later pursued the possibility of using wax in conjunction with the normal oil technique, and carried out experiments with oil paint on wax impregnated canvas, the wax layer serving both as a moisture barrier and as a material which would stop the rapid absorption of the oil paint. It may have been these techniques that led the American painter, Charles Wilson Peale, 1741-1827 to experiment in wax impregnation. Dr. Wolters reported in 1960 that one of Charles Wilson Peales pictures, painted in<span style=""> </span>1780, was still in very good condition. Muntz came to clearly recognise the value of wax as the consolidating material. He recognised it as a protective layer which would provide a moisture barrier. He also explored the possibility of wax impregnated canvas as being an attractive material to paint on with conventional oil paints. But at no point did he propose that wax should be used as an impregnating material for existing paintings in distemper or in oil paint and, recognising the greatest danger that attends the wax impregnation principle, (that is the change of tone of the colour on infusion where that of the original paint may be drastically altered), he designed a colour regulator which would allow the artist to anticipate the colour change and darkening of paint layers when the painting had been finally impregnated.</p> <p class="MsoNormal">The wax impregnation method is very common in countries of the Western world. Thousands of paintings have been lined or impregnated by the use of wax or wax resin mixtures. Not all of the paintings treated have fared well. In some cases, the tonal drop has almost a blackening effect, where the ground or the priming has been of such a colour to become considerably darker and thus the colour values of the original painting are sometimes savagely altered.</p> <p class="MsoNormal"><o:p> </o:p></p> <p class="MsoNormal">The danger of a change in tone of the paint caused by the infusion of wax or wax resin has only recently been redefined. The rough rule of thumb criteria that oil paintings will take a wax-resin impregnation, while tempera or gauche paintings will not, no longer wholly serves, for some oil paintings are almost as radically changed as tempera paintings by the wax impregnation method.<span style=""> </span>References to the composition of Vasari type of ground for oil paintings or the lack of opacity of many of the fillers found in traditional and modified gesso layers such as those used by the Venetian school, and continued in various forms up to the 20<sup>th</sup> century, should cause us to hesitate before deciding on using a wax impregnation method in every case. We have also seen that many of the so called “oil grounds” are (if of the type recommended by De Mayerne) of a non-homogeneous structure and these grounds too, can easily be affected by penetration of the open cavities inherent in the structure of the material..</p> <p class="MsoNormal">However, the use of gypsum, chalk and fillers was not confined to the ground and priming layers, but was often a regular component in the white paint layers of the picture, forming, with the lead carbonate, a light semi opaque paint with increased colour staining power.</p> <p class="MsoNormal">The adulteration of white lead with chalk was also common during the 17<sup>th</sup> century as it is today and chalk continues to be a regular ingredient in the artists’ paints. Impregnation with wax or wax resin can alter the vehicular balance of paint layers, and lower the relative refraction index in such a way as to bring perceptiple changes of tone and quality to the paint layer. Sadly, this principle that was so clear to Muntz was not recognised by future restorers in the 19<sup>th</sup> and early 20<sup>th</sup> centuries. The tragedy of the darkening of the Mantegna Cartoons at <st1:street><st1:address>Hampton Court</st1:address></st1:street> can hardly be overlooked in the history of conservation. In 1931, these paintings, executed in a form of tempera on gesso canvas were suffused by heavy layers of yellow wax, irreparably bringing a darkening and lowering of their colour values and paint qualities. The advocates of the wax impregnation,(Arthur Church, Noel Heaton, Dr. Tritram, Kennedy North) are only a few amongst the many restorers who used wax in an unquestioning way. The success of wax as a consolidator for friable and flaking wall paintings led to its application in many of the finest wall paintings in English churches, often causing irreparable darkening. The frescoes by Daniel Maclise in the Royal Gallery of the House of Lords were also plunged into darkness by the rash impregnation of beeswax, heated into the surface with blow-lamps. Attempts were even made to impregnate the great Raphael Cartoons in the <st1:state><st1:place>Victoria</st1:place></st1:state> and <st1:place><st1:placename>Albert</st1:placename> <st1:placename>Museum</st1:placename></st1:place>, <st1:city><st1:place>London</st1:place></st1:city>, painted in tempera on paper. The rapid darkening of the painting, where the paper turned dark brown, was only checked by the sharp intervention by a youthful restorer who protested that this method was not to be used. This darkened patch remains today; it serves as a useful lesson to all restorers that the choice of adhesive must be matched to the physical and chemical structure of the painting.</p> <p class="MsoNormal"><span style=""> </span>When in 1930 an international conference was held on the conservation of paintings under the aegis of the International Museums Office, these aspects of wax impregnation and lining methods were discussed. The papers arising from this conference were published in 1940. The distinguished editorial committee (including W.G.Constable, the late director of the Courtauld Institute, Harold Plenderleith, Helmut Ruhermann, Martin de Wild, George Stout, A.P. Laurie, Jacques Maroger, amongst others) dealing with the possible advantages of glue and the disadvantages of wax, wrote, “Another advantage of a glue adhesive is that it interferes but very little with the optical properties of most paintings (reflecting power). Wax, on the other hand, would slightly reduce the reflecting power of a more or less absorbent white priming, and thus darken somewhat a transparent painting executed on such a ground.”</p> <p class="MsoNormal">In the case of an oil painting, the wax which penetrates the paint layer or which even spreads over its surface through the crackle would reduce the depth (transparency) of the colours alittle, and thus make the darker tones appear a shade lighter and duller. In an old-master – Rembrandt or a Titian, for example – the loss of transparency would alter the effect originally intended by the artist. Moreover, as mentioned above, a varnish applied to a painting in such a condition would not retain its transparency and would tend to crackle. A remedy, however, was recommended, and this followed closely. “These drawbacks can, however, can be met by adding a little resin, as a hardening ingredient, to the wax. Rosin (colophony) is generally used for this purpose and has so far proved very successful. In inferior grades, it has the disadvantage of being rather dark, so that, for bright paintings, or for pictures where the white priming plays an important part, none but the clearest quality should be used. “This, of course was no remedy to the problem which had been outlined, of the effect of oil paint darkening by the impregnation of wax, and this misleading non-sequiteur disguised one of the greatest problems using the wax resin method.</p> <p class="MsoNormal"><span style=""> </span>The conference was also to bring into being the specification of an ideal heated working table for lining. The hot table described was a thick slab of slate, kept at a suitable temperature (about 50-60 C) by an adjustable electrical heating device underneath. This made it possible to ensure a uniform melting through of the adhesive to the surface of the paint, thus dispensing with the ironing of the front (on the felt bedding), which was often necessary to obtain thorough adhesion. The use of hot tables of this type was to find a permanent place in the restoration studios and workshops, and we are grateful to the Courtauld Institute for allowing us to exhibit the first hot table built in 1948 in the exhibition of lining materials connected with this conference. Although the wax resin method had been introduced first in Holland in the middle of the 19<sup>th</sup> century (the Dutch Method), the acceptance of the technique using a hot table gave the final seal of approval to the method, and few restoration studios are today without a hot table of some kind. These vary considerably in design and in size.</p> <p class="MsoNormal"><o:p> </o:p></p>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-25011193284667007702009-02-21T05:45:00.000-08:002009-02-21T09:12:06.056-08:00Wood Turning-start simple<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAu3RKKCF-rtBaoEyPWq8kSeHIbKRdE_0kXPHkFEifH8372gMTUnLNaAxikdObGTpYruuHKjq_r64vsGTKa37RiRcGJm6ZpDZiA6mbyqtXKhBVkMq5l3whEkX7buaf98jM-P6iBSa-HM/s1600-h/restauracao314.jpg"><img style="cursor: pointer; width: 320px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsAu3RKKCF-rtBaoEyPWq8kSeHIbKRdE_0kXPHkFEifH8372gMTUnLNaAxikdObGTpYruuHKjq_r64vsGTKa37RiRcGJm6ZpDZiA6mbyqtXKhBVkMq5l3whEkX7buaf98jM-P6iBSa-HM/s320/restauracao314.jpg" alt="" id="BLOGGER_PHOTO_ID_5305295579395756018" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhPmuo4sAjqIma_QoaMh0B1CoT-B04bENRSYYc0VgmokRO_3HZStAzNzKdS6nzdncQb7xZcceJjRWEkL99dTLDcNcECjj4iyyEoTODZNaoaPeD1NZZLmDKW4RnhmMz8EbJpMPCUI_PqnE/s1600-h/restauracao310.jpg"><img style="cursor: pointer; width: 118px; height: 124px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhPmuo4sAjqIma_QoaMh0B1CoT-B04bENRSYYc0VgmokRO_3HZStAzNzKdS6nzdncQb7xZcceJjRWEkL99dTLDcNcECjj4iyyEoTODZNaoaPeD1NZZLmDKW4RnhmMz8EbJpMPCUI_PqnE/s320/restauracao310.jpg" alt="" id="BLOGGER_PHOTO_ID_5305298384951509474" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEill-OnuuBya22iiLYWPZ4NvQhfr305T3Zh4lnYKBMz50LN4i_T3CkEhRUIomyipf37inu2PBZM7kX9Zt-FNvIAAJHs2G4PrRqwDAvpoeXXlH_xT01E4olSNEc05s-CMQSU3DSIv4j9eJw/s1600-h/restauracao309.jpg"><img style="cursor: pointer; width: 180px; height: 124px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEill-OnuuBya22iiLYWPZ4NvQhfr305T3Zh4lnYKBMz50LN4i_T3CkEhRUIomyipf37inu2PBZM7kX9Zt-FNvIAAJHs2G4PrRqwDAvpoeXXlH_xT01E4olSNEc05s-CMQSU3DSIv4j9eJw/s320/restauracao309.jpg" alt="" id="BLOGGER_PHOTO_ID_5305298382676040322" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIIG3iP_iXdnHARAffL74PFKGAxP-NxfQlDgFd-5KdS7PYKdkpdRPqEVsdgyGQp2ZQJrTI89Xeb-q47jxA5xo-OASHgiCte90XOchcQZ0TPDqvUuH1wQyt90QmTzEabNgxOXNJXtrH-T0/s1600-h/restauracao311.jpg"><img style="cursor: pointer; width: 121px; height: 123px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIIG3iP_iXdnHARAffL74PFKGAxP-NxfQlDgFd-5KdS7PYKdkpdRPqEVsdgyGQp2ZQJrTI89Xeb-q47jxA5xo-OASHgiCte90XOchcQZ0TPDqvUuH1wQyt90QmTzEabNgxOXNJXtrH-T0/s320/restauracao311.jpg" alt="" id="BLOGGER_PHOTO_ID_5305298389994056210" border="0" /></a><br />It is very relaxing and reasonably easy to turn wood, there is the the advantage that it can be quite profitable: uses very little timber, needs very few tools and little workshop space. In fact some of the best timber for turning is in reality the wood that is not wanted for furniture making: has too many knots or twisting grain for the cabinet maker to resolve for construction, while for the turner, this is perfect, in that it is this decorative grain which can be exposed and enlivened by turning. The smallest objects, using tiny amounts of timber, can be sold for reasonable amount of cash. I was with friends in Italy, near Arrezo and Cortona, when we came across a shop selling furniture and bowls. The lady inside the shop was in fact Canadian, married to an Italian furniture maker, whose work was on show in the shop.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM2OSv5ATWnkX3dU97KxrMvgKuDng73-eJQ5IRbacA8PesFmXS62JnMwpliCVnX4-Dd83EgyUegjG_o_2V7-l31UxAd5EdvAwMPfWFM2MgBPlyBfi8LOTe2cuIcej4ZkhKrbOGoCKlTc/s1600-h/restauracao340.jpg"><img style="cursor: pointer; width: 172px; height: 130px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTM2OSv5ATWnkX3dU97KxrMvgKuDng73-eJQ5IRbacA8PesFmXS62JnMwpliCVnX4-Dd83EgyUegjG_o_2V7-l31UxAd5EdvAwMPfWFM2MgBPlyBfi8LOTe2cuIcej4ZkhKrbOGoCKlTc/s320/restauracao340.jpg" alt="" id="BLOGGER_PHOTO_ID_5305264521323409778" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmspRnL844fjAvPXMgPYIT_682p2iCOGbR6s0-xxIAs5eDriNCV-E-mB_mESGq2h98MVbe_xTsEwvSVFypD2Ex0aHnIPQFZlw9wjHOMc3RekuDrEz8ITr64w5hac67aqhHVGSF_IJuEQ8/s1600-h/restauracao338.jpg"><img style="cursor: pointer; width: 117px; height: 136px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmspRnL844fjAvPXMgPYIT_682p2iCOGbR6s0-xxIAs5eDriNCV-E-mB_mESGq2h98MVbe_xTsEwvSVFypD2Ex0aHnIPQFZlw9wjHOMc3RekuDrEz8ITr64w5hac67aqhHVGSF_IJuEQ8/s320/restauracao338.jpg" alt="" id="BLOGGER_PHOTO_ID_5305282406779493682" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKv67tuYiaqWrvBpkI4iUk_CzXTipYIyLT5GKQxPkEbDvbBqKYEy3ZJFWEseUVUusqWT7QqH8S1gecf30IR8CCDF3xkDqDG__n6EmLj54nu8vqw7Hp9kJ4RNeSO3p1g3X6_npUwsylqM/s1600-h/restauracao315.jpg"><img style="cursor: pointer; width: 128px; height: 135px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpKv67tuYiaqWrvBpkI4iUk_CzXTipYIyLT5GKQxPkEbDvbBqKYEy3ZJFWEseUVUusqWT7QqH8S1gecf30IR8CCDF3xkDqDG__n6EmLj54nu8vqw7Hp9kJ4RNeSO3p1g3X6_npUwsylqM/s320/restauracao315.jpg" alt="" id="BLOGGER_PHOTO_ID_5305295578279054658" border="0" /></a><br />My friend has always liked and collected 'Treen' ware, he prefers the smallest pieces and these do require the most care and detail, I think much like dolls house furniture, the size facinates people and they can put the piece into the hand and admire the skill that made it.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoNhCvTsPhV_4MTOJ_lA8Dsd-TSXwlVHGEPXU7YHMox73j9w2lGRoWrHwg3fgtc68uKB6hza0TojkmERO8z6QjG1CxEFJUzt7eLdVl8fp1CXuGQAFUdlZcyLgVyJavehi74d0mUeWyiBo/s1600-h/restauracao339.jpg"><img style="cursor: pointer; width: 95px; height: 161px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoNhCvTsPhV_4MTOJ_lA8Dsd-TSXwlVHGEPXU7YHMox73j9w2lGRoWrHwg3fgtc68uKB6hza0TojkmERO8z6QjG1CxEFJUzt7eLdVl8fp1CXuGQAFUdlZcyLgVyJavehi74d0mUeWyiBo/s320/restauracao339.jpg" alt="" id="BLOGGER_PHOTO_ID_5305282410995803570" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzsZf3mzRlfU2tb21jBiV4w_B9fcXliW9Zb0NKSqauQDkom0emKzFtK1Eo4STIRz2qpll-wf5m6De2AYSZxLS3-JsJ9eOLyv2Br-grU-m1x2rZZxw2NDUSR6iNDLjpVc35uoFIPVRf6E/s1600-h/restauracao318.jpg"><img style="cursor: pointer; width: 233px; height: 161px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkzsZf3mzRlfU2tb21jBiV4w_B9fcXliW9Zb0NKSqauQDkom0emKzFtK1Eo4STIRz2qpll-wf5m6De2AYSZxLS3-JsJ9eOLyv2Br-grU-m1x2rZZxw2NDUSR6iNDLjpVc35uoFIPVRf6E/s320/restauracao318.jpg" alt="" id="BLOGGER_PHOTO_ID_5305282412422373474" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFo21UJjR-0AOlXUdN1ZCq-Y6IIHWKHMWDFhkkBdyo78wevp9O_qNwukGoggdYwj6VViPpK9dMzhyKJ7awnDmOGdS9YR-WsGdFZuAJRM7wFZ7uxOeuDyX0Opz55adzmedNbgzRUyj2dIU/s1600-h/restauracao317.jpg"><img style="cursor: pointer; width: 164px; height: 103px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFo21UJjR-0AOlXUdN1ZCq-Y6IIHWKHMWDFhkkBdyo78wevp9O_qNwukGoggdYwj6VViPpK9dMzhyKJ7awnDmOGdS9YR-WsGdFZuAJRM7wFZ7uxOeuDyX0Opz55adzmedNbgzRUyj2dIU/s320/restauracao317.jpg" alt="" id="BLOGGER_PHOTO_ID_5305295573610076322" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXdA7YtxGVlywdNnUw4J02ywDwZYgzcVRNNOrZHaFxsCfQVK3LIPHL3MX0iCJi5DboDxLM9nl-7iwjxt5HITfSlf58cU1ebe3yijxmbbmo_VZtRHIw0hn_18J4-j0_m95jhVpqT1NZJQ/s1600-h/restauracao6.jpg"><img style="cursor: pointer; width: 162px; height: 103px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaXdA7YtxGVlywdNnUw4J02ywDwZYgzcVRNNOrZHaFxsCfQVK3LIPHL3MX0iCJi5DboDxLM9nl-7iwjxt5HITfSlf58cU1ebe3yijxmbbmo_VZtRHIw0hn_18J4-j0_m95jhVpqT1NZJQ/s320/restauracao6.jpg" alt="" id="BLOGGER_PHOTO_ID_5305295567637300802" border="0" /></a><br />The craftsman had chairs and tables, of high quality, for sale as well as bowls and many turned fruit wood 'fruits', minature apples and pears that opened up like small 'pill' boxes. I asked the lady about her husband and why he was not selling his goods, she remarked that he prefered to do the turning and had lost interest in furniture making, however she pointed out that his small workshop was but a stones throw down the street, so we upped sticks and went in search of him. Finding his workshop in a small lane, he was there working on some turnings, along with his cat ( I have some affinaty there for when I worked in the London Docks, I had shared my bench with a cat and her four kittens, unmoved by the sawing and router above her). On chatting about work it appeared that he had got fed up with negotiatig with customers over design and price of furniture ( I know the feeling only too well, the customer is nearly always interested in the price and time it takes to get the item) and that now he has hia wife to seperate the trading of work and he finds he makes far more money, for less work time, by turning wood.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQowNc6SgRJqGpdgyKKXZFIiVL49KLXA8ZzS4RkUFs6dBslWRyp581pQXf_MIJBFMkdv5SwuB7zpgxN-1MNhRXxF5cTPGw-iKXVG2xXK3oPAOJ4uJX7CI80loQoi70Hr2FeGo8kO-F0Y/s1600-h/restauracao343.jpg"><img style="cursor: pointer; width: 167px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmQowNc6SgRJqGpdgyKKXZFIiVL49KLXA8ZzS4RkUFs6dBslWRyp581pQXf_MIJBFMkdv5SwuB7zpgxN-1MNhRXxF5cTPGw-iKXVG2xXK3oPAOJ4uJX7CI80loQoi70Hr2FeGo8kO-F0Y/s320/restauracao343.jpg" alt="" id="BLOGGER_PHOTO_ID_5305264523623830274" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWjOPDohtWQsFw6i6AJZVGMIFI1OAWbFbAqDD4D2FLPLX8PJ4SGdrL307vp8928zBsQPYBqzTlPrEBduo-QU7Bos0VW0sUPJqv5_-7PJGoR_nK02g0ZJndPNK8DC4vSY2NepvpCVi7WDM/s1600-h/restauracao345.jpg"><img style="cursor: pointer; width: 217px; height: 72px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWjOPDohtWQsFw6i6AJZVGMIFI1OAWbFbAqDD4D2FLPLX8PJ4SGdrL307vp8928zBsQPYBqzTlPrEBduo-QU7Bos0VW0sUPJqv5_-7PJGoR_nK02g0ZJndPNK8DC4vSY2NepvpCVi7WDM/s320/restauracao345.jpg" alt="" id="BLOGGER_PHOTO_ID_5305264524975701826" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE-2G7QJhNcy3bwS9fpRcTGFr3bRxWSa1HL-KICMu3vxaioIHf1-G2raJFXIJ75DXVHHYpqYOIQBHYr5mE5wr86fCIhZc9M6HN7pyjwhFjkzawqMSuLWnp8EPWqoK-IIpHZeOY953yq9Y/s1600-h/restauracao344.jpg"><img style="cursor: pointer; width: 258px; height: 95px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE-2G7QJhNcy3bwS9fpRcTGFr3bRxWSa1HL-KICMu3vxaioIHf1-G2raJFXIJ75DXVHHYpqYOIQBHYr5mE5wr86fCIhZc9M6HN7pyjwhFjkzawqMSuLWnp8EPWqoK-IIpHZeOY953yq9Y/s320/restauracao344.jpg" alt="" id="BLOGGER_PHOTO_ID_5305264527871600994" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwul2PFyBIpFH6ruSN7jGadRPGqPB6K3wZYNX8aqR9LTGKl84vYMyst5PkTW22v7izIbnsp9QRFT_PuF87hX79FRpR9AzYSr6b4rGHZrFZ5WNs8qmGkr8E-V5SJnQapyHHSCRvy6kjcjc/s1600-h/restauracao346.jpg"><img style="cursor: pointer; width: 215px; height: 81px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwul2PFyBIpFH6ruSN7jGadRPGqPB6K3wZYNX8aqR9LTGKl84vYMyst5PkTW22v7izIbnsp9QRFT_PuF87hX79FRpR9AzYSr6b4rGHZrFZ5WNs8qmGkr8E-V5SJnQapyHHSCRvy6kjcjc/s320/restauracao346.jpg" alt="" id="BLOGGER_PHOTO_ID_5305264529249341554" border="0" /></a><br />There are a few basic hints with turning, although it is impossible for a blog posting to give much, other than a genaral flavour of the work and then let you go in search of books on the subjct, apart from anything elase, wood turning is as personal as any other craft and it is when you have an idea of the direction that you wish to go, that help is more productive. The Amazon site, for books, is one easy way to get the type of book that you would like, especially if you are not living in a city or near a good technical book shop.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji4YcLHgnPdF64Q18mlC6RESkKsUSyN30bSqaLvy9FMcDI1p3_n1Oe2yOeri9um92O4n_70xsmcf8wh090ErC34O4iguQKUqvyWx9Yon4KlFOh28ItGNMhksvvFEvUGSHWgmc49ixtYrg/s1600-h/restauracao348.jpg"><img style="cursor: pointer; width: 210px; height: 132px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji4YcLHgnPdF64Q18mlC6RESkKsUSyN30bSqaLvy9FMcDI1p3_n1Oe2yOeri9um92O4n_70xsmcf8wh090ErC34O4iguQKUqvyWx9Yon4KlFOh28ItGNMhksvvFEvUGSHWgmc49ixtYrg/s320/restauracao348.jpg" alt="" id="BLOGGER_PHOTO_ID_5305265246341692706" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSM6PTTgFBZu-NUyhaAu-8cWeYMw3If_BgJqFi6omIIMDO2VVe7kMSmYdnCmRsnGjToTOfcVLSbuYAYbQMweZyuefifm9Df-Wjcp27SNR3QqkYlCfBQPAvn7F5xGsHCoLCuMeO5g3vuc/s1600-h/restauracao347.jpg"><img style="cursor: pointer; width: 152px; height: 132px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkSM6PTTgFBZu-NUyhaAu-8cWeYMw3If_BgJqFi6omIIMDO2VVe7kMSmYdnCmRsnGjToTOfcVLSbuYAYbQMweZyuefifm9Df-Wjcp27SNR3QqkYlCfBQPAvn7F5xGsHCoLCuMeO5g3vuc/s320/restauracao347.jpg" alt="" id="BLOGGER_PHOTO_ID_5305265240347454674" border="0" /></a><br />It is best to have a lathe that suites your requirements and that it is strong and very well fixed to a firm flooring, vibration is a way to frustration with turning, it is so much easier to turn on a lathe which is robust.<span style="font-weight: bold;"> Make sure that the height is correct for you, it needs to be comfortable and you need full control of the chisels</span>. The height is possibly best when the centre of the lathe is at the height of your elbow when you are standing vertically.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTS9QFTq0fCB9DYsEG7NQ1Gop6SRnbmiBAOpfaNJYGEWlOaU3JsGNHWP2PNbPeTzyZRqJRVSqV0PffBxDWg7Kqi_Ut8MIKoygLTst6lfPwHZ3wvwVFkA078Fa5KJXrfik_4nGONudCkLE/s1600-h/restauracao325.jpg"><img style="cursor: pointer; width: 233px; height: 169px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTS9QFTq0fCB9DYsEG7NQ1Gop6SRnbmiBAOpfaNJYGEWlOaU3JsGNHWP2PNbPeTzyZRqJRVSqV0PffBxDWg7Kqi_Ut8MIKoygLTst6lfPwHZ3wvwVFkA078Fa5KJXrfik_4nGONudCkLE/s320/restauracao325.jpg" alt="" id="BLOGGER_PHOTO_ID_5305282411489314194" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkHT4yL57a3RzZQ3S1S9K9LF2Aof5d3gMQGXDOrS17ugt6fxcpM-EkfeO_d4rRRw2fS7F0Fk6M1l1iyAM-vKNKEpXrbJx3yIbxVz4LUMBU_kT6VXVoSY7yCkyrv-XzhmmDAUtLXZZ-90/s1600-h/restauracao312.jpg"><img style="cursor: pointer; width: 118px; height: 170px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkHT4yL57a3RzZQ3S1S9K9LF2Aof5d3gMQGXDOrS17ugt6fxcpM-EkfeO_d4rRRw2fS7F0Fk6M1l1iyAM-vKNKEpXrbJx3yIbxVz4LUMBU_kT6VXVoSY7yCkyrv-XzhmmDAUtLXZZ-90/s320/restauracao312.jpg" alt="" id="BLOGGER_PHOTO_ID_5305282414432819906" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih8BPFzMCuPvi0JkZ8JTSIGo2Vcv_yJD4ShFbKjrDNtABrwM8P6dE5mDgYkpuOZZXEDyZMucdq0RRKbJwc6GRWsUpBmschz4u4vbiGBQsnm7jO-h_Gul5xbrUagSJkHOwfzNDTer5XwQA/s1600-h/restauracao2.jpg"><img style="cursor: pointer; width: 350px; height: 206px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih8BPFzMCuPvi0JkZ8JTSIGo2Vcv_yJD4ShFbKjrDNtABrwM8P6dE5mDgYkpuOZZXEDyZMucdq0RRKbJwc6GRWsUpBmschz4u4vbiGBQsnm7jO-h_Gul5xbrUagSJkHOwfzNDTer5XwQA/s320/restauracao2.jpg" alt="" id="BLOGGER_PHOTO_ID_5305289210091082674" border="0" /></a><br />The other thing is to buy good chisels, quality helps in keeping the sharp edge and stopping bending and flexing of the steel. It is well worth buying a variety of different chucks and tail centres, they are of great help in allowing you to vary the type of turning that you may wish to try. Remember that most of the tools that you will buy are going to last you at least twenty years, so try to give them some thought and expense, it will repay in short time and allow you to consentrate on turning the wood and not over coming the problems that the tools are giving you.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7dG0JuGBfIV6iRogzhVxx9Z3kvIJd75C_IInCp4qlAEQ8S8y5R2KLWsDl3fxmuk8wDW1t7tXn2pRaVQ-KtNOPVIWbG4nXIq2rrPQvlSMoI0eI1q0VHcB_6La4StG1McaRqEnu-5ZdllQ/s1600-h/restauracao349.jpg"><img style="cursor: pointer; width: 87px; height: 149px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7dG0JuGBfIV6iRogzhVxx9Z3kvIJd75C_IInCp4qlAEQ8S8y5R2KLWsDl3fxmuk8wDW1t7tXn2pRaVQ-KtNOPVIWbG4nXIq2rrPQvlSMoI0eI1q0VHcB_6La4StG1McaRqEnu-5ZdllQ/s320/restauracao349.jpg" alt="" id="BLOGGER_PHOTO_ID_5305265248254482082" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLF-WR_6TuAa2dTb1DazcrDLeQv6WUqmP5H-m7S6hMxApPa4viTYMVx0b-u33d2FW0cv-vI1DSXDwi2lOW2FrZW5kEZ866ozI7rcCXVJJykexYPe1h0ZjNMCPDUiCA7LPeVOYb8Euy_uU/s1600-h/restauracao336.jpg"><img style="cursor: pointer; width: 86px; height: 149px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLF-WR_6TuAa2dTb1DazcrDLeQv6WUqmP5H-m7S6hMxApPa4viTYMVx0b-u33d2FW0cv-vI1DSXDwi2lOW2FrZW5kEZ866ozI7rcCXVJJykexYPe1h0ZjNMCPDUiCA7LPeVOYb8Euy_uU/s320/restauracao336.jpg" alt="" id="BLOGGER_PHOTO_ID_5305285471522847474" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_NbV-N6r0uZHi0k_eZHGWcNbjiXUagG7at-MTtCWECod9yA9p8UBSNycvLtb6N-PelZzmUkdl_RejO62rvfnafu6bmuwwXHv1RCZJd-nAG_U7wxunThyphenhyphenczFQss1EKCHc9G94XF3DxAR4/s1600-h/restauracao320.jpg"><img style="cursor: pointer; width: 222px; height: 148px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_NbV-N6r0uZHi0k_eZHGWcNbjiXUagG7at-MTtCWECod9yA9p8UBSNycvLtb6N-PelZzmUkdl_RejO62rvfnafu6bmuwwXHv1RCZJd-nAG_U7wxunThyphenhyphenczFQss1EKCHc9G94XF3DxAR4/s320/restauracao320.jpg" alt="" id="BLOGGER_PHOTO_ID_5305285463952560322" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzMpHZk7CuDC3zJq0fPsmNWHth72z-3A_ZVVCBqX7-rdTNuGLG6JOZdjLAv2TEto3VkvA8FQYDd9FUwEI-D2D3-ttl6ggKaWXXWXqYkQk7HLPx5_ndyt_TuRqRg5jaJ4NKNYNFeq2DhA/s1600-h/restauracao330.jpg"><img style="cursor: pointer; width: 343px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlzMpHZk7CuDC3zJq0fPsmNWHth72z-3A_ZVVCBqX7-rdTNuGLG6JOZdjLAv2TEto3VkvA8FQYDd9FUwEI-D2D3-ttl6ggKaWXXWXqYkQk7HLPx5_ndyt_TuRqRg5jaJ4NKNYNFeq2DhA/s320/restauracao330.jpg" alt="" id="BLOGGER_PHOTO_ID_5305289210281216402" border="0" /></a><br />If you are intending to do repetative work it is worth your while buying a number of measuring tools and possibly a few attachments for the lathe, such as the sizing attachment for a parting chisel and for bowel repetition, there are several bowl cutters that will cut out the waste for a large bowl, whilst giving you the centre as one piece to re use, as a smaller bowl.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ9mBKF7Dc08MZPjCDCBhJmo6PzhERkiO6ZLYCEoEU21HUUoJeMsnctcnSIx2b9Yu0ULaCmOzhtYindqhb5mVyj-BWSLYmdwpifCKV7hLySFxmsIVs44_DKfgrTG8zqyQXIP-SQMPna5U/s1600-h/restauracao6.jpg"><img style="cursor: pointer; width: 170px; height: 109px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ9mBKF7Dc08MZPjCDCBhJmo6PzhERkiO6ZLYCEoEU21HUUoJeMsnctcnSIx2b9Yu0ULaCmOzhtYindqhb5mVyj-BWSLYmdwpifCKV7hLySFxmsIVs44_DKfgrTG8zqyQXIP-SQMPna5U/s320/restauracao6.jpg" alt="" id="BLOGGER_PHOTO_ID_5305285459352246978" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwGMHHN-UwQ4NW6gAKtn8Cm92H7stMF2WoVz8BndRuYzV699DS5X-DuWXowU8XWXV5Xek8uPPLRbNnKvEnW5TPlPo4MJZrb6EEGUerG0MFnVrPaYl-KFlmOrZJCgESVxPLc5f98lvKWo/s1600-h/restauracao337.jpg"><img style="cursor: pointer; width: 139px; height: 109px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCwGMHHN-UwQ4NW6gAKtn8Cm92H7stMF2WoVz8BndRuYzV699DS5X-DuWXowU8XWXV5Xek8uPPLRbNnKvEnW5TPlPo4MJZrb6EEGUerG0MFnVrPaYl-KFlmOrZJCgESVxPLc5f98lvKWo/s320/restauracao337.jpg" alt="" id="BLOGGER_PHOTO_ID_5305285464216074562" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFzFS4C1wq5u6aTWCT8Fr4VHSKfUTkNA0BSd2SG6L_lXAQ_urunNTYou5s3x67vN08MBzp-hKhCfScNyRRZl5wuAoNrkPhT0yl71Sz-9vvobVtKmMKd15RVGyHpCTWH6zOiCPJLhcs01g/s1600-h/restauracao326.jpg"><img style="cursor: pointer; width: 163px; height: 109px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFzFS4C1wq5u6aTWCT8Fr4VHSKfUTkNA0BSd2SG6L_lXAQ_urunNTYou5s3x67vN08MBzp-hKhCfScNyRRZl5wuAoNrkPhT0yl71Sz-9vvobVtKmMKd15RVGyHpCTWH6zOiCPJLhcs01g/s320/restauracao326.jpg" alt="" id="BLOGGER_PHOTO_ID_5305285473073649730" border="0" /></a>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-25160917466595435042009-02-20T09:31:00.000-08:002009-02-20T10:55:04.228-08:00Designs and the Finished article<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPdetwJH0FEZGBwhET7MpC7ghDU9idQVEeRVBIVXJMHMscg3yKpA69OFiBaNrdI7ZC3DWu63y3BNEObR0B2INZUBDjSKln7F48qzlTQJAJH2PgFqHM90j8e7i-l4SZI4MtP3gBcyLi29U/s1600-h/restauracao190.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 262px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPdetwJH0FEZGBwhET7MpC7ghDU9idQVEeRVBIVXJMHMscg3yKpA69OFiBaNrdI7ZC3DWu63y3BNEObR0B2INZUBDjSKln7F48qzlTQJAJH2PgFqHM90j8e7i-l4SZI4MtP3gBcyLi29U/s400/restauracao190.jpg" alt="" id="BLOGGER_PHOTO_ID_5304945408582754066" border="0" /></a>For the designer the drawing is the product of his/her mind sifting through experience and creating a style that can be constructed. No good having a nice idea if it is not possible to create or cannot serve the purpose that it is supposedly meant for. I must admit to not being a fan of some of the modern, and well known, cabinet makers ( one of the British royal family springs to mind) who produce highly expensive furniture that to all intense and purposes as only decorative use. Here are a collection of sketches showing the ideas before the final working design have been produced, thay are not as it were initial sketches , I am sure there would be lots of paper before hand, but they are certainly the sketches at a point when the idea has matured to form a clear vision of the finished article. I have found that I need to do sketches in order for me to think my way through the construction, it is also helpfull when trying to make an estimate of timber for pricing. The very act of putting pencil to paper allows the designer to go through a construction process and evaluate the possible problems.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYdbQnUHG4SxLnpu4rQCVvU8-5cdjyZZGtmxdp3uKWnJBsK6HsKhA1K2xhEmZ8Yp-ucLSGtpLe_T9qg_7VxpfTAoJBDhAjE5rNF4Dz_Cg4MF-l45HDVWHkujmU0SPDNlb2s0FZ67mIlhU/s1600-h/restauracao275.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 226px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYdbQnUHG4SxLnpu4rQCVvU8-5cdjyZZGtmxdp3uKWnJBsK6HsKhA1K2xhEmZ8Yp-ucLSGtpLe_T9qg_7VxpfTAoJBDhAjE5rNF4Dz_Cg4MF-l45HDVWHkujmU0SPDNlb2s0FZ67mIlhU/s400/restauracao275.jpg" alt="" id="BLOGGER_PHOTO_ID_5304947280928688962" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUlSHd-hJDZ9gxUpcTXME92ext1rvSe0cMT_Wpz_jmGK4dTb8EbvdoLw5T0UckKpeOE1uSdOVWnXrsELv-4Iwqw-J1yW03vUEi-qz9BRUpAVPllEi7X51urBYscEcHa639XUoc2gM3ByQ/s1600-h/restauracao269.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 262px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUlSHd-hJDZ9gxUpcTXME92ext1rvSe0cMT_Wpz_jmGK4dTb8EbvdoLw5T0UckKpeOE1uSdOVWnXrsELv-4Iwqw-J1yW03vUEi-qz9BRUpAVPllEi7X51urBYscEcHa639XUoc2gM3ByQ/s400/restauracao269.jpg" alt="" id="BLOGGER_PHOTO_ID_5304945411449109618" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-aSFtJyhX75aAjNrpZwthqitXwP7ZWUTeQgS0SV6Aahao1-JPtpROFiaMiiCHLWVD3x7F-lVd7nhLpCDfHxUgRHOJCM-jmoFnoM-lvtyZljo93NDNZl86g8NYQAJRyxf-23QLQVTaRLU/s1600-h/restauracao271oi.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 252px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-aSFtJyhX75aAjNrpZwthqitXwP7ZWUTeQgS0SV6Aahao1-JPtpROFiaMiiCHLWVD3x7F-lVd7nhLpCDfHxUgRHOJCM-jmoFnoM-lvtyZljo93NDNZl86g8NYQAJRyxf-23QLQVTaRLU/s400/restauracao271oi.jpg" alt="" id="BLOGGER_PHOTO_ID_5304945417203484802" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6tE4_NWfvMOLZUEUzhm0xPvqVBl1fvTQA76n3iYqH1KNm5bLR4EIG4VxWw-uQYOtc8J3A7NjcBZgxHrY0otiMFSgLvKBQBTie0M-GQdUpCWl_02z_NrWa1RsfSYCxsLrwQ__mT1hZMo/s1600-h/restauracao271.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 322px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6tE4_NWfvMOLZUEUzhm0xPvqVBl1fvTQA76n3iYqH1KNm5bLR4EIG4VxWw-uQYOtc8J3A7NjcBZgxHrY0otiMFSgLvKBQBTie0M-GQdUpCWl_02z_NrWa1RsfSYCxsLrwQ__mT1hZMo/s400/restauracao271.jpg" alt="" id="BLOGGER_PHOTO_ID_5304945418839096930" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Y6gT0wz95bWFhd6deKvjQ_1dfsdKEw29ZO4MI0gyxFSzEVhxvvVyjlxuAMKw_ezE4eFJIFL0luWpOZzO1NBopoQYWP5E4WlASo0AoFD2c8Cd4zuXlIl2eziLMLax6xBnHwmVEVzhDbY/s1600-h/restauracao272.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 272px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Y6gT0wz95bWFhd6deKvjQ_1dfsdKEw29ZO4MI0gyxFSzEVhxvvVyjlxuAMKw_ezE4eFJIFL0luWpOZzO1NBopoQYWP5E4WlASo0AoFD2c8Cd4zuXlIl2eziLMLax6xBnHwmVEVzhDbY/s400/restauracao272.jpg" alt="" id="BLOGGER_PHOTO_ID_5304947275978019986" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0FNDlG6FIWwRLzRP1Mxz5t4OoBBi40eaxQrtl5_15uXEbI5ndVpJ-qUIua41wUWiGDZIs8lvWjaBrk-7AYDRKNV-R4sa-HEV2ZnWnH1Mu8RKC5afXmhwOeaQpeJVPP7gKFeghimsKP6Y/s1600-h/restauracao276.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 303px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0FNDlG6FIWwRLzRP1Mxz5t4OoBBi40eaxQrtl5_15uXEbI5ndVpJ-qUIua41wUWiGDZIs8lvWjaBrk-7AYDRKNV-R4sa-HEV2ZnWnH1Mu8RKC5afXmhwOeaQpeJVPP7gKFeghimsKP6Y/s400/restauracao276.jpg" alt="" id="BLOGGER_PHOTO_ID_5304947279935342802" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Q9U3VWGj0r2CrbMrLEwS6HDuX4O-p70AcMA3r-asdYbd0WQ9pZgb__EyizUkxT4kHSOtgTD514e3mLo0sOLzNcyvdA4XPRaaLb4zLs-VLKhl2Buyu-rvHqB9_NogcofGJkrsNCgD6qc/s1600-h/restauracao273.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 301px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Q9U3VWGj0r2CrbMrLEwS6HDuX4O-p70AcMA3r-asdYbd0WQ9pZgb__EyizUkxT4kHSOtgTD514e3mLo0sOLzNcyvdA4XPRaaLb4zLs-VLKhl2Buyu-rvHqB9_NogcofGJkrsNCgD6qc/s400/restauracao273.jpg" alt="" id="BLOGGER_PHOTO_ID_5304947277252254866" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5UCXBy-YNZJtJPccM5Bu0_aTpYyaWwTdlDGecS-G68YFVqefgWMqzq0bR11oIcRJHVwv-ZhP_CYlQe_k_ObFHJdgBeWdz4u3dOtqHRkp9OxsIf9hWTVi7YKex6mAmWITHwTcP4eu29k/s1600-h/restauracao274.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 314px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW5UCXBy-YNZJtJPccM5Bu0_aTpYyaWwTdlDGecS-G68YFVqefgWMqzq0bR11oIcRJHVwv-ZhP_CYlQe_k_ObFHJdgBeWdz4u3dOtqHRkp9OxsIf9hWTVi7YKex6mAmWITHwTcP4eu29k/s400/restauracao274.jpg" alt="" id="BLOGGER_PHOTO_ID_5304947278256689362" border="0" /></a><br />This drawing of a steam packet deck chair, reminds me of one that I used to own and made several copies of it for friends and theatre, it uses very little timber, is very strong and folds neatly, as well as having, in my opinion, a very elegant appearance ( although this drawing is not probably the best illustration to support this). One of the copies I made also had a foot rest as part of it, this folded under the seat and had two small folding legs.stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-49084956039580483052009-02-20T06:27:00.000-08:002009-02-20T09:25:43.797-08:00Veneers and their legacy<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3S6vPTEbgTtJVNuUhNZZtAc_UEvw0AjchtHvjZ0wB7RyGcl1w5MbE-vTGv4VQfr6WD8BzalilTaJBO9EwvkPiYFD2Xg3jyAJmUnwUsKR980Vws_wtOLsSmQedaEAN1tDk8P8Ld8KBRjc/s1600-h/restauracao308.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 360px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3S6vPTEbgTtJVNuUhNZZtAc_UEvw0AjchtHvjZ0wB7RyGcl1w5MbE-vTGv4VQfr6WD8BzalilTaJBO9EwvkPiYFD2Xg3jyAJmUnwUsKR980Vws_wtOLsSmQedaEAN1tDk8P8Ld8KBRjc/s400/restauracao308.jpg" alt="" id="BLOGGER_PHOTO_ID_5304918390038539810" border="0" /></a>This example of veneer work is from the reign of George I, it is a bureau made with Burr Yew and Plum-wood cross-bandings( common to use local timbers and yet create an exotic effect), the Burr Elm interior with its small drawers will have kept its almost origional colour. Circa 1720<br /><a style="font-weight: bold;" href="http://stuartsbrasil.blogspot.com/2008/05/wood-and-me.html">Wood and me</a><br />This is a copy of an article I wrote some time ago on my other blog, but I am going to include some scans of the making of veneers and the use of them. Veneers have been in use for thousands of years, it was a way of making resources stretch and also getting a more decorative cut from wood. When made in a formal through and through cut, timber can lack vitality and loose reflective qualities which the side grain has, end grain tending to absorb all light( therefore the need to fill grain before polishing, unless you wish to use this deffinition in your work)<br />Early tools for cutting veneers were in reallity the hand saw, it was only possible to cut fairly thick pieces and at the same time there was a huge degree of wastage with the saw removing almost as much as the veneer that was left. a multi bladed saw was then adopted to ease the problem of regularity in the cutting and then much later, the use of a knife on the still moist trunk, allowed for very much finer veneers and eliminated waste that the saw produced. In modern times veneers have become more widely used as a structural timber in there use for laminates, their decorative use is still prominant but in a more regular form. It is this regularity that the modern architect and designer wishes to use for display and grand schemes, the individual craftsman can therefore gain if he/dhe adopts the approach of buying from small scale producers such as Crispin's in london, used by me for many years whilst i lived there. For restoration work I have always cut my own veneers, using the bandsaw with a fine toothed blade.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzURC0HvLEN6RRbjbpYere5031JH8iDbyWsk5LmNsOed8nl4YE9t3srlnKqiNOuvb7P5zfY0ozh-q6oj2BM6h_J9g-7Kjq9Te_GLKAWF-r2ivwR53u6zgijjj0KsKQq0mFpqeYu_NgPrw/s1600-h/restauracao298.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 366px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzURC0HvLEN6RRbjbpYere5031JH8iDbyWsk5LmNsOed8nl4YE9t3srlnKqiNOuvb7P5zfY0ozh-q6oj2BM6h_J9g-7Kjq9Te_GLKAWF-r2ivwR53u6zgijjj0KsKQq0mFpqeYu_NgPrw/s400/restauracao298.jpg" alt="" id="BLOGGER_PHOTO_ID_5304911427573549186" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd00fYw79gAQ8rV0Vvrr4Lf-BQR8tl9EV1Ly9vlCi9uG-z1y-ooTDiZpRNLIL4ikb7rKy8DMc2nKreufUEqiNLnShVPSj-EZJIXg-j1_kcw-yHSshDb7_-7P7pSMTR2r3X3CKg1M3cdTA/s1600-h/restauracao301.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 385px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd00fYw79gAQ8rV0Vvrr4Lf-BQR8tl9EV1Ly9vlCi9uG-z1y-ooTDiZpRNLIL4ikb7rKy8DMc2nKreufUEqiNLnShVPSj-EZJIXg-j1_kcw-yHSshDb7_-7P7pSMTR2r3X3CKg1M3cdTA/s400/restauracao301.jpg" alt="" id="BLOGGER_PHOTO_ID_5304914053431367074" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc4z6DgNAz2J8QTrq2e6bqSNkZyZu_SVmnGi_lR-3jj2zApZGJ084XaDbIGmY97hfz4NyainPp6rc48hyNZmTB2qriOdXxMpCFrudbDccRHfQvJf-LgI-OQiNjon5bxU-8CsYYaGIu1dk/s1600-h/restauracao302.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 386px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc4z6DgNAz2J8QTrq2e6bqSNkZyZu_SVmnGi_lR-3jj2zApZGJ084XaDbIGmY97hfz4NyainPp6rc48hyNZmTB2qriOdXxMpCFrudbDccRHfQvJf-LgI-OQiNjon5bxU-8CsYYaGIu1dk/s400/restauracao302.jpg" alt="" id="BLOGGER_PHOTO_ID_5304914058790006402" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmSXRJocudD7m61ECM7xmygR6AJZ-RQalJKDpfls3plChzlysHMWsY0HnmZ88bLobeBLsiicUe5t5czfHGJXy4T_YsSu8GkRzLKJXTLr5PD2JcbJHQ92lCH3JJ1q4zBSQ0HbDMeIPWu8/s1600-h/restauracao303.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 386px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPmSXRJocudD7m61ECM7xmygR6AJZ-RQalJKDpfls3plChzlysHMWsY0HnmZ88bLobeBLsiicUe5t5czfHGJXy4T_YsSu8GkRzLKJXTLr5PD2JcbJHQ92lCH3JJ1q4zBSQ0HbDMeIPWu8/s400/restauracao303.jpg" alt="" id="BLOGGER_PHOTO_ID_5304914062949582850" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHdsUs__BXXkTBgCiS86175lCBoVjw1US8yE7EhUOWKD_56u365hHjmhONedZ5_mDyXyKrR3kca9d0vN4UUOn6MjNLMjZW9R_jyGHEWDrvwOpu07OuRTqCiLyoSrY7FyJNxKdrk2mDmK0/s1600-h/restauracao304.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 381px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHdsUs__BXXkTBgCiS86175lCBoVjw1US8yE7EhUOWKD_56u365hHjmhONedZ5_mDyXyKrR3kca9d0vN4UUOn6MjNLMjZW9R_jyGHEWDrvwOpu07OuRTqCiLyoSrY7FyJNxKdrk2mDmK0/s400/restauracao304.jpg" alt="" id="BLOGGER_PHOTO_ID_5304916010157722930" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveaaSLlCjJyiNntrUhqaGETW57GFZyNaJorm1ZMB6QEdcw7m8gdIRbNKVLB0_E4OYEFG3Vslqr2sx_h6Z9va8o7bK61VigpbE0fEgGfVZ5xVLV8B5auZMwOhpQ-AQqxtMpHNgQixzC_Q/s1600-h/restauracao305.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 372px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiveaaSLlCjJyiNntrUhqaGETW57GFZyNaJorm1ZMB6QEdcw7m8gdIRbNKVLB0_E4OYEFG3Vslqr2sx_h6Z9va8o7bK61VigpbE0fEgGfVZ5xVLV8B5auZMwOhpQ-AQqxtMpHNgQixzC_Q/s400/restauracao305.jpg" alt="" id="BLOGGER_PHOTO_ID_5304916017442632290" border="0" /></a><br />Veneers have also been used in various forms as marquetry or inlay, the Dutch and French styles being most obvious and abundante. In Brazil it is very difficult to find good illustrations of this fine cabinetry, they tended to use basic skilss and as most work that was produced and still exists today, is from the mid 1700's, the style is simple colonial Portuguese, heavy and decorated with carving, there does not seem to be samples of veneered work, just od pieces with some inlay. The heavy humidity that the South of Brazil has, can probably take the blame for this, also the craftsmen that were sent from Portugal to Brazil were predominately carpenters for the construction of churches and imperial houses, not used to fine cabinet work and not therefore passing on a tradition for the future. This is, in Brazil, now only too clear with the lack of trained craftsmen for restoration work of any kind and the nations lack of interest in wood as a decorative material, they do not seem to have any feelings for the timber that grows here in abundance. It is almost a slash and burn approach, wood is cut to clear space for farming ( beans, sugar cane or maize) and for building land.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-uGdv-xRTWXV6wry_KQgVQn3FtXssTMqwdW8oW4AGEFPZ3aPBPO0uVWK1JneAfxIYLJrN9TksWDo7lDEGCIkOdKWXfi1eQ2-duBQhEo6wB2a6Oh-4Qzv0Jr-v0uLyKq3W_1ulKnlB-Y/s1600-h/restauracao300.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 386px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP-uGdv-xRTWXV6wry_KQgVQn3FtXssTMqwdW8oW4AGEFPZ3aPBPO0uVWK1JneAfxIYLJrN9TksWDo7lDEGCIkOdKWXfi1eQ2-duBQhEo6wB2a6Oh-4Qzv0Jr-v0uLyKq3W_1ulKnlB-Y/s400/restauracao300.jpg" alt="" id="BLOGGER_PHOTO_ID_5304911435095347202" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDUkeb7BuZyz0OntiBmMmDwb6nygD8KuBWGXVxW7pF7styCIPklA7Wdzxc2fgLhhyNXD8uw9OGwuL2n462vl1gi9NwP2PzP4Ygmu4CUcSNPIO1mao9l57PkCo5MyWm1Kivt3tieGiGNs/s1600-h/restauracao299.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 392px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzDUkeb7BuZyz0OntiBmMmDwb6nygD8KuBWGXVxW7pF7styCIPklA7Wdzxc2fgLhhyNXD8uw9OGwuL2n462vl1gi9NwP2PzP4Ygmu4CUcSNPIO1mao9l57PkCo5MyWm1Kivt3tieGiGNs/s400/restauracao299.jpg" alt="" id="BLOGGER_PHOTO_ID_5304911430559759010" border="0" /></a>Click on the illustrations to get larger imags and read the small text.<br />There are various ways that the industry uses to cut veneers, but it is not always possiblr for large trunks to be optimised for the inner beauty as they are fixed to a machine and then the macine will gradually feed the wood to the blade. In plane cutting the tree is debarked and then knots are drilled out, plugged and the tree is spun on a large lathe whilst the long cutting blade is gradually fed at what ever rate is required to get the best cut and the thickness required.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQpw4TrVza-ySE_v2WqKO-r-tBI02F8GM8p-wAMDzM5chII6JEtj7u73TTqWGLZRIPC_6kt8lIkUoL1dBfah7gznQOwbM5qwI1KxPcY6l5u8YH5wSgMohrw2Rmwu-FXyev37B5ZW5f-U/s1600-h/restauracao307.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 370px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuQpw4TrVza-ySE_v2WqKO-r-tBI02F8GM8p-wAMDzM5chII6JEtj7u73TTqWGLZRIPC_6kt8lIkUoL1dBfah7gznQOwbM5qwI1KxPcY6l5u8YH5wSgMohrw2Rmwu-FXyev37B5ZW5f-U/s400/restauracao307.jpg" alt="" id="BLOGGER_PHOTO_ID_5304916017849840258" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkjy7kbKRMefOHyIId93u5XAxeCexmLAFGlc2IDHFTtGf5eQIzXLAr8bPB6NhTPKpaqMmUw_thuEceZc0H4cNnXRKIu6Qm-UyTEJrulHz3Ac-Ribl2uK7aVaBcoRgxJhxQONU7BjuiW8U/s1600-h/restauracao095.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 319px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkjy7kbKRMefOHyIId93u5XAxeCexmLAFGlc2IDHFTtGf5eQIzXLAr8bPB6NhTPKpaqMmUw_thuEceZc0H4cNnXRKIu6Qm-UyTEJrulHz3Ac-Ribl2uK7aVaBcoRgxJhxQONU7BjuiW8U/s400/restauracao095.jpg" alt="" id="BLOGGER_PHOTO_ID_5304924003641475314" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNoydvFmaOiHA_VVPrjvNG2hLgnf7MTUQy8O0JRymNCQk3Pifitav5CtWqHCBsSdm3HokDxtzFld5XWCk2G0WzXlC2gtvKhWSix2Jm-l4vkO3J7FkZjDQc-ozrYJFA3b3QdZ-wIofIO-o/s1600-h/restauracao129.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 303px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNoydvFmaOiHA_VVPrjvNG2hLgnf7MTUQy8O0JRymNCQk3Pifitav5CtWqHCBsSdm3HokDxtzFld5XWCk2G0WzXlC2gtvKhWSix2Jm-l4vkO3J7FkZjDQc-ozrYJFA3b3QdZ-wIofIO-o/s400/restauracao129.jpg" alt="" id="BLOGGER_PHOTO_ID_5304924003737252450" border="0" /></a>When the sides , drawer fronts or doors of cabinets are curved, it can create some problems for the craftsman to apply even pressure when gluing and cramping. The traditional methods can be used instead of the modern air bag. This was a method much like that used in casting etal objects, were a box was constructed of sufficient size to take the piece to be veneered and filled with fine sand. The sand would be poured into the box and gently vibrated to level it off but not compress it, the best height would be to get the object levelled at slightly above the sides of the box, allowing for the depression upon cramping. The veneers are cut and taped ready for application, the sand is slightly depressed with the object so that the craftsman knows that the surface is in full contact with the sand. The sand in the box can be well pre-heated before use so that it allows the veneer to completely adhere to the object with air getting trapped( with all veneering it is necessary to apply pressure to the centre first and then spread the pressure outward, this can be done on flat work with curved battens )<br />Wood or plywood is applied under the box and on top of the object, if this is also curved on its inside, a bag filled with warmed sand, can be placed between the ply and the object, the glue is applied to both surfaces and paper can then be lais over the veneer to stop glue seeping through the pores in the veneer, the object is placed onto the depression already made in the sand box, timber is placed over the object, and slightly curved battens are then used to take the cramps. the whole is then left for at least a full day, better to wait longer, before the cramps are gently and mathodically, removed and the object allowed to breath and dry. It is possiblr to glue the veneer and the carcase seperately, allow the glue to set and then apply the veneer with a hot iron, but this requires care as the heat will distort the veneer, the glue becomes molten and the moisture can make the veneer shrink in an uneven way. This is more of atechnique when restoring small pieces and the individual piece cannot be dismounted for cramping. It can be a lot easier with some chairs, to dismantle completely in order to do repairs, when this is the case the joints can best be removed by injcting hot water into them and allowing the joint about 15 minutes for the glue to soften. Also the application of heat with an electric hot air gun will aid the glue melting.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPnknyioH5lse8sSXaDsQ8r6ebkJATghDg_a18yfr1-_CojrTtk0thG7nveizmvmqKvQlnabcQqR9qy0QKhKgnVaH2dxGtuuN0OJz9dxE07aEM75irtfTQ1bKqzD4GR_8J7xWcf4FIN_0/s1600-h/300px-Taxus_wood.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPnknyioH5lse8sSXaDsQ8r6ebkJATghDg_a18yfr1-_CojrTtk0thG7nveizmvmqKvQlnabcQqR9qy0QKhKgnVaH2dxGtuuN0OJz9dxE07aEM75irtfTQ1bKqzD4GR_8J7xWcf4FIN_0/s320/300px-Taxus_wood.jpg" alt="" id="BLOGGER_PHOTO_ID_5196643431692755362" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeynt8XGLlgHDqRI1Q1kz58OKMHZyJV5wl2aKQBheOJKl3eU5Jid_dvz8YjYdXgTX02cDJ8CIINbeqCWFD98a4GR7mKGa3_hQPzxxqdpAsCQVTjM4Gd6WKMGboPoFNRZhC3wWBNH4BwHk/s1600-h/con04.gif"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 316px; height: 343px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeynt8XGLlgHDqRI1Q1kz58OKMHZyJV5wl2aKQBheOJKl3eU5Jid_dvz8YjYdXgTX02cDJ8CIINbeqCWFD98a4GR7mKGa3_hQPzxxqdpAsCQVTjM4Gd6WKMGboPoFNRZhC3wWBNH4BwHk/s320/con04.gif" alt="" id="BLOGGER_PHOTO_ID_5196643440282689970" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXVhqbqfJwyEgwTe9ttSbxvhaPiDM1Fn1xLoHpyeYsScosEV20ccI_xVM6bzbU0YmBI3v6ADGqbeyBzNPyqrcwaWW26VnwRD7dqdUOcaXTvDBESm55Wh67Jnlw-N0O8FIFZS107jh30M/s1600-h/main_page_PIC7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 309px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqXVhqbqfJwyEgwTe9ttSbxvhaPiDM1Fn1xLoHpyeYsScosEV20ccI_xVM6bzbU0YmBI3v6ADGqbeyBzNPyqrcwaWW26VnwRD7dqdUOcaXTvDBESm55Wh67Jnlw-N0O8FIFZS107jh30M/s320/main_page_PIC7.jpg" alt="" id="BLOGGER_PHOTO_ID_5196614642526970258" border="0" /></a><br />I suppose I should spend some time on talking about wood as it as been part of my families history and mine, for the last 28 years of my career has been spent learning something about its nature and its spirit, mind you I am not one to go hugging trees, their beauty is certain and the idea of them having thoughts is well, absurd.<br />Please if anyone is to be hugged its your friend, neighbour, mother, father, brothers, sisters, bank manager(if you have difficulty getting a loan) but trees no. There is however one attribution that I think does work for family and trees and that is possitive thoughts and patience, it is also very much what you need if you wish to have a career using timber for making objects or just growing timber.<br />I have had quite a few assistants in the past and see them virtually all struggling to make wood into furniture, I have to tell them that the only result from a battle with the timber is that they will lose. Like a lot of things in life one day you discover that its not such hard work as you once thought, bending to the needs of the timber and designing accordingly, making ajustments in response to pieces of timber that is front of you, even some exceptions like the steaming of wood to bend it for chair or violin making still requires the cabinet maker to select the correct grain and pay attention to its density and brittleness, not all timber can be steamed bent and still be strong.<br /><br />The illustration of various timbers is perhaps easier for me if I give the link here to John Boddy Timber, they are a family run business that I have used for more than 20 years and have great faith in the fact that they are truelly concerned at buying timber that is replenished and will not buy from dealers that rob the world of lumber.<a href="http://www.john-boddy-timber.ltd.uk/species_az.htm"> http://www.john-boddy-timber.ltd.uk/species_az.htm</a><br /><br /><br /><b>Wood</b> is hard, fibrous, lignified structural tissue produced as secondary <a href="http://en.wikipedia.org/wiki/Xylem" title="Xylem">xylem</a> in the stems of <a href="http://en.wikipedia.org/wiki/Woody_plant" title="Woody plant">woody plants</a>, notably <a href="http://en.wikipedia.org/wiki/Tree" title="Tree">trees</a> but also <a href="http://en.wikipedia.org/wiki/Shrub" title="Shrub">shrubs</a>. This tissue conducts water to the leaves and other growing tissues and has a support function, enabling plants to reach large sizes. Wood may also refer to other plant materials and tissues with comparable properties. <p>Wood is a <a href="http://en.wikipedia.org/wiki/Heterogeneous" title="Heterogeneous">heterogeneous</a>, <a href="http://en.wikipedia.org/wiki/Hygroscopic" class="mw-redirect" title="Hygroscopic">hygroscopic</a>, <a href="http://en.wikipedia.org/wiki/Cell_%28biology%29" title="Cell (biology)">cellular</a> and <a href="http://en.wikipedia.org/wiki/Anisotropy" title="Anisotropy">anisotropic</a> material. Wood is composed of fibers of <a href="http://en.wikipedia.org/wiki/Cellulose" title="Cellulose">cellulose</a> (40% – 50%) and <a href="http://en.wikipedia.org/wiki/Hemicellulose" title="Hemicellulose">hemicellulose</a> (15% – 25%) impregnated with <a href="http://en.wikipedia.org/wiki/Lignin" title="Lignin">lignin</a> (15% – 30%).<sup id="cite_ref-0" class="reference"><a href="http://en.wikipedia.org/wiki/Wood#cite_note-0" title="">[1]</a></sup></p> <div class="thumb tright"> <div class="thumbinner" style="width: 242px;"><a href="http://en.wikipedia.org/wiki/Image:Drva.JPG" class="image" title="Sections of tree trunk"><br /></a><br />Wood has been an important construction material since humans began building shelters, houses and boats. Nearly all <a href="http://en.wikipedia.org/wiki/Boat" title="Boat">boats</a> were made out of wood till the late 1800s, and wood remains in common use today in boat construction. New domestic housing in many parts of the world today is commonly of timber-framed construction. In buildings made of other materials, wood will still be found as a supporting material, especially in <a href="http://en.wikipedia.org/wiki/Roof" title="Roof">roof</a> construction and interior doors and their frames and exterior cladding. Wood to be used for construction work is commonly known as <i><a href="http://en.wikipedia.org/wiki/Lumber" title="Lumber">lumber</a></i> in <a href="http://en.wikipedia.org/wiki/North_America" title="North America">North America</a>. Elsewhere, <i>lumber</i> will usually refer to felled trees, and the word for sawn planks ready for use is <i><a href="http://en.wikipedia.org/wiki/Lumber" title="Lumber">timber</a></i>.</div> </div> <div class="thumb tright"> </div><div class="thumb tright"> </div><br /><br /><p>Broadly, there are two methods by which timber can be dried: (i) natural drying or air drying, and (ii) artificial drying.</p> <p><a name="Air_drying" id="Air_drying"></a></p> <h3><span class="editsection"></span> <span class="mw-headline">Air drying</span></h3> <p>Air drying is the drying of timber by exposing it to the air. The technique of air drying consists mainly of making a stack of sawn timber (with the layers of boards separated by stickers) on raised foundations, in a clean, cool, dry and shady place. Rate of drying largely depends on climatic conditions, and on the air movement (exposure to the wind). For successful air drying, a continuous and uniform flow of air throughout the pile of the timber needs to be arranged . The rate of loss of moisture can be controlled by coating the planks with any substance that is relatively impermeable to moisture; ordinary mineral oil is usually quite effective. Coating the ends of logs with oil or thick paint, improves their quality upon drying. Wrapping planks or logs in materials which will allow some movement of moisture, generally works very well provided the wood is first treated against fungal infection by coating in petrol/gasoline or oil. Mineral oil will generally not soak in more than 1-2 mm below the surface and is easily removed by planing when the timber is suitably dry.</p> <p><a name="Kiln_drying" id="Kiln_drying"></a></p> <h3><span class="editsection"></span> <span class="mw-headline">Kiln drying</span></h3> <p>The process of kiln drying consists basically of introducing heat. This may be directly, using natural gas and/or electricity or indirectly, through steam-heated heat exchangers, although solar energy is also possible. In the process, deliberate control of temperature, relative humidity and air circulation is provided to give conditions at various stages (moisture contents or times) of drying the timber to achieve effective drying. For this purpose, the timber is stacked in chambers, called wood drying kilns, which are fitted with equipment for manipulation and control of the temperature and the relative humidity of the drying air and its circulation rate through the timber stack </p> <p>Kiln drying provides a means of overcoming the limitations imposed by erratic weather conditions. In kiln drying as in air drying, unsaturated air is used as the drying medium. Almost all commercial timbers of the world are dried in industrial kilns.</p><p>A tree grows by a system of transporting the water and minerals in the soil up the trunk to the leaves and there are many changes that occur in the movement of this water with its solution of minerals.<br /></p><p>The basic principle is cal<span style="font-size:100%;">led osmosis.</span></p><p> <span style="color: rgb(0, 0, 255);font-size:100%;" >W</span><span style="font-size:100%;">hen water evaporates from the mesophyll cells of a leaf and diffuse out of the stomata (transpiration), the cells involved develop a lower water potential than the adjacent cells. Because the adjacent cells then have a correspondingly higher water potential, replacement water moves into the first cells by osmosis. This continues across rows of mesophyll cells until a small vein is reached. Each small vein is connected to a larger vein, and the larger veins are connected to the main xylem in the stem, which in turn is connected to the xylem in the roots that receive water, via osmosis, from the soil. As transpiration takes place it creates a "pull" or tension on water columns, drawing water from one molecule to another all the way through the entire span of xylem cells. The cohesion required to move water to the top of a 300 foot redwood tree is considerable.</span></p><p> </p> <!-- Row 1 Column 1 --> <table width="92%" border="0" cellpadding="3" cellspacing="0"><tbody><tr><td> <span style="font-size:100%;"><img style="width: 69px; height: 533px;" src="http://waynesword.palomar.edu/images/water2.gif" with="69" /></span> </td> <!-- Row 1 Column 2 --> <td> <span style="color: rgb(0, 0, 255);font-size:100%;" >W</span><span style="font-size:100%;">ater is primarily "pulled" upward due to the cohesion of water molecules within the xylem tracheids and vessels. Like a steel wire, the chain of water molecules is literally pulled through the plant's vascular system, from the roots to the leaves. As water molecules move out through the stomata into the atmosphere, they are replaced by new molecules entering the roots from the soil. Since the water in xylem ducts is under tension, there is a measurable inward pull (due to adhesion) on the walls of the ducts. It has been estimated that only about one percent of all water molecules transported upward are used by a tree; the other 99 percent are needed to get that one percent up there. Water molecules must literally grow with the plant in order to form continous chains within the xylem tubes.<br /></span><ol><li>Free water: The bulk of water contained in the cell lumina is only held by capillary forces: it is not bound chemically and is termed free water. Free water is not in the same thermodynamic state as liquid water: energy is required to overcome the <a href="http://en.wikipedia.org/wiki/Capillary" title="Capillary">capillary</a> forces. Furthermore, free water may contain chemicals, altering the drying characteristics.</li><li>Bound or hygroscopic water: Bound water is bound to the wood via <a href="http://en.wikipedia.org/wiki/Hydrogen_bond" title="Hydrogen bond">hydrogen bonds</a>. The attraction of wood for water arises from the presence of free <a href="http://en.wikipedia.org/wiki/Hydroxyl" title="Hydroxyl">hydroxyl</a> (OH) groups in the <a href="http://en.wikipedia.org/wiki/Cellulose" title="Cellulose">cellulose</a>, <a href="http://en.wikipedia.org/wiki/Hemicellulose" title="Hemicellulose">hemicelluloses</a> and <a href="http://en.wikipedia.org/wiki/Lignin" title="Lignin">lignin</a> molecules in the cell wall. The hydroxyl groups are negatively charged electrically. Water is a polar liquid. The free hydroxyl groups in cellulose attract and hold water by hydrogen bonding.</li></ol><b style="color: rgb(255, 204, 51);"> <span style="color: rgb(128, 0, 0);">Tangential boards</span></b><span style="color: rgb(255, 204, 51);"> <span style="color: rgb(255, 204, 51);">(crown, plain or flat sawn) are used extensively for beams and joists. They are stronger when placed correctly edge up with the load in the tangential axis. These type of boards suffer from 'cupping' if not carefully converted, seasoned, and stored properly.</span></span><span style="color: rgb(255, 204, 51);"> </span><span style="color: rgb(255, 204, 51);">Annual growth rings form an angle less than 45</span><b style="color: rgb(255, 204, 51);"> </b> <span style="color: rgb(255, 204, 51);">degrees.</span><p style="color: rgb(255, 204, 51);"><b><span style="color: rgb(128, 0, 0);">Radial boards</span></b><span style="color: rgb(128, 0, 0);"> <span style="color: rgb(255, 204, 51);">(radial, figured or quarter sawn) are typically cut on 'the quarter' and produce a pattern of the medullary rays especially in quartered oak. Such timber is expensive due to the multiple cuts required to convert this board. The radial face of the board is slightly stronger and stiffer than the tangentially face but the cross section and condition of the timber has more effect on strength. Annual growth rings form an angle greater than 45</span></span><b style="color: rgb(255, 204, 51);"> </b> <span style="color: rgb(255, 204, 51);">degrees.</span></p><p style="color: rgb(255, 204, 51);"> <span style="color: rgb(128, 0, 0);"><b>Crown sawn</b><span style="color: rgb(255, 204, 51);"> <span style="color: rgb(153, 255, 153);">is obtained by sawing tangentially to the annual rings. It is also referred to as 'Plain Sawn' or 'through and through'.</span></span></span></p><p style="color: rgb(255, 204, 51);"> <span style="color: rgb(128, 0, 0);"><b>Rift sawn</b> <span style="color: rgb(255, 204, 51);">is the cut which falls between crown and true quarter sawn. It is straight grained and in oak, does not reveal any 'silver ribbon' grain features. Quality floor boards are prepared from </span><i style="color: rgb(255, 204, 51);">rift sawn </i><span style="color: rgb(255, 204, 51);">timber because it wears well and shrinks less. Annual growth rings form an angle</span><span style="color: rgb(255, 204, 51);"> </span></span><span style="color: rgb(255, 204, 51);">between 30 and 60</span><b style="color: rgb(255, 204, 51);"> </b> <span style="color: rgb(255, 204, 51);">degrees.</span></p><p style="color: rgb(255, 204, 51);"> <span style="color: rgb(128, 0, 0);"><b>Quarter sawn</b><span style="color: rgb(255, 204, 51);"> </span><span style="color: rgb(255, 204, 51);">boards are radial cut from the centre of the tree. It produces the distinctive silver ribbon effect (in oak) across the whole board. Annual growth rings form an angle greater than 45 degrees. True quartered boards producing the best features will have the angle on or very much closer to 90 degrees.</span></span></p><p style="color: rgb(255, 204, 51);"> <span style="color: rgb(128, 0, 0);"><b>'Figured'</b><span style="color: rgb(255, 204, 51);"> </span><span style="color: rgb(255, 204, 51);">- </span><span style="color: rgb(255, 204, 51);">is the cut between 'rift' and 'true quartered'. It has varying degrees of 'silver ribbon' (in oak) showing through but not the full figured effect found in true quarter sawn boards.</span></span></p><p style="color: rgb(255, 204, 51);"> Different species have their best features enhanced by choosing the best cut appropriate to their species.</p></td></tr></tbody></table>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-90672857175649137432009-02-15T12:47:00.000-08:002009-02-15T16:34:33.818-08:00Victorian Family Business<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0rgifEgajDh3uub4YYxvTNCqpXjI5MgIp8peflgz3Dn8cI8kv3KPX80JKJHSBGE3hw0o2OM0oQ28bDkntdvGUU82BOPZQt4_2747DVmqPbS6MHjfiJkFuwbNiKlE5paxSHnMV7qkbew/s1600-h/restauracao254.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 301px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx0rgifEgajDh3uub4YYxvTNCqpXjI5MgIp8peflgz3Dn8cI8kv3KPX80JKJHSBGE3hw0o2OM0oQ28bDkntdvGUU82BOPZQt4_2747DVmqPbS6MHjfiJkFuwbNiKlE5paxSHnMV7qkbew/s400/restauracao254.jpg" alt="" id="BLOGGER_PHOTO_ID_5303173105268246194" border="0" /></a>I am sure that there is an impression with the general public, that the age of mass produced furniture was started after the Second Great War and factory produced furniture is the only means of getting cheap furniture into a family home. Clearly it has the effect of simplifying taste and creating marketing trends, for the one main advantage that the factory has is marketing and on a mass scale through television and magazines. It is this market and the new industrial revolution that started around the beginning of 1800, that created huge family run businesses during the 1800's and the firm of Gillows, started in the previous century.<br /><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceType"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceName"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="Street"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="country-region"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="address"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"></o:smarttagtype><o:smarttagtype namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"></o:smarttagtype><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:compatibility> <w:breakwrappedtables/> <w:snaptogridincell/> <w:wraptextwithpunct/> <w:useasianbreakrules/> </w:Compatibility> <w:browserlevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if !mso]><object classid="clsid:38481807-CA0E-42D2-BF39-B33AF135CC4D" id="ieooui"></object> <style> st1\:*{behavior:url(#ieooui) } </style> <![endif]--><style> <!-- /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman";} @page Section1 {size:595.3pt 841.9pt; margin:72.0pt 90.0pt 72.0pt 90.0pt; mso-header-margin:35.4pt; mso-footer-margin:35.4pt; mso-paper-source:0;} div.Section1 {page:Section1;} --> </style><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman";} </style> <![endif]--> <p class="MsoNormal">Robert Gillow (1704-1772) was born in Singleton, <st1:place>Lancashire</st1:place>.<o:p></o:p></p> <p class="MsoNormal">He was the originator of the Lancaster-based firm of Gillows that made high status furniture from the <st1:place>West Indies</st1:place> mahogany imported through that port. He was succeeded in the business by sons Richard and Robert.<o:p></o:p></p> <p class="MsoNormal">Robert Gillow came to <st1:city><st1:place>Lancaster</st1:place></st1:city> to start a career as a cabinet maker. His father was allegedly imprisoned in <st1:place><st1:placename>Lancaster</st1:placename> <st1:placetype>Castle</st1:placetype></st1:place> for his part in the Jacobite rebellion, and Robert Gillow may have remained in <st1:city><st1:place>Lancaster</st1:place></st1:city> in order to be close to him during his detention.<o:p></o:p></p> <p class="MsoNormal">Robert Gillow’s fascination for carpentry began during a stint as a ship’s carpenter. He travelled to the <st1:place>West Indies</st1:place> and brought back one of the first recorded shipments of mahogany into the <st1:country-region><st1:place>UK</st1:place></st1:country-region>. Supplies of mahogany (supplemented with copious amounts of rum) soon began to flow between Gillow and his West Indian suppliers and in return, Gillow exported some of the finest furniture ever crafted. He was later joined by this three sons and the business expanded rapidly. In 1881, the Gillow's moved to <st1:street><st1:address>North Road</st1:address></st1:street> and developed a factory in the St Leonardgate area. They were previously based at Castle Hill.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpY-ElSqtNhdwuKV_SkF04aJ7wM9KQv7nr38UWof7S_TEfL4iIh2gleT1XbsyqRvz99aXuegW0LxdLu90x8FxB4KRkPxhvMQ6kDgrqFfnj-9hQBykVb2qKg4rNnIfaJAXh-zkVg7OzD4/s1600-h/restauracao257.jpg"><img style="cursor: pointer; width: 185px; height: 151px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKpY-ElSqtNhdwuKV_SkF04aJ7wM9KQv7nr38UWof7S_TEfL4iIh2gleT1XbsyqRvz99aXuegW0LxdLu90x8FxB4KRkPxhvMQ6kDgrqFfnj-9hQBykVb2qKg4rNnIfaJAXh-zkVg7OzD4/s320/restauracao257.jpg" alt="" id="BLOGGER_PHOTO_ID_5303169846657184386" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwd3QhOGySATYLOIajznu8YrzMrEFAVZK8gD_ssuSeTQNXfQWwVUsRDtr7iRt2CJwihYStav-wkME6pO2s5XW2w5RgLQx_WWtMBH4cXh-ogh63HuVWwKXFipOKQsfM9QciKVP2oOYz6rY/s1600-h/restauracao253.jpg"><img style="cursor: pointer; width: 234px; height: 153px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwd3QhOGySATYLOIajznu8YrzMrEFAVZK8gD_ssuSeTQNXfQWwVUsRDtr7iRt2CJwihYStav-wkME6pO2s5XW2w5RgLQx_WWtMBH4cXh-ogh63HuVWwKXFipOKQsfM9QciKVP2oOYz6rY/s320/restauracao253.jpg" alt="" id="BLOGGER_PHOTO_ID_5303169836114967938" border="0" /></a><p class="MsoNormal">Towns like Shefield produced great entrepreneurs and these developed over the decades with the family staying in the business, one such family was that of Joseph Appleyard the first, of Halifax (1777 to 1839), whose sons then subsequently joined with another Shefield family firm, that of William Johnstone & Sons, to form Johnstone & Appleyards Ltd, in 1879. The baptismal records show Joseph I as a joiner and then a cabinet maker after 1819. After spending some of his early life at sea, it is claimed as a result of him getting press ganged whilst at Hull Docks, Joseph combined farming with cabinet making in order to sustain his family, of twelve offspring ( my father was one of eleven), six of whom survived.<br /></p>The three sons of the family all then became involved in the business and presumably ( not always the case; my great grand father put my grand father into an apprenticeship with another firm of cabinet makers and he joined his father after he completed the apprenticeship) where taught by their father in cabinetry. The eldest son George I (1814 to 1886) spent his life in conisborough, where the Census Returns describe him as a cabinet maker, farmer, draper, grocer, undertaker and furniture remover ( much like my great grandfather, George Hill ) for sure he was unable to support his wife and five children with cabinet making but still made himself finacialy stable; the Census of 1851 shows him having moved house to one that could accomodate himself, his wife, off spring, a 14 year old female servant and two journeymen. In 1861 he was listed as cabinet maker, employing three men, two of whom lived with him, and a farmer of 20 acres empolying there one man; one of his living in daughters was listed as an upholsteress. The following Census Reorts of 1871 and 1881, show him continuing in the same vain but with joinery work and the farm then having 50 acres and being managed by his son. a widower in 1881, he was then able to pay for two live in servants, one male and one female, and having two men and a boy working for him, as well at this time his son George II, the third generation, had his own business and was classed as a Master cabinet maker, employing four men and three apprentices.William Appleyard, the youngest son of Joseph I was also involved in cabinet making before deciding to emigrate to the Antipodes shortly after 1854, where he had 5 children with his wife, Hannah.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdGgEZAfzw7NsNIbDJJA26QIoubMLTm1Wy0BTqw33fDP0Ac2bIJrkp5_5n1YhqlwG-jaXD91GcnG4l_nEBIv89SEHzf9wXi8ynWXwv0GaHhU5a6EgXPJ1Ta9RxVa2vq8VWEvCYpXvFdT4/s1600-h/restauracao256.jpg"><img style="cursor: pointer; width: 215px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdGgEZAfzw7NsNIbDJJA26QIoubMLTm1Wy0BTqw33fDP0Ac2bIJrkp5_5n1YhqlwG-jaXD91GcnG4l_nEBIv89SEHzf9wXi8ynWXwv0GaHhU5a6EgXPJ1Ta9RxVa2vq8VWEvCYpXvFdT4/s320/restauracao256.jpg" alt="" id="BLOGGER_PHOTO_ID_5303169839399766834" border="0" /></a><p class="MsoNormal"><span style="font-style: italic; font-weight: bold;">Joseph Appleyard & Sons of Rotherham</span></p><p class="MsoNormal">The principle firm of appleyards, was origionally started by Joseph I and his fourth son, Joseph ( who also spent his life in Conisborough and married a local lady, Ann Tyas, in 1847) who had three sons of which all became involved in cabinet making. Upon the death of Joseph II, the trade paid tribute to him for his business skills and aptitude in cabinet making:</p><p class="MsoNormal"><span style="font-style: italic;">....he comenced his business about 45 yeras ago, and soon gained for himself the reputation of the best of cabinet furniture in the district, including the radius of Sheffield and Doncas, and, even at the remote period, those towns contained his best customers. Strangers....have marveled when they have been told that such and such examples of art cabinet workmanship were made in Conisborough.....</span></p><p class="MsoNormal">Initially Joseph II had started specialising in long case clocks.. which were - considered an essential to the newly married couple as the matrimonial bed !!! and no residence with pretentions to repectability was without one....</p><p class="MsoNormal">The finished clock cases were then transported by road to the movement makers and their habit of inscribing only their name on the dial rather led to the anonimity of the case maker ( as one that has made clock cases I can vouch for the consideralable work involved in what appears to be a simple cabinet job).</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjn7VWclY3K1Ud_ZktKBJL_igik6Ao2h1vMkOrjKJUJJOoI6Apo18Es4LeCo4oV2m2Tfq1dOVdQmtsrblY8HLng88xzv8eloLwYqklVFfayLABw5JOZsuU0yIfCaDP78tsaljmc1-cA-A/s1600-h/restauracao255.jpg"><img style="cursor: pointer; width: 194px; height: 165px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjn7VWclY3K1Ud_ZktKBJL_igik6Ao2h1vMkOrjKJUJJOoI6Apo18Es4LeCo4oV2m2Tfq1dOVdQmtsrblY8HLng88xzv8eloLwYqklVFfayLABw5JOZsuU0yIfCaDP78tsaljmc1-cA-A/s320/restauracao255.jpg" alt="" id="BLOGGER_PHOTO_ID_5303169840434519890" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS-__toMnzwOFwV7yO22xJHnqyvnhtqFcneWqT9taF-p9QmftiV8sZvhJF-kTxr4RIWa8LlV6PR_CCZNxTGWxPmVeW2aQbpym7ssEYDPGJBxfw5hG3WZrQna-R-iy3dAQSIZN62nlvlYA/s1600-h/restauracao252.jpg"><img style="cursor: pointer; width: 215px; height: 165px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS-__toMnzwOFwV7yO22xJHnqyvnhtqFcneWqT9taF-p9QmftiV8sZvhJF-kTxr4RIWa8LlV6PR_CCZNxTGWxPmVeW2aQbpym7ssEYDPGJBxfw5hG3WZrQna-R-iy3dAQSIZN62nlvlYA/s320/restauracao252.jpg" alt="" id="BLOGGER_PHOTO_ID_5303169835782429762" border="0" /></a><p class="MsoNormal">The business seems to at thrived and increased during the 1860's and rather follows the middle class housing boom in sheffield at that time. Joseph II employed nine men and two boys and his two eldest sonsWalter, 19 years old, and Joseph III, then 23 years old, both as cabinet makers and Frank Appleyard was taken on as an apprentice. 1881, at the age of sixty one, Joseph II and his wife, had taken occupation of Cabinet Works, conisborough, along with their two bachelor sons, Walter and Frank Appleyard and a domestic servant, Jane ann Hawksworth.</p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgExdr47wRDK58vOyjg_Z8dh6oyQNszrjHaRFoeAe6DPXw-M8apF_VXEl4zC5F19jRxgcQYn8lxUFGPlqCcWFJdwX4bDq9v602YLUkpOGPYgqPOCWETuChqXRUdDRd_IbZ1PHAuBhVdreE/s1600-h/restauracao258.jpg"><img style="cursor: pointer; width: 205px; height: 148px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgExdr47wRDK58vOyjg_Z8dh6oyQNszrjHaRFoeAe6DPXw-M8apF_VXEl4zC5F19jRxgcQYn8lxUFGPlqCcWFJdwX4bDq9v602YLUkpOGPYgqPOCWETuChqXRUdDRd_IbZ1PHAuBhVdreE/s320/restauracao258.jpg" alt="" id="BLOGGER_PHOTO_ID_5303171934132068354" border="0" /></a><br /><span style="font-style: italic; font-weight: bold;">Johnstone & Appleyards of Sheffield</span><br />Around 1879, Joseph II's sons took over the 'old but decaying business' of William Johnstone & Sons of Sheffield, a well established firm of cabinet makers and upholsters, which, at the time of the 1871 Census was employing forty cabinet makers and upholsterers, sia boys and six women.Established in 1832, william Johnstone began as a cabinet maker and added upolstery to the firm in 1841. He had rented several premises in the central shopping area of Fargate, before settling on 82-84 Fargate around 1850. It appears that he had entered into some partnership with a Mr Allat, possibly for finance reasons, as they advertised in 1852; ' extensive alterations and additional showrooms at their premises in Fargate. The firm could undertake a range of cabinet making and upolhostery activities offering a broad spectrum of furnishings for every thing from middle-class drawing rooms to servants quarters-- as well as supplying a range of bedding, wallpapers and panelling--' on the most reasonable terms'..with skilfull workmen..sent promptly to any part of the country'..<br />By 1856, he had returned to being a sole tradesman at the same premises, and advertising himself as a cabinet maker, upholsterer, carpet and general furnisher able to completely furnish a home, manufacture goods to special designs. The idea of a single business to completely furnish a home was clearly an attraction to the house holder not wishing to shop around, and he clearly flourished because of this. In 1861, at the age of 58, wife, two sons, five daughtersand his servant, moved into an affluent suburb of Sheffield, the firm now employing twenty seven men, four women and seven boys, with William jnr, then 20 years old, acting as clerkto the firm, whilst his brother, Samuel, independently managed a wholesale confectioners and worked as a Methodist preacher. By 1871, William jnr. was running a business with fifty two staff.<br />In 1878, the commercial premises at fargate comprised of a house, saleroom and workshop with a rateable value of £180.00. The Sheffield Rate Book for 1879 shows 82-84 fargate with the name of William Johnstone & Sons struck out, and replaced by Johnstone & Appleyards, suggesting that around the 24th May 1879, when the inspection was completed the take over of the firm occured with very little advanced warning. The firm of William Johnstone seems to have aquired another building in the Fargate during the period of 1876 to 1879, numbers 90-92 fargate, mentioned in the 1878 Rate Book, as a carver, gilder and picture framers and belonging to J.B.Meggitt & Sons who also owned 82-82 fargate, the name Meggitt was the middle name of William Johnstone and shows the family connection. Appleyards take over of Johnstones was assisted by the finance of Leonard Simpson friend, a friend of Joseph II, who seems to have remained a sleeping partner.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkxiWSfITfSc3fX90Nz_8rhvAEZZJNfsAt5gGJmiksPNMQp2c8zoCPEnhahOQ6Wyf6cR5yVQc5hboKn67Ox5ppiU4H_wC2FMW1CsUtz2HXhJWwTVwylylryXl0nx6JvlmsgAd-2lB_P8/s1600-h/restauracao268.jpg"><img style="cursor: pointer; width: 126px; height: 184px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkxiWSfITfSc3fX90Nz_8rhvAEZZJNfsAt5gGJmiksPNMQp2c8zoCPEnhahOQ6Wyf6cR5yVQc5hboKn67Ox5ppiU4H_wC2FMW1CsUtz2HXhJWwTVwylylryXl0nx6JvlmsgAd-2lB_P8/s320/restauracao268.jpg" alt="" id="BLOGGER_PHOTO_ID_5303171936735987266" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_0BZkA-DaKil_JcVSQa8HoEJohnhUwPt0U_ECHTAwh9bSDuR9MUQgGnpgergbz_goxQQENs0LEAEAhdcTSBZ_r6cZRF4x3vrSxIVOOcQqw9Ik4UKEpRUNsiiCZB2Yq94F05DpeP4x_4/s1600-h/restauracao267.jpg"><img style="cursor: pointer; width: 123px; height: 178px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit_0BZkA-DaKil_JcVSQa8HoEJohnhUwPt0U_ECHTAwh9bSDuR9MUQgGnpgergbz_goxQQENs0LEAEAhdcTSBZ_r6cZRF4x3vrSxIVOOcQqw9Ik4UKEpRUNsiiCZB2Yq94F05DpeP4x_4/s320/restauracao267.jpg" alt="" id="BLOGGER_PHOTO_ID_5303171934479367602" border="0" /></a><br />Showing a different firm with lesser degree of quality are these two photographs of the firm East brothers of Dundee, they many other firms like them, produced vast quantaties of these simple style furniture that so filled many Victorian houses. I will stop at this point as it is only meant as a posting and not a full scale book.stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-80684270655945476272009-01-17T16:01:00.000-08:002009-01-17T16:16:12.288-08:00Wood from Brazil.Guitar making<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0HmxPLeia8TX40Lvscay-0dXt0vbgUXUVbfwKOxweqqqFcc9ZK67Uz9aLvoCeXruCjSC9Ovta5cD6MiYDbhXrgtpU24ncIyx1WzI2zIhAVNgGDojKP1xd9vEzNHhg3eiEqyeAJ5qRbQ/s1600-h/mp5-n.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 240px; height: 180px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0HmxPLeia8TX40Lvscay-0dXt0vbgUXUVbfwKOxweqqqFcc9ZK67Uz9aLvoCeXruCjSC9Ovta5cD6MiYDbhXrgtpU24ncIyx1WzI2zIhAVNgGDojKP1xd9vEzNHhg3eiEqyeAJ5qRbQ/s400/mp5-n.jpg" alt="" id="BLOGGER_PHOTO_ID_5292419686053291362" border="0" /></a><br /><h3><center><table style="width: 646px; height: 300px;" border="0"><tbody><tr><td>Aqui está uma lista de madeiras relacionadas <a href="http://www.ebluthier.com.br/"> fabricação de violão</a><br /><h3><br /></h3><h3>1- Abeto Alemão - German Spruce - (Picea Abies) - Densidade média 0,45 g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/alemao.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Conhecido no Brasil geralmente como Pinho sueco ou Pinho de riga, esta é a madeira mais tradicional para tampos de instrumentos acústicos. É a madeira geralmente usada para tampos de instrumentos de arco e para o violão clássico. Demora um pouco a abrir o som no violão clássico, porém continua ganhando nuances no colorido do seu timbre durante muitos anos. Encontrada nas regiões alpinas da Europa, na Escandinávia e nos países do Leste europeu.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="abetoadirondack"></a>2- Abeto Adirondack - Red Spruce - ( Picea Rubens) - Densidade média 0,45g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/adirondack.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Ainda pouco difundido no Brasil. Esteve fora do mercado americano durante muitos anos e recentemente tornou a ser extraído comercialmente. A maioria dos instrumentos da Martin Guitars antes da Segunda guerra eram feitos com esta madeira. Muito boa para qualquer tipo de instrumento acústico com cordas de aço ou nylon. Sua grã é mais desigual e apresenta mais diferenças de colorido que as outras variedades. Lembra muito o abeto alemão na sua sonoridade.Encontrado nas cadeias montanhosas do nordeste dos E.U.A.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="abetositka"></a>3- Abeto Sitka - Sitka Spruce - ( Picea Sitchensis) - Densidade média 0,40g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/sitka.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Este é o abeto mais usado para violões de corda de aço devido à sua enorme resistência. Nos violões clássicos tem de ser trabalhado bem fino para que não favoreça muito os agudos. Esta é minha madeira favorita para as estruturas internas do tampo por sua grã fina, regular e sua elasticidade. Tem a coloração mais rosada que os outros abetos. Encontrado no noroeste dos E.U.A, costa oeste do Canadá e Alaska.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="abetoengelmann"></a>4- Abeto Engelmann - Engelmann Spruce - ( Picea Engelmannii) - Densidade média 0,38g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/engelmann.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Este abeto é o menos denso deles, mas quando tem boa densidade e está perfeitamente quarteado é meu abeto favorito. Muito leve, resistente e de cor bem branca.Sua grã é fina e muito regular. Abre o som mais rápido do que as outras variedades. Meus melhores instrumentos foram feitos com esta madeira. Encontrado ao longo das Montanhas Rochosas nos E.U.A e Canadá.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="cedrovermelho"></a>5- Cedro Vermelho- Western Red Cedar - ( Thuja Plicata) - Densidade média 0,35g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/cedar.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Esta conífera não é um abeto, porém é uma excelente madeira para tampos. É a madeira menos densa que uso, é bastante frágil e marca com facilidade, mas produz instrumentos de grande volume e abre o som quase imediatamente. Os timbres não são tão complexos como os dos abetos mais densos, mas produz instrumentos bastante impressionantes. Foi introduzida na luteria de violões clássicos por José Ramirez III nos anos 70 e ganhou popularidade depois disto. Coloração bem mais escura e avermelhada. Encontrada na costa oeste dos E.U.A e Canadá.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table> </center></h3> <p> </p> <h2>Madeiras para fundo, laterais e outras peças</h2> <h3><center><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="jacarandabahia"></a>1- Jacarandá da Bahia - Brazilian Rosewood - ( Dalbergia Nigra) - Densidade média 0,87g/m3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/dabahia.jpg" useimagewidth="" useimageheight="" align="left" border="1" />A rainha das madeiras para luteria, preferida como material para laterais e fundo por praticamente todos os luthiers do mundo. Madeira de beleza incomparável e de grande variedade de colorido e figura. Geralmente avermelhada com listras negras, porém as vezes marrom escura ou quase preta. Muito vibrante e sonora, produz um som profundo de timbre muito rico com excelente sustentação Esta espécie exclusivamente brasileira vem sendo explorada comercialmente desde a época do descobrimento do Brasil e por isso suas reservas estão praticamente extintas. Muito difícil de ser encontrada com qualidade suficiente para luteria, e por isso, extremamente cara para se obter. Sua exploração comercial está banida há vários anos. Encontrada nas regiões de Mata Atlântica do Brasil.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="jacarandaindiano"></a>2- Jacarandá Indiano - Indian Rosewood - ( Dalbergia Latifolia) - Densidade média 0,85g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/indiano.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Madeira de grande beleza e sonoridade excelente. Timbres ricos e ótima sustentação. O colorido é mais arroxeado do que o do Jacarandá da Bahia, mas também exibe listras negras e bela figura. Mais fibrosa, mais estável e um pouco menos densa que a espécie Baiana. Devido a exploração manejada imposta pelo governo indiano, ainda é comercializada mundialmente e é relativamente fácil de se comprar peças de ótima qualidade.</p> <div style="text-align: center;"><br /><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="jacarandamineiro"></a>3- Jacarandá Mineiro- Santos Rosewood - (Machaerium Villosum) - Densidade média 0,85g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/mineiro.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Madeira pouco utilizada tradicionalmente na construção de instrumentos musicais, porém muito apropriada em suas características físicas e acústicas para isto. Conhecida também como Jacarandá Paulista e Jacarandá pardo. Esta madeira tem a densidade, o timbre e a beleza similares aos jacarandás tradicionais, porém por apresentar coloração parda sofre certa discriminação por parte dos tradicionalistas. Produzí vários instrumentos de excelente sonoridade com esta madeira. Esta espécie foi muito bem cotada pelo luthier inglês Paul Fischer como substituta para o Jacarandá da bahia. Adicionalmente tem a vantagem de ser mais barata que os outros Jacarandás. Encontrada principalmente nas matas de Minas Gerais e São Paulo.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="paumarfim"></a>4- Pau Marfim - ( Balfourodendrum Riedelianum) - Densidade média 0,84g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/marfim.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Madeira de grande beleza e ainda relativamente fácil de ser encontrada nas madeireiras do Brasil, devido à sua popularidade como material de acabamento de interiores de residências e móveis. Sua densidade é boa e similar à dos Jacarandás, apresenta diversos tipos de figuras e pode ter a grã reta ou ondulada como a da faia em diferentes peças. Tem boa estabilidade quando bem seca e quarteada, e uma coloração dourada clara e um brilho muito bonitos. Os instrumentos que fiz com esta madeira têm muito bom som, porém com um pouco menos de sustentação que os de Jacarandá. Encontrada no Sul do Brasil, Paraguai, Uruguai e Argentina principalmente.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="pauferro"></a>5- Pau Ferro - ( Machaerium scleroxylon) - Densidade média 0,88g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/pauferro.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Também conhecida como caviúna em algumas partes do Brasil, esta madeira tem um aspecto parecido com o do Jacarandá Indiano, porém com mais marrons e dourados entre as listras pretas. Usada geralmente para fundos e laterais e muito popular no mundo inteiro como madeira para escalas. Produz instrumentos de excelente sonoridade e atualmente é quase tão escassa quanto os Jacarandás. Encontrada em vários estados do Nordeste, Sudeste e Centro-oeste do Brasil.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="macacauba"></a>6- Macacaúba - Granadillo- (Platymiscium spp.) - Densidade média 0,85g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/macacauba.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Fui apresentado a esta madeira pelo grande Luthier brasileiro Francisco Munhoz, um pioneiro na sua utilização, que me cedeu alguns sets para que eu a experimentasse. Conheço duas variedades desta madeira, uma avermelhada e outra mais parda com manchas pretas e vermelhas muito similar aos Jacarandás. De acordo com estudos feitos pelo Ibama e pelo IPT esta madeira tem características físicas quase idênticas as do Jacarandá da Bahia. Sua sonoridade é muito bonita e sua sustentação fantástica. Tem a desvantagem de ser um pouco instável e propensa a rachaduras, mas funciona bem se cortada bem quarteada e bem seca.Considero esta madeira a maior candidata a substituta dos Jacarandás devido a sua disponibilidade comercial no Norte Brasileiro.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="faia"></a>7- Faia - Maple - ( Acer spp.) - Densidade média 0,65g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/faia.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Esta é a madeira mais impressionante que conheço, nada é mais bonito que uma tábua de Faia com a figura ondulada. Esta madeira tem cor clara e muito brilho natural. Sua sonoridade é diferente dos Jacarandás, pois não é tão profunda e não tem tanta sustentação, mas possui grande projeção e muito equilíbrio entre as freqüências agudas, médias e graves. Usada preferencialmente na fabricação de fundos e faixas dos instrumentos da família do violino e das guitarras archtop acústicas. Madeira bem estável e resistente. Originária das florestas de clima temperado da Europa e da América do Norte.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="imbuia"></a>8- Imbuia - Brazilian Walnut - ( Ocotea Porosa) - Densidade média 0,65g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/imbuia.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Outra das minhas madeiras favoritas, apesar de pouco tradicional. As tábuas mais densas e escuras desta espécie são excelentes para a confecção de violões clássicos. Produz graves profundos e bonitos. Visualmente lembra as madeiras da família dos Jacarandás e a Nogueira americana. Bastante estável e fácil de trabalhar, tem ainda a vantagem de possuir poros bem fechados, que facilitam o acabamento. Encontrada no Sul do Brasil.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="mogno"></a>9- Mogno - Honduras Mahogany - ( Swietenia macrophylla) - Densidade média 0,50g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/mogno.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Esta madeira é realmente polivalente, geralmente utilizada para braços, funciona muito bem como fundos e laterais e até como tampos. Reconhecida como uma das espécies mais estáveis de todo planeta devido à sua grã entrelaçada, ainda é fácil de trabalhar e tem um belo aspecto visual, com sua cor avermelhada e sua variedade de figuras. É uma das madeiras tradicionais para fundos e laterais de violões de cordas de aço, e foi utilizada por muitos dos mestres espanhóis em violões clássicos. Infelizmente devido a sua exploração indiscriminada, está seguindo os passos do Jacarandá da Bahia como espécie ameaçada. Ultimamente está muito difícil de ser encontrada nas madeireiras e seu preço sobe anualmente. Originária da região Amazônica no Norte do Brasil.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="cipresteespanhol"></a>10- Cipreste Espanhol - (Cupressus Sempervirens) - Densidade média 0,45g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/cipreste.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Madeira maravilhosa, branca, sem poros, leve e de um aroma delicioso. Esta madeira é tipicamente usada em violões flamencos, porém funciona bem em clássicos também, oferecendo grande sonoridade, beleza e projeção. É uma das madeiras favoritas do grande Luthier Romanillos assim como foi do Mestre Antonio de Torres. Encontrada principalmente na costa do Mediterrâneo na Espanha e Itália.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="cedrorosa"></a>11- Cedro rosa - Spanish Cedar - ( Cedrella spp.) - Densidade média 0,40g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/cedro.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Esta é outra madeira com 1001 utilidades, utilizada em braços, fundos, laterais, tampos e principalmente nas peças estruturais do violão. É minha madeira favorita para a estrutura interna do fundo, para os blocos internos e para os reengrossos devido a sua estabilidade e aroma. Dizem que também evita ataque de insetos que se alimentam de madeira como os cupins. É muito resistente, bonita e sonora, apesar de ser um pouco porosa demais. Produz ótimos violões flamenco. Sua coloração é avermelhada e com a oxidação, ao longo do tempo, escurece para um marrom bem bonito. Apresenta variedades bem mais densas que as outras, que favoreço para confecção de braços. Encontrada em várias regiões do Brasil, principalmente na região Norte.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="marupa"></a>12- Marupá - (Simarouba Amara) - Densidade média 0,40g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/marupa.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Esta madeira tem a grã, a textura e as características físicas muito parecidas com a do Cedro Rosa, diferindo apenas no cheiro e na cor. Seu cheiro é bastante neutro e a cor é um branco amarelado que cria um contraste bonito com madeiras mais claras como o Mogno , o Cedro e a Macacaúba. Uso freqüentemente como substituta do cedro e do mogno nas peças da estrutura interna dos violões. Bem resistente e leve, pode ser usada até como madeira alternativa para tampos. Encontrada na Região Norte do Brasil.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="ebano"></a>13- Ébano Africano - African Ebony - (Diospyrus spp.) - Densidade média 1,00g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/ebano.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Outra madeira que anda beirando a extinção. Atualmente está cada vez mais rara, cara e mais difícil de se encontrar com boa qualidade. Sempre foi a favorita para a confecção das escalas de instrumentos musicais devido à sua grande dureza e resistência ao desgaste mecânico. Tem as desvantagens de ser um pouco instável e ter tendência a rachar. Sua coloração negra e exótica cria um contraste muito bonito com o prateado dos trastes. Tem variedades originárias da África Continental, Madagascar e Índia.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="brauna"></a>14- Braúna - (Melanoxilon Brauna) - Densidade média 1,05g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/brauna.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Considero esta madeira o Ébano brasileiro. De um marrom muito escuro e sem poros, esta madeira substitui muito bem a madeira africana para as escalas. Após ser tratada com óleo, se torna bem negra e praticamente indistinguível. Não é muito estável, assim como o Èbano, porém se bem seca e com um corte bem quarteado funciona admiravelmente. Tem a vantagem de ser mais acessível e mais fácil de encontrar comercialmente, principalmente em revendedores de madeiras originárias de demolições. Encontrada principalmente no Sudeste e Nordeste do Brasil.</p> <div style="text-align: center;"><br /></div> </td> </tr> </tbody></table><br /><br /><table width="95%" border="0"> <tbody><tr> <td> <h3><a name="freijo"></a>15- Freijó - (Cordia Goeldiana) - Densidade média 0,49g/cm3</h3> <p><img src="http://www.ebluthier.com.br/_img/madeiras/freijo.jpg" useimagewidth="" useimageheight="" align="left" border="1" />Esta madeira se encaixa na categoria das madeiras alternativas, esta é uma madeira bastante estável, fácil de trabalhar, leve e resistente. Fiz algumas experiências com o Freijó para tampos de instrumentos archtop que funcionaram muito bem. Sua sonoridade e características físicas são similares as dos abetos mais densos. Esta madeira tem um brilho muito bonito nas peças de corte radial (quarteado). Acredito que funcionaria bem como madeira de tampo para violões, apesar de ainda não ter testado. Certamente produziria um instrumento de um visual bem diferente e atraente. Encontrada na região Norte do Brasil.</p> <div style="text-align: center;"><br /></div></td></tr></tbody></table></center></h3>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-8025041297168675452009-01-01T16:42:00.000-08:002009-01-02T05:56:33.488-08:00Fresh Start<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaTqyNa8t1KHf3mPh1NwQQrJwVPRyhAbdHKDuCLBFPpRSVXCtMIXgNkaGToD1wGdFk8d8lN3DrIgBn2tFztw6AHa83EyfBPrpQQ40-LxO3R38nw5Og7XpEYdNiyV2Nr_j1IMgM3iMNWQE/s1600-h/restauracao077.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 345px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaTqyNa8t1KHf3mPh1NwQQrJwVPRyhAbdHKDuCLBFPpRSVXCtMIXgNkaGToD1wGdFk8d8lN3DrIgBn2tFztw6AHa83EyfBPrpQQ40-LxO3R38nw5Og7XpEYdNiyV2Nr_j1IMgM3iMNWQE/s400/restauracao077.jpg" alt="" id="BLOGGER_PHOTO_ID_5286501534673488258" border="0" /></a>Best results certainly come from good equipment, clean environment and giving time to the work in progress. A strong and large work bench will help the sole workman, as will any machine that is of a reasonable weight and power, keeping all machines sharp and well maintained will save time and give more accurate results, all logical but not always followed by craftsmen, it is logical to make the area of work fit your methods and style, give ample room for fitting and building, areas for gluing and cramping up work, ample daylight and sufficient ventilation as well as filtering the air and sucking away any chippings/dust from machines as you work and not just after the cutting is finished. An organised workshop lets you concentrate on the work and not on finding things, it is always best to only work with what tools you need at the time and always return them to their normal station when you have completed the task at hand, this and keeping the floor clear of dust and shavings, will stop frustration and encourage a neater attitude in construction.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipY5mW86eLsgCNGUgJjW4a49XeJlbeWW8w_NbYb0mcKK37iD2a20ufSnqNM5KqLLus6hsXzv5hH2B4KB1J1zzOdgUiEBBLRNxjFrb3pPDY2BJ5wyasrs0xKFdpjU5e-9SHKAncMKbGpP4/s1600-h/restauracao097.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 302px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipY5mW86eLsgCNGUgJjW4a49XeJlbeWW8w_NbYb0mcKK37iD2a20ufSnqNM5KqLLus6hsXzv5hH2B4KB1J1zzOdgUiEBBLRNxjFrb3pPDY2BJ5wyasrs0xKFdpjU5e-9SHKAncMKbGpP4/s400/restauracao097.jpg" alt="" id="BLOGGER_PHOTO_ID_5286497458373851042" border="0" /></a>After my move to Northumberland I decided that I wanted to have far more control over the timber I was using and to have more contact with the wood, seeing a tree in its standing location, arranging for the cutting and drying of the wood, often with the job and its design, already in my mind. There where many advantages to living in an area that is largely farmed, for the land owners have trees and there can be an element of trade between the craftsman and the land owner, also many of the farmers liked to have hand crafted furniture in their house, being far more accustomed to dealing direct with the furniture maker and knowing the time that it takes to dry wood to produce good timber meant that I could be giving up to two years as a delivery date, one year for the drying and then a time scale that would depend on the the current work load.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1IqsfV5Xr2ShGvrYZa2uqh-yzjzaAYnnyTXKn52h_yDNZo4721hyEYf-3khVxGvbw4pyZvgXK0c9Oabh4pGyZvEbQfUeiaxNiE2k0lmqy5ZutJ3DVpCldJndyE9oPsegFRZe9fWPquIM/s1600-h/restauracao074.jpg"><img style="cursor: pointer; width: 121px; height: 154px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1IqsfV5Xr2ShGvrYZa2uqh-yzjzaAYnnyTXKn52h_yDNZo4721hyEYf-3khVxGvbw4pyZvgXK0c9Oabh4pGyZvEbQfUeiaxNiE2k0lmqy5ZutJ3DVpCldJndyE9oPsegFRZe9fWPquIM/s320/restauracao074.jpg" alt="" id="BLOGGER_PHOTO_ID_5286688074070892818" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCtc10a-RXO-pbsh5eRGL3yXtvo7NmNEEdK0_v-f9g-mu1QbzPnMxt9-g122hnp_6FJAAK7hqJkIylomit1-XFtNBF-zJhr_NsZRZeO8izhM2Dx4v7LQxAwwC0Mfu7b8PMRIwZDduUJs/s1600-h/restauracao079.jpg"><img style="cursor: pointer; width: 116px; height: 152px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidCtc10a-RXO-pbsh5eRGL3yXtvo7NmNEEdK0_v-f9g-mu1QbzPnMxt9-g122hnp_6FJAAK7hqJkIylomit1-XFtNBF-zJhr_NsZRZeO8izhM2Dx4v7LQxAwwC0Mfu7b8PMRIwZDduUJs/s320/restauracao079.jpg" alt="" id="BLOGGER_PHOTO_ID_5286688084404732034" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlxkCzR3anBzLhMc43amGLHunjiEYGBxzePOrW_3dirTHdpywljgenEm_Z0-aqx_dRInxmw84uuxiY8w5uzF1i9IdAaaoSyPpEEMmBCdPaFaZhnrL9glu_UDCA3klLMWiNq0vVMdUjCA/s1600-h/restauracao075.jpg"><img style="cursor: pointer; width: 177px; height: 151px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMlxkCzR3anBzLhMc43amGLHunjiEYGBxzePOrW_3dirTHdpywljgenEm_Z0-aqx_dRInxmw84uuxiY8w5uzF1i9IdAaaoSyPpEEMmBCdPaFaZhnrL9glu_UDCA3klLMWiNq0vVMdUjCA/s320/restauracao075.jpg" alt="" id="BLOGGER_PHOTO_ID_5286688075101582258" border="0" /></a><br />A local craftsman had set up his own kiln, using an old refrigerated lorry trailer and putting strips of polythene as dividers(in order to keep the movement of air more even and guarantee even dehumidify), another person(who produced charcoal for bar-b-q, had set up a 36" circular saw with separate tungsten teeth, driven from a tractor engine and also with an automatic feed on tracks, thus allowing us to put a three metre length of tree trunk on a carriage and cut planks in what manner we wished, I had a long wheel based land-rover with a trailer and could manage the transport, this allowed for speedy cutting and subsequent drying, the tree not having to lie in a field for more than an hour or so.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfvbdW8CT48nT_UTx7c4sWZhbQ4nsPUpkmL3O7_hYWkgx8NBLswoGRJA_dP8TyQBjwvuiAsDTxA-dhsJul_ES2rHctro66k3tyFwTbr9BNYkzz4x_viXHJg2Yxzpwm-qQ9hLU4a7XG_t0/s1600-h/restauracao076.jpg"><img style="cursor: pointer; width: 218px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfvbdW8CT48nT_UTx7c4sWZhbQ4nsPUpkmL3O7_hYWkgx8NBLswoGRJA_dP8TyQBjwvuiAsDTxA-dhsJul_ES2rHctro66k3tyFwTbr9BNYkzz4x_viXHJg2Yxzpwm-qQ9hLU4a7XG_t0/s320/restauracao076.jpg" alt="" id="BLOGGER_PHOTO_ID_5286690084889754066" border="0" /></a><br />I had intended to extend my own workshop(at the rear) to form a kiln, using the sun to power the fans,dehumidifier and heat water, I had a petrol driven 20" saw which sat out in the back garden, the whole of my plans came to a halt with the decision, for my ex wife and I, to divorce. I had up to this point aimed to construct everything in the house with local timber, including door handles, having got fairly close to this goal I sadly had to accept the inevitable and sell, starting again with a workshop in Edinburgh, which in actual fact proved difficult, my work virtually changed within six months for me to do more restoring of furniture and getting a lot of work from local Scottish architects, several who became friends and one, Campbel, l as become very much another brother to me.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6e1nB9M7kI-0V3AEvKBb_xUxSFuq-WZ3ViS6DejdxZTPv7iUuERQQII0X2d94OZPFcznMVKcpNSNAbi4IQP_FBelFNQikRwJFiQcsBmfTWuY1hg1YSXn9Eq3gawNOyCbhWO3-MURysk/s1600-h/restauracao078.jpg"><img style="cursor: pointer; width: 320px; height: 218px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn6e1nB9M7kI-0V3AEvKBb_xUxSFuq-WZ3ViS6DejdxZTPv7iUuERQQII0X2d94OZPFcznMVKcpNSNAbi4IQP_FBelFNQikRwJFiQcsBmfTWuY1hg1YSXn9Eq3gawNOyCbhWO3-MURysk/s320/restauracao078.jpg" alt="" id="BLOGGER_PHOTO_ID_5286690090887560002" border="0" /></a><br />This was an ideal situation that sadly was to disappear when I moved to Edinburgh, city life does not allow time for discussion let alone for the drying of timber, city life also gives rise to the shop bought item, generally cheaper but not always suitable for the needs of the client.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8I_vupz04glg_vsKuZnyE76gUXBrZQQqPKT51KiBIMyFVxDhe8T_E_Q7d0kamppzgYjztS2wPEX9rMzWyLRqC3H9oFgV-uKsPlOjpWBIkTQuHxW37zoDxvfYtkSvRqQgNlhA1QbU6_1k/s1600-h/barn+at+shotleyfield001.jpg"><img style="cursor: pointer; width: 134px; height: 169px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8I_vupz04glg_vsKuZnyE76gUXBrZQQqPKT51KiBIMyFVxDhe8T_E_Q7d0kamppzgYjztS2wPEX9rMzWyLRqC3H9oFgV-uKsPlOjpWBIkTQuHxW37zoDxvfYtkSvRqQgNlhA1QbU6_1k/s320/barn+at+shotleyfield001.jpg" alt="" id="BLOGGER_PHOTO_ID_5286679523276071186" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdecIURzDb8CnIy8yzG81XR4eh-_x1JYm53-FM48DsGbCsc8ju74T8lfM5h_2u2ACsVUt1RXZkejOBBhyphenhyphenNWZAvEJ-MdWjueWxybAWdBjLH4ALTT93GrXnhDDMD79muNyNr8ZRmIwI-I0/s1600-h/mill+barns84to98025.jpg"><img style="cursor: pointer; width: 251px; height: 170px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggdecIURzDb8CnIy8yzG81XR4eh-_x1JYm53-FM48DsGbCsc8ju74T8lfM5h_2u2ACsVUt1RXZkejOBBhyphenhyphenNWZAvEJ-MdWjueWxybAWdBjLH4ALTT93GrXnhDDMD79muNyNr8ZRmIwI-I0/s320/mill+barns84to98025.jpg" alt="" id="BLOGGER_PHOTO_ID_5286679537495879106" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Qkj4nLj8-c3WXMFqUKbEh9U5TrxYJEC0y04gf_UJ3AYpeAHPSvazzSVosj5sh62QxheWGjJ3-K9Cosfez69rKgTM-NXg4CXza7iON9Qn4rYTplHXB1q0iuNmNS1x4d-3enwd_oPE-Dk/s1600-h/mill+barns84to98024.jpg"><img style="cursor: pointer; width: 250px; height: 172px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7Qkj4nLj8-c3WXMFqUKbEh9U5TrxYJEC0y04gf_UJ3AYpeAHPSvazzSVosj5sh62QxheWGjJ3-K9Cosfez69rKgTM-NXg4CXza7iON9Qn4rYTplHXB1q0iuNmNS1x4d-3enwd_oPE-Dk/s320/mill+barns84to98024.jpg" alt="" id="BLOGGER_PHOTO_ID_5286679529629821922" border="0" /></a><br />Here you can see the barn that I bought in 1984 and the work that I did over six years whilst still continuing my work as a furniture maker and restorer. I would have liked to have redone all the furniture and changed the windows for Oak, I had made them from pine as an economy and also to get the house finished for me to work indoors, however the lack of time was always a problem, the work was always heavy, stone never comes very light, also the quantity of timber for the floors and doors was a strong factor in my budget.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxpeSVNabr3IBksczuFdMVExLypS4ZSxx7myUZKBnjy_jHMu0FCpBaLpqrEn89ke84LySW3JCge5Expw0kDnUWym2pq1cV_m5FYNaxx7R2WVsRmpMJpkTzOF-VSYcxAgrgLbZ1-Xu22wY/s1600-h/restauracao098.jpg"><img style="cursor: pointer; width: 154px; height: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxpeSVNabr3IBksczuFdMVExLypS4ZSxx7myUZKBnjy_jHMu0FCpBaLpqrEn89ke84LySW3JCge5Expw0kDnUWym2pq1cV_m5FYNaxx7R2WVsRmpMJpkTzOF-VSYcxAgrgLbZ1-Xu22wY/s200/restauracao098.jpg" alt="" id="BLOGGER_PHOTO_ID_5286692778771487426" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPV1L_PKyeSCyP1QUaTpntRSgaIXsxUdmSBy0DLY4hu6U2IlbnuR7LVIbFVa0LwbNq3u7vTpiO07JhIalFwVtBwtORUo_REWYGXKx57PGJFWLxYDwabBS-WXyMyauJBq4hWl34sNC3ewY/s1600-h/restauracao102.jpg"><img style="cursor: pointer; width: 137px; height: 179px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPV1L_PKyeSCyP1QUaTpntRSgaIXsxUdmSBy0DLY4hu6U2IlbnuR7LVIbFVa0LwbNq3u7vTpiO07JhIalFwVtBwtORUo_REWYGXKx57PGJFWLxYDwabBS-WXyMyauJBq4hWl34sNC3ewY/s200/restauracao102.jpg" alt="" id="BLOGGER_PHOTO_ID_5286692791212391090" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipzV6GOTKfksIPCzhcbZNG0Iz37B_qeJ8sJq3Ih7iwtGHYhxQpfwzusDYjESlLM8mviuf-jKDArhcpHxkqc4An83FReHpRIzY0qWeNF5x8O1PGER05yDOPG-subXVbBpayZt7i6zaWX-k/s1600-h/restauracao105.jpg"><img style="cursor: pointer; width: 141px; height: 184px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipzV6GOTKfksIPCzhcbZNG0Iz37B_qeJ8sJq3Ih7iwtGHYhxQpfwzusDYjESlLM8mviuf-jKDArhcpHxkqc4An83FReHpRIzY0qWeNF5x8O1PGER05yDOPG-subXVbBpayZt7i6zaWX-k/s200/restauracao105.jpg" alt="" id="BLOGGER_PHOTO_ID_5286692790585683154" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRBI6eCQIEzkbqEiJEibiH0n1oMa1zOOOvmXPTvS4LJja4qR-UyCoV8ZrbiUImQhQGO_oXEAWnXv1jysRF8G_urDzXUhVKuWrUxJklqWSzRaQ3K65VpvTGalQhYGYFLr_6JUNDpfCYPio/s1600-h/restauracao101.jpg"><img style="cursor: pointer; width: 98px; height: 177px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRBI6eCQIEzkbqEiJEibiH0n1oMa1zOOOvmXPTvS4LJja4qR-UyCoV8ZrbiUImQhQGO_oXEAWnXv1jysRF8G_urDzXUhVKuWrUxJklqWSzRaQ3K65VpvTGalQhYGYFLr_6JUNDpfCYPio/s200/restauracao101.jpg" alt="" id="BLOGGER_PHOTO_ID_5286692781382443346" border="0" /></a><br />The workshop was almost my last effort and in reality never completed to form a good enviroment, I had to work with small machines and usually all second hand or created from other machines.<br />I am now, with Michael Bennett-Levy's help, able to think of getting a workshop that as the space, tranquility of location, with opportunity to get all my machines, along with replacements for the larger machines that I have lost(through moves) over the years, in particular I am keen to buy a large bandsawand large planner thicknesser, a large sander and spindle moulder and to create a single large bowl lathe. This is the now very much extended garage at St Puy!!!!!<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-eYOzulA1by6U28oz_KG91bNsIo2OmesQI8plP6HuIsXeiQqmxrF9Ah6Jzd7s753Xr4SuVY3A3vyxJOT8eV2_W6ZC8ns0BZ4aic6F6-RmtdiRG54s2idghNca_D3DOwTEQMn3YO2APrI/s1600-h/bergerie70607pr(2).jpg"><img style="cursor: pointer; width: 249px; height: 157px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-eYOzulA1by6U28oz_KG91bNsIo2OmesQI8plP6HuIsXeiQqmxrF9Ah6Jzd7s753Xr4SuVY3A3vyxJOT8eV2_W6ZC8ns0BZ4aic6F6-RmtdiRG54s2idghNca_D3DOwTEQMn3YO2APrI/s320/bergerie70607pr(2).jpg" alt="" id="BLOGGER_PHOTO_ID_5286685008363240578" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI19nqa6hlTkrKDMhhc3jkC7cgay9ABSYw_SC-iYLlf3BPUDxbnKGx_JZEmqS3FFuFfsnBvHhdUkUCQnCqqTpxYSJfMd4R7Ie_LBRnw8NlipHPutzZcRdx1tuK-NT2O_Hn1vPoG2JAxwI/s1600-h/DSC01209.JPG"><img style="cursor: pointer; width: 208px; height: 157px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI19nqa6hlTkrKDMhhc3jkC7cgay9ABSYw_SC-iYLlf3BPUDxbnKGx_JZEmqS3FFuFfsnBvHhdUkUCQnCqqTpxYSJfMd4R7Ie_LBRnw8NlipHPutzZcRdx1tuK-NT2O_Hn1vPoG2JAxwI/s320/DSC01209.JPG" alt="" id="BLOGGER_PHOTO_ID_5286685019504035122" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpSxGt5alPt8fwnEk0JN-kdYgyF49vlRwyI0UGbmkpwJrDLbTGK1Ca6gRHWu8PQPITzQkgvLDhYC3bwg7iFs8ZRHKIu5LExSBh6mqa0M-mfhpl2P7dDohGkyy7mrF5glsAVWI7ukkFaE/s1600-h/DSC01210.JPG"><img style="cursor: pointer; width: 209px; height: 157px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpSxGt5alPt8fwnEk0JN-kdYgyF49vlRwyI0UGbmkpwJrDLbTGK1Ca6gRHWu8PQPITzQkgvLDhYC3bwg7iFs8ZRHKIu5LExSBh6mqa0M-mfhpl2P7dDohGkyy7mrF5glsAVWI7ukkFaE/s320/DSC01210.JPG" alt="" id="BLOGGER_PHOTO_ID_5286685026080343490" border="0" /></a>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-51794452185221700762008-12-04T04:28:00.001-08:002008-12-04T05:24:55.083-08:00CaSo4<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0dm4sj1sP9T5vxJUv-2pG4VwyEwzrtZn11hpg46RcovI3-EetR_qDFxzUiReLqCHGyMhz1Oy5cjVwkIKu5ohHQ0Dio3mg6PwQyeTgtwTj44JQ_y0kY1BAxsgA0V0g_WWQwALXvsCKSbE/s1600-h/ben+nicholson.jpg"><img id="BLOGGER_PHOTO_ID_5275921086113761554" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 320px; CURSOR: hand; HEIGHT: 316px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0dm4sj1sP9T5vxJUv-2pG4VwyEwzrtZn11hpg46RcovI3-EetR_qDFxzUiReLqCHGyMhz1Oy5cjVwkIKu5ohHQ0Dio3mg6PwQyeTgtwTj44JQ_y0kY1BAxsgA0V0g_WWQwALXvsCKSbE/s320/ben+nicholson.jpg" border="0" /></a>Plaster results from the calcination of gypsum (CaSO4, 2 H2O), which partially dehydrates to produce a hemi-hydrate (CaSO4 , ½ H2O). The oldest traces of plaster renders are 9,000 years old, and were found in Anatolia and Syria. We also know that 5,000 years ago, the Egyptians burnt gypsum in open-air fires, then crushed it into powder, and finally mixed this powder with water to make jointing material for the blocks of their monuments, such as the magnificent Cheops Pyramid for example. The ancient Egyptians used models of plaster taken directly from the human body. The Greeks also used gypsum, in particular as window for their temples when it was of a transparent quality ("selenite gypsum"). The writer Theophraste (372-287 BC) described quite precisely the fabrication of plaster as it was done at that time in Syria and Phenicia. The Romans cast in plaster many thousands of copies of Greek statues. Plaster of Paris. Throughout the centuries, expertise was gained in many parts of the World with gypsum calcinations. In the 1700's, Paris was already the "capital of plaster" ("Plaster of Paris") since all the walls of wooden houses were covered with plaster, as a protection against fire. The King of France had enforced this rule after the big London fire literally destroyed this city in 1666. Large gypsum deposits near Paris have long been mined to manufacture… "Plaster of Paris". From Gypsum to Plaster of Paris. Gypsum is a sedimentary rock, which settled through the evaporation of sea water trapped in lagoons. According to the nature of its impurities, gypsum can show various colors, ranging from white to brown, yellow, gray and pink. Gypsum selection and preparation (cleaning, classifying) are key factors to produce the best plasters. The chemical reaction is : (CaSO4, 2 H2O) + heat = (CaSO4, ½ H2O) + 1.5 H2O Several processes are available to calcinate gypsum into Plaster of Paris. We can distinguish two categories : 1st: Calcination under atmospheric pressure to produce Beta plaster ; 2nd: Calcination under elevated pressure to produce Alpha plaster. Controlling some critical calcination parameters is essential to master the growth of the plaster crystals. And the performance of the plaster depends a lot on its crystals' sizes and shapes. Plaster of Paris is a calcium sulfate hemi-hydrate : (CaSO4, ½ H2O) derived from gypsum, a calcium sulfate dihydrate (CaSO4 , 2 H2O), by firing this mineral at relatively low temperature and then reducing it to powder. Calcination of the gypsum at higher temperatures produces different types of anhydrites (CaSO4), as shown on the table below HISTORICAL USE OF GYPSUM PLASTER Gypsum plaster is not a modern invention like Portland Cement, as some people might suggest. We know that it was used by the ancient Egyptians to plaster the pyramid at Cheops. In Britain, research being carried out by Claire Gapper, a PhD student at the Courtauld Institute, indicates that considerable quantities of Plaster of Paris were being imported from France during Henry VIII's reign for work on royal properties. Our knowledge of the use of gypsum plaster prior to the 19th Century is limited. However Claire Gapper's research shows that it was being used in the 16th Century with lime in floors, walls and ceilings, but decorative plasterwork, which was previously assumed to contain gypsum, is proving to contain only minute traces; the sort of levels at which one would find it as an impurity in limestone. This contrasts with the use of gypsum over the last 200 years, when it was predominantly used for casting decorative elements and for gauging lime when running moldings, whilst most flat work has been executed using plain lime plasters. Although further investigation is required, it would appear that gypsum was being used in these early gypsum/lime plasters very differently from the way we expected and there is no evidence, at the moment, that it was also used for moldings or decorative work.<br /><br />American Conference of Governmental Industrial Hygienists (ACGIH) Threshold Limit Value (TLV): 10 mg/m3 TWA; The value is for particulate matter containing no asbestos and <1% class="blueBoldEleven" name="health">Health Factors Potential symptoms: Irritation of eyes, skin, mucous membranes, respiratory system; cough, nosebleed; INGES. ACUTE: GI blockage if material hardens Health Effects: Nuisance particulate (HE19) Affected organs: Eyes, skin, respiratory system Notes: Although a study by NIOSH of causes of death among plasterers found a significant increase (24%) above the expected incidence for lung cancer, this increase was attributed to the asbestos component (5-12% by weight), rather than the plaster of Paris component, of most spackling compounds that were in use up to the late 1960s. Date Last Revised: 10/04/2005<br /><br /><br />Remember that plaster of paris is in some way re usable if you put it into an oven or kiln and expel the water content at high temperature, it is not so hard subsequent times but can be used in certain cases.stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-38560026032737410692008-09-05T12:19:00.000-07:002008-09-05T12:52:29.983-07:00How to do it<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2jYwS_t_3kzLt8LHtwOF_sK3SnjEx53z5X8K1PXwMz0lZAwZlpuuzUjLPSM4_bAJxWa-GoXeiWTxJBb8EPyx9MRLUnfTby2IrbOP5qJpudyRdIQby6BJ9ihEaIdd1W1Nr0fBLMMQYIN0/s1600-h/DSC01064.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2jYwS_t_3kzLt8LHtwOF_sK3SnjEx53z5X8K1PXwMz0lZAwZlpuuzUjLPSM4_bAJxWa-GoXeiWTxJBb8EPyx9MRLUnfTby2IrbOP5qJpudyRdIQby6BJ9ihEaIdd1W1Nr0fBLMMQYIN0/s320/DSC01064.JPG" alt="" id="BLOGGER_PHOTO_ID_5242625679923415074" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrsGPQ9YKdeiZTB0FB0O4muiXtryxU3FtmFuoB_2nwSYRfJQz5C_JnWgqrokPbQZ6KTmuq5IdSbdy2UHalU57bkdN4vHFKhWSZ6iIROYLQZvj78jbEryrVSflNSwgW3R4-5SNekijRtg/s1600-h/DSC01068.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlrsGPQ9YKdeiZTB0FB0O4muiXtryxU3FtmFuoB_2nwSYRfJQz5C_JnWgqrokPbQZ6KTmuq5IdSbdy2UHalU57bkdN4vHFKhWSZ6iIROYLQZvj78jbEryrVSflNSwgW3R4-5SNekijRtg/s320/DSC01068.JPG" alt="" id="BLOGGER_PHOTO_ID_5242625693574258130" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEira0q3Lsng05_BLfI5mJCXCxxqTbAPxqneWmvUjtcJBJz19SRADs-7tZk4hO7VpimhVrTXnnoj6TsFA_vLLs-YuJSF7U8sDJ8cucoUBWoQ9Xn22gnCX6lohkFl5miYYWppQT70PBakEQk/s1600-h/DSC01067.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEira0q3Lsng05_BLfI5mJCXCxxqTbAPxqneWmvUjtcJBJz19SRADs-7tZk4hO7VpimhVrTXnnoj6TsFA_vLLs-YuJSF7U8sDJ8cucoUBWoQ9Xn22gnCX6lohkFl5miYYWppQT70PBakEQk/s320/DSC01067.JPG" alt="" id="BLOGGER_PHOTO_ID_5242625682382695922" border="0" /></a><br /><br />This is my current job and it was started just before my eye accident, detached retina, I had done very little before the accident so I am pleased that at least I can work, although I am having problems with seeing some detail but it is a far cry from six weeks ago, I was given a prognosis that I may lose the sight, or certainly a part of the sight.<br />I think there are so many books available on the basics of cabinet making and for the furniture restorer, that I will keep most of my blog for notes that can help or go a bit out of the general pattern of tutorials. Still here is a mix of books and some fine tools, just a small introduction.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUZ4uVu0UaVKbts1AkD_qWqwhyphenhyphenFeXnDw85QF1OwGmvr8bw-XFm5gpkYLS7CVK0QyQoO6x6K2F5P4VIe1OOWNyXcQ-ZgtXLSWYHoPy8nKQJyz1_AYMPMbjn6JGNwVqBSgnkSkaFdPc_yg/s1600-h/WcgLCH6ZPwB0NpfjR7xYeAORX4tYhQhTc.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwUZ4uVu0UaVKbts1AkD_qWqwhyphenhyphenFeXnDw85QF1OwGmvr8bw-XFm5gpkYLS7CVK0QyQoO6x6K2F5P4VIe1OOWNyXcQ-ZgtXLSWYHoPy8nKQJyz1_AYMPMbjn6JGNwVqBSgnkSkaFdPc_yg/s200/WcgLCH6ZPwB0NpfjR7xYeAORX4tYhQhTc.jpg" alt="" id="BLOGGER_PHOTO_ID_5242622974059693490" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" 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href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho1bHWstB4GZT_Gf3nQbdjhOw_H9l0M2c09m_4uvNEdqhWxSf5PqZzvWPBac7VFzhsjagoDq-ECspxhYSLU4ersS-dit3Fg9s8_BfM4Pu99417Xx8CA3ftd9kgUQ1Jck0FLLd4fOdP2rc/s1600-h/ww20.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho1bHWstB4GZT_Gf3nQbdjhOw_H9l0M2c09m_4uvNEdqhWxSf5PqZzvWPBac7VFzhsjagoDq-ECspxhYSLU4ersS-dit3Fg9s8_BfM4Pu99417Xx8CA3ftd9kgUQ1Jck0FLLd4fOdP2rc/s200/ww20.JPG" alt="" id="BLOGGER_PHOTO_ID_5242624890294264354" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCHCyO10v3iO8z2vu33uKk0Ro7Md0zfTm08-YDsCw3RPbOJ4H8RZT3neTnpRcIesER5NJRU_CJEI5higtvUJzrxdVbzM_DJlbDAxyrHTehP8QgI1i_PO6BS_HzNV4qgczp80U0UP0waho/s1600-h/ww321.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCHCyO10v3iO8z2vu33uKk0Ro7Md0zfTm08-YDsCw3RPbOJ4H8RZT3neTnpRcIesER5NJRU_CJEI5higtvUJzrxdVbzM_DJlbDAxyrHTehP8QgI1i_PO6BS_HzNV4qgczp80U0UP0waho/s200/ww321.JPG" alt="" id="BLOGGER_PHOTO_ID_5242624895346698450" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoIxSVMFPJ9GX81JqGw0ZdahQVZazyP2IK0EO39BR42zp_LFXzMzUVYIkIBUkS7atqc-vQbDhW6UlvMWsHaZmFyfjLfhIqpX-1IqLmSQtzCEb3G3tTTHhuEBK5UjQSkMa0qyxOVB2EzJ8/s1600-h/ww87en.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoIxSVMFPJ9GX81JqGw0ZdahQVZazyP2IK0EO39BR42zp_LFXzMzUVYIkIBUkS7atqc-vQbDhW6UlvMWsHaZmFyfjLfhIqpX-1IqLmSQtzCEb3G3tTTHhuEBK5UjQSkMa0qyxOVB2EzJ8/s200/ww87en.JPG" alt="" id="BLOGGER_PHOTO_ID_5242624893704997442" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAadqa1DIjDv55xsyQhX_Jans_xKCdC0dL7pQDR0QOHJxGggzutZW8lFr2tg9ac-h9iJC2d8PwMLOsvwaG9wOeBF1u0eULPHLrpUx_12ykMwOns7kFFZWQB83fhElSSjGqZJScnz10Tvo/s1600-h/ww221.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAadqa1DIjDv55xsyQhX_Jans_xKCdC0dL7pQDR0QOHJxGggzutZW8lFr2tg9ac-h9iJC2d8PwMLOsvwaG9wOeBF1u0eULPHLrpUx_12ykMwOns7kFFZWQB83fhElSSjGqZJScnz10Tvo/s200/ww221.JPG" alt="" id="BLOGGER_PHOTO_ID_5242624893605099906" border="0" /></a>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-34168127190823805242008-09-01T10:50:00.000-07:002008-09-01T15:45:36.661-07:00seeing colours<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNG_plvF1VXjEagXdiD0GJpRFOyR8BwKnnZelSrKvksGVDMx5R-J8jN2A_7Z-8ikPX7_SJcnawrKZn3Em5l_3S6odHB1H1745A3dZGF8SS_iEVTD0a0x6qhyphenhyphenBkA1HJkcrSf5R7bg9lnY/s1600-h/klimt.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimNG_plvF1VXjEagXdiD0GJpRFOyR8BwKnnZelSrKvksGVDMx5R-J8jN2A_7Z-8ikPX7_SJcnawrKZn3Em5l_3S6odHB1H1745A3dZGF8SS_iEVTD0a0x6qhyphenhyphenBkA1HJkcrSf5R7bg9lnY/s400/klimt.jpg" alt="" id="BLOGGER_PHOTO_ID_5241150874167662146" border="0" /></a>There are many different attitudes and <a href="http://www.lefranc-bourgeois.com/publication_va/">techniques</a> to the restoring of <a href="http://www.btinternet.com/%7Eleoarte/colourwheel.html">paintings</a>, many opinions as to how to restore without adding to a painting or giving an impression of union that may falsify the state of the painting on arrival, before restoration, the other term is of course, conservation, this rather indicates a less intrusive state of repair. The problems of mixing <a href="http://www.colour.org.uk/Cheung%202007.pdf">colours</a> and assessing what is missing in areas can lead to arguments as to the restorers taking too many liberties with a painting, possibly worse when the skilled restorer can leave very little evidence of his/her work. One opinion to overcome this is the use of colour harmonising, the human eye as a natural tendency to fill in gaps and compensate for missing colours, in an extreme example it will provide colours if it is deprived.<br />Here is an abbreviated version from a book published around 1836, in Edinburgh for sale in the same city, it is to provide guidance to interior decorators and painters. The <a href="http://www.colourlovers.com/blog/2007/12/11/unusual-color-wheels-found-in-life-and-art/">colour whee</a>l is the starting point but it is later that we get an idea of how the modern restorer can use the eye of the viewer to paint the missing parts.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh36qxczYweqa470o0r9Ndm-bJ8UTlp27e1nDK1SMSPHPClEEWGbxFUanDhbzpFrSJr2t2esEDQ88HaYwfJ10KX-L1KVA_LIXl7yVXSg8_fhq2sxdzEnXKF6WjkQkCBRnUJQykVjJRajJM/s1600-h/colour+wheel.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh36qxczYweqa470o0r9Ndm-bJ8UTlp27e1nDK1SMSPHPClEEWGbxFUanDhbzpFrSJr2t2esEDQ88HaYwfJ10KX-L1KVA_LIXl7yVXSg8_fhq2sxdzEnXKF6WjkQkCBRnUJQykVjJRajJM/s320/colour+wheel.JPG" alt="" id="BLOGGER_PHOTO_ID_5241128108045710802" border="0" /></a><a href="http://www.colour-journal.org/2007/1/1/07101article.htm">Colour harmony</a>-<br />there are three distinct primary colours, yellow, red and blue as there are three distinct <a href="http://home.vicnet.net.au/%7Ecolmusic/opticks1.htm">notes in music</a>, C, E and G, and seven distinct colours as there are seven notes for a complete scale.<br />If the colours are given numbers to show their values we will see that yellow = 3. Red = 5. Blue = 8 and when these colours are mixed together in these proportions, on an opaque body, the result is white, or white light, for the eye needs to compensate for each colour viewed with its opposite colour in the spectrum, giving rise to the colours being dismissed, appearing white. It is largely a reflective phenomenon that takes its results within the brain and not at the point of the colours mixing, similar to the way the brain can be made to cancel out sound with hearing other sound.<br />Secondary colours are then the mixture of the primary colours and therefore have joint values -<br />Orange has the value of 8. it is red(5) plus yellow(3).<br />Purple has the value of 13. it is red(5) plus blue(8).<br />Green has the value of 11. it is yellow(3) plus blue(8)<br />These colours are called accidental or contrasting colours and if they are then mixed with a primary they get a value of 16.<br />Orange(8) with blue(8) = 16. Purple(13) with yellow(3) = 16. Green(11) with red(5) = 16.<br />Tertiaries or thirds are a further mixing of the colours and are called neutral hues, if given a value of 32 they are termed neutral, having a neutralizing value, the most neutral being grey, black plus white.<br />Olive(24) comes from mixing purple(13) with green(11).<br />Citron(19) comes from mixing green(11) with orange(8).<br />Russet(19 comes from mixing orange(8) with purple(11).<br />The tertiaries give rise to other colours, such as brown, marron, slate - gradually arriving at their neutrality with the forming of black. One primary a harmony with two others, yellow will sit withorange on one side and green on the other, blue with the green and purple, the red with purple and orange.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitBGMJHo40mw3SOfM97UVUepOwKFUgo0_z3MZfqHy0tpmthMzJ1_idBlbh8pPGb2oMq8ZwFCFMbYZ7Of32YYCnMAYapj8I3J71UvXXRmY560Z8qSs-_2CmwuDmz_Me8GTGQeVu2EapzSs/s1600-h/Vrazdebnye+sily.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitBGMJHo40mw3SOfM97UVUepOwKFUgo0_z3MZfqHy0tpmthMzJ1_idBlbh8pPGb2oMq8ZwFCFMbYZ7Of32YYCnMAYapj8I3J71UvXXRmY560Z8qSs-_2CmwuDmz_Me8GTGQeVu2EapzSs/s320/Vrazdebnye+sily.jpg" alt="" id="BLOGGER_PHOTO_ID_5241128109557946034" border="0" /></a><br /><a href="http://www.huevaluechroma.com/061.php">Hue</a> is a compound colour that is undiluted, primary colours cannot be hues because they change their name if another colour is added to them.<br />Tint is a gradation of colour in lightness, from the intense to white.<br /><a href="http://www.huevaluechroma.com/021.php">Shade</a> is the gradation of colour or hue, in depth, from perfect to black.<br />To contrast, colours must bear relation to each otherin the power and point of tint, hue and shade, a tint of one colour,brought to an arrangement of contrast with another, must be equal in its diluteness, the same holding for colours receeding from their origional purity towards black; they are less powerful according to the dilution or shade.<br />Complementary colours - in pairs, yellow with violet, blue with orange, red with green, each pairing having the colours of red, blue or yellow in them, each pairing when mixed forming grey; so yellow plus violet gives grey, orange plus blue gives grey and red plus green gives grey.<br /><h2>AFTERIMAGES AND SUCCESSIVE CONTRAST</h2> <center><img src="http://www.huevaluechroma.com/pics/3-8.jpg" width="600" /></center> <h6><i>Figure 3.5. Afterimages and successive contrast. </i>Stare fixedly at the centre of circle A for at least 20 seconds, then immediately look at the centre of circle B for about ten seconds, noting the changing afterimage. Each sector will display an <i>afterimage</i> the colour of the additive complement of the stimulus colour. Repeat the procedure, this time looking immediately at the centre of circle C. Now the colours of the afterimage in each sector will influence the appearance of the red colour in an example of <i>successive contrast</i>.A psycho-physical reality with the eye can be observed when viewing a colour, for instance green, for a period of time and then closing your eyes, on re opening them at a different image, it super imposes a red image and not the green that it had seen before, it is a phenomenon called contrast of succession, the eye presented with a colour demands its complementary and if denied, it will create the colour that it feels is missing. If one places within a pure colour, a grey square of exactly the same brightness, then this grey on a green background will become a grey with a red tinge, on red it will be grey shading to green, on violet it will be grey with some yellow and on yellow, it will be grey with a hint of lavender - 'the reality of a colour is not always the same as it's effect'.<br /></h6>It is possible to infill colour on a<a href="http://www.saa.co.uk/artmaterials/finders-colour-wheels-1923.html"> painting</a> using this theory, the method can now be achieved with the use of cameras with colour filters and the use of computers to calculate the exact colour to fool the eye by combination of measure and intensity, it allows the restorer to apply colours, which on close inspection are not trying to copy the original, which the viewer will form an interpretation, thus avoiding any imitation of <a href="http://www.teachers.ash.org.au/suel/colour/colour.html">technique</a> or falsifying the image.<br /><p>Several dramatic optical illusions demonstrate colour constancy in action. In the <u><a href="http://web.mit.edu/persci/people/adelson/checkershadow_illusion.html" target="_blank">checkerboard illusion</a></u> by Edward Adelson's (Figure 3.6A), the two squares marked A and B are actually identical in lightness on the image, but our visual system calculates that in a shadow area this grey must belong to a white surface, while in the lit area the same grey must belong to a dark surface, <strong>and that is how we see them</strong>. In the same way, in the <u><a href="http://www.echalk.co.uk/amusements/OpticalIllusions/colourPerception/colourPerception.html" target="_blank">cube illusion</a></u> by R. Beau Lotto (Figure 3.6B), our visual system <strong>sees</strong> the same image colour as being dark brown in the context of strong lighting, and light orange where the same image colour appears in a deeply shaded context. In the <u><a href="http://www.echalk.co.uk/amusements/OpticalIllusions/colourPerception/colourPerception.html" target="_blank">cross-piece illusion</a></u> , also by Lotto (Figure 3.6C), the colour at the intersection of the two rods is actually an identical colour (grey) in both cases, but in the context of apparently yellow illumination on the left and blue illumination on the right, this is judged, <strong>and seen</strong>, to be the reflectance of a blue-grey object and a yellow object respectively.</p> <center><img src="http://www.huevaluechroma.com/pics/3-4.jpg" width="600" /> </center> <h6>Figure 3.6. Three o</h6><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY2bwlH4pdlwsAxQ-Ikw8igCalqzD1i7FN34YjkMwsIQaTeXtiGyUCyBe50xHFhF66RDAgMOOrPh9DMGC0vlEh-6pXSbXHxetCeloGcbFvrWjPTLogayxixo3FuMrlgFKYJn0XFwBzjhk/s1600-h/DSC01049.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY2bwlH4pdlwsAxQ-Ikw8igCalqzD1i7FN34YjkMwsIQaTeXtiGyUCyBe50xHFhF66RDAgMOOrPh9DMGC0vlEh-6pXSbXHxetCeloGcbFvrWjPTLogayxixo3FuMrlgFKYJn0XFwBzjhk/s320/DSC01049.JPG" alt="" id="BLOGGER_PHOTO_ID_5241128111487882562" border="0" /></a>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-22359425334176911022008-08-31T08:38:00.000-07:002008-08-31T15:20:38.695-07:00the feel of history<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Y20TJ7tIJUXfPgc3Pp9PaUaee8aAOETn0HoKSe1GckbLKgBMjajeBLXQjBF5T8i12vMsVem_A_erTjXBBUZtZPiBLFkv0Ygjz_C1QB17EbmqmnxZSLkSu8nc6h18uuCGAu2h9ELNvfQ/s1600-h/work+completed012.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4Y20TJ7tIJUXfPgc3Pp9PaUaee8aAOETn0HoKSe1GckbLKgBMjajeBLXQjBF5T8i12vMsVem_A_erTjXBBUZtZPiBLFkv0Ygjz_C1QB17EbmqmnxZSLkSu8nc6h18uuCGAu2h9ELNvfQ/s400/work+completed012.jpg" alt="" id="BLOGGER_PHOTO_ID_5240748304089920642" border="0" /></a>It is important to have a reasonable grasp of the basic history of furniture when repairing and restoring, as with any art works, to know the development of furniture allows you to look for tell tale signs od deterioration, some times stopping further problems from occurring.<br />Age can been approximated by various details in design and construction, a knowledge of this will give rise to a more sympathetic restoration and one that can be quicker and easier to perform. If you are aware of the date for different forms of casting materials it will follow that you can have an idea of the age of a cannon or brass telescope, also it will be apparent in the style of an oak chest, done without any glue being used, the approximate age, the cutting of veneers is another example, the reduction and scarcity of exotic woods started to create a market for veneers and the finer the veneer the more could be extracted from the rare source material. The development of the nail and screw, from blacksmith wrought to engineers turnings gave signs for one to assess the age of furniture, this is why a restorer keeps all the old nails and screws that he/she comes across, it is even more necessary now since the availability of the common screw is itself threatened by the philips or posi drive.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_D1PPNM03Ixqp8S4Q5cyZbUFoHHGgS92A6y2mF6MP_Oybk4bO1u7lmevJZxKZ0PeU0MVmmyruihypzrRR8byvyEHCzmpquhujLYWviTxjCBNKqH8y2s3hlBXnJdHp9Jmhw6RCMQL6N0/s1600-h/work+completed006.jpg"><img style="cursor: pointer; width: 251px; height: 131px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_D1PPNM03Ixqp8S4Q5cyZbUFoHHGgS92A6y2mF6MP_Oybk4bO1u7lmevJZxKZ0PeU0MVmmyruihypzrRR8byvyEHCzmpquhujLYWviTxjCBNKqH8y2s3hlBXnJdHp9Jmhw6RCMQL6N0/s200/work+completed006.jpg" alt="" id="BLOGGER_PHOTO_ID_5240747166310931314" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJAV83asBi6NEeMnReOSeLMuzGQ9mmFm1hfQBcCFnnDfGVIuWkKvGnwkFboG7RQacBzhtucH3vkZrkP0O2PogBOXSE8v8qjHAYNjlTTomJLQCinLcpCqCAx4MzLsfg8mSfIWj0UMrCOII/s1600-h/work+completed005.jpg"><img style="cursor: pointer; width: 200px; height: 131px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJAV83asBi6NEeMnReOSeLMuzGQ9mmFm1hfQBcCFnnDfGVIuWkKvGnwkFboG7RQacBzhtucH3vkZrkP0O2PogBOXSE8v8qjHAYNjlTTomJLQCinLcpCqCAx4MzLsfg8mSfIWj0UMrCOII/s200/work+completed005.jpg" alt="" id="BLOGGER_PHOTO_ID_5240747160112598114" border="0" /></a><br />A normal way to judge any antique is to pick it up and feel its presence, touching an object can gives instant indication of its material, texture, density and weight, with wood, the colder it may feel can give the impression of more density, heaviness, with visual appearance this can be a sign of more mature timber and more age, the passing of your fingers over the surface will give an idea of the grain's texture, type of wood and its age may again be established when added to the visual inspection, finer grain may be true of a longer growing period and older variety of a species of timber. The fingers will also pick up tell tale signs of previous repairs and changes in <a href="http://www.oldwood1700.com/web/index.php?main_page=oldwood">polish or laquers.</a><br />Knowledge of different timbers can be useful in assessing types of glue that are practical and how certain <a href="http://www.frenchpolishes.com/index.htm">polishes</a> will take to the surface, it may be necessary to de grease timber or roughen it in order for glue to hold. Antique mahogany very often had virtually one coat of polish or just oil, as a means of enhancing the grain, whilst the Victorian period needed to apply possibly seven or more coats on top of flling the grain with plaster of Paris, the later timber was so open that it needed to be filled and still it would absorb huge amounts of the <a href="http://www.classicfinishes.co.uk/">shellac polish</a>.<br />It is often the case that your only contact with the origional makers or artists, is with their work, this can, if you wish, have an intimacy , for you will see far more of their marking out, mistakes and style of construction or painting that is solely their own, often you will see the small marks of a chisel or marking gauge, the difference of one maker to another with the shape of a curve, which can also be indicative of age, as is evident in the changing styles that can be seen in front legs of a chair and table legs.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0zXW1UuU1IiEtMh4p5ccujOGMnDPampo1FJtukaiFClCQxzbV6AlmMETjFCgIhgdbVfX6ZRk8uN0P_JLNEATMUNgZ1O0P0QLeTojP1NWpKBuU0xJnVFxW_zY15-ZLqVvErlvHGyOMpQ/s1600-h/work+completed013.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL0zXW1UuU1IiEtMh4p5ccujOGMnDPampo1FJtukaiFClCQxzbV6AlmMETjFCgIhgdbVfX6ZRk8uN0P_JLNEATMUNgZ1O0P0QLeTojP1NWpKBuU0xJnVFxW_zY15-ZLqVvErlvHGyOMpQ/s200/work+completed013.jpg" alt="" id="BLOGGER_PHOTO_ID_5240747170105766322" border="0" /></a><br />The concept of patina and its association with age is worth remembering when re polishing furniture or cleaning paintings, it is not necessarily good to remove all signs of age but it may well be worth clearing the cloudiness of a shellac polish for the true colour and grain to be appreciated. The refractoriness of a shellac polish, alters with age and when the light can no longer pass through the once transparent layer, it is reflected as a white or bleached look. Some times we may well be valuing the age of an object and not its aesthetics, early veneered pieces where often made to be, by our tastes now, very bright and gaudy but time as tamed them behind a cloudy varnish, we are used to them as pale objects, yet if they are cleaned and the polish is revitalised, there can appear an all too different beast, this has been the start of many arguments in the field of restoration with paintings, for many centuries the restorer was aware of the likely controversy, cleaning would have, so they would clean and then re varnish with a tinted varnish so to not offend the viewer.<br />The appreciation of art is not always clear and it is shown in a short note about Shelley, whilst touring in Italy. 'travelling in Italy, he arrived at a convent just as the village plumber, glazier and painter(house), was withdrawing his workmen from their task of touching up the old masters,which operation had been included in the contract for renovating the paint and whitewash of the Holy edifice'<br />A note about fillers, gesso is historically used as a base for paintings, like most things with paintings, the process often then gets passed to furniture, the lifting, relining and transferring of <a href="http://www.jamescgroves.com/mediums.htm">paintings</a> was done far earlier than the use of veneers on furniture but the veneer is glued with the same process as the early artist/ restorer used to remount the ageing canvas. Gesso with animal glue is the base for paintings and often used as a base for furniture that requires a high lacquer finish, plaster of Paris, if mixed and spread over the timber will, once thoroughly dry, take polish on top of it and become transparent as it absorbs the shellac, or can be stained with the whole of the piece before polishing, I often seal timber with a thin coating of animal glue before staining ,so as to limit the stains effect on the changing direction of grain, going darker into the end grain and staying pale on the side of the fibres, this is another point when staining, to slightly roughen the grain in order to get a more even colour. A gesso paste can be made from- white lead, some ochre, <a href="http://www.classicalvarnish.com/index.html">oil varnish</a>(siccatif de courfrais) resin and turpentine oil, after drying the gesso must be sanded and when dry, coated with a 10% size solution( animal glue that is diluted so that it is more of the consistency of yoghurt) to prepare the gesso, a small quantity of the glue size is placed o a roughened thick glass palette, alabaster plaster is then added until, after working with a palette knife, it forms a firm, barely malleable paste, care being taken not to arrive at a gesso that does not correspond to the area to be repaired, not to be darker than its surrounding, for light areas white pigment is added and for darker areas, more ochre. Finally some amber varnish is added in small quantities, constantly mixing to form an easily malleable paste. A horn palette knife or spatula is used to firmly and precisely spread the paste into the defective areas, completing the process with a little water to smooth out the final surface, on paintings it will be necessary to wipe the surface with a moist cloth so as to leave the gesso only in the areas of damage and not on any of the paint. This gesso will hardly shrink, should remain firm but porous, its absorbency making it ready to accept further treatment, it is possibly best to let the gesso sit very slightly below the true level so as to allow varnish and paint to be applied up to the true level.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga9Rj5bWwx4l64SWePv9UOC4EyYeqTa0mlt8-0TsFFpVQfxUzsGKiR_boX8b85pVwnjdvIZta63HKUycvQt4GVPhi-Psr_08m3K2h0pTDk8klVJ5nhZcw2xsFY0ynVa93_rXEF0Q_Fnxc/s1600-h/mill+barns84to98029.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga9Rj5bWwx4l64SWePv9UOC4EyYeqTa0mlt8-0TsFFpVQfxUzsGKiR_boX8b85pVwnjdvIZta63HKUycvQt4GVPhi-Psr_08m3K2h0pTDk8klVJ5nhZcw2xsFY0ynVa93_rXEF0Q_Fnxc/s200/mill+barns84to98029.jpg" alt="" id="BLOGGER_PHOTO_ID_5240747161021642386" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ABl9OmlVWuU392PKPv_UX2Vj4dCcZKnltC6V6UnmI9kSmPtyd1KdI7wW1jBi0ZvcAQqv8LR1BXG39aCIGZ8iIYYudtXSO5daJH9R2C1WFA2PXUoEC3vlES12U0_M_2ZhT5BEPS6MBPs/s1600-h/vasos3.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ABl9OmlVWuU392PKPv_UX2Vj4dCcZKnltC6V6UnmI9kSmPtyd1KdI7wW1jBi0ZvcAQqv8LR1BXG39aCIGZ8iIYYudtXSO5daJH9R2C1WFA2PXUoEC3vlES12U0_M_2ZhT5BEPS6MBPs/s200/vasos3.jpg" alt="" id="BLOGGER_PHOTO_ID_5240800603402175474" border="0" /></a><br /><br />An assistant some years ago remarked, on seeing me use saliva as a vehicle whilst restoring a piece of furniture, that it was highly unprofessional, and when I asked why, he said that most of what he saw me do was not to be found in any of the books that he had read or at the college that he had been . I remarked to him that there can be certain limits to the amount of knowledge he may find in books and that it is always a case of learning first and discarding afterwards, he was welcome to use or discard what ever he saw me do but as my knowledge spanned more than thirty years it was worth considering why I did what I did. Linseed oil, resin, mastic varnish, copal, lavender oil, lye, butter, common wood ash and even soil, where used in the cleaning of paintings, to brighten the paintings, certainly it is not advisable to copy all these but it is worth considering why they might work and where you can use them safely. Spit is a very good cleaner and will dissolve grease and dirt a lot quicker than many propriety cleaners, a lot safer as well, the artist often used egg white as the only means of getting an even glaze to a new painting before it had time for the paint itself to harden, which could be several months to a year, using a varnish too early on would coarse the paint to remain liquid beneath a sealed coating where as the egg would prevent dust and smoke sticking to the fresh oil paint and still allow the oils to dry naturally.<br /><a href="http://www.violinvarnish.com/varnishes.htm">Varnish</a>-middle English <tt>vernisshe</tt>, from Old French <tt>vernis</tt>, from Medieval Latin <tt>veronix, vernix</tt>, <i>sandarac resin</i>, from Medieval Greek <tt>verenikē</tt>, from Greek<tt> Berenikē</tt>, <i>Berenice (Benghazi), an ancient city of Cyrenaica</i>.]<br />Copal, is a slow drying resin, several species of the genus Copaifera, the trees of the Leguminosae family, growing in the tropical regions of the Americas. Deep incisions, canals( similar to those made for extracting latex) are cut into the bark and the balsam flows as does the turpentine of the pine tree, another natural oil ( not to be misconstrued with the white spirit that is sold as a cleaner)<br />Copal is made up of solid resins and etheral oils, this is similar to resin varnishes, which are a solution of mastic, or Damar resin(resin from India) in oil of turpentine. Genuine copal has a consistency of fatty oil but does not contain oil for the purpose of painting or conservation. When heated in a porcelain bowl, it should not give off any odour of turpentine, and on cooling should be a transparent, brittle resin.<br />Copal for balsam( para balsam) and the more viscous (maracaibo balsam) differing in the content of etheral oil, the para balsam will change to the maracaibo if left to stand in contact with the air for a long time, or by boiling with water. Copal as low tension properties, and slow drying, turpentine oil is on the other hand has a tendency to evaporate quickly at low temperatures and will have higher tension; copal, heated in a retort over water,will stay virtually unchanged after cooling,while, under the same conditions, conventional resins and that of turpentine will solidify. Contrary to this, linseed and poppy oils are used in the making of oil paint because of their tendency to dry quickly.stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-3431994913489441712008-08-13T02:26:00.000-07:002008-08-13T03:16:14.178-07:00Integrity of the Restorer<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBRbzX0fcig_zrAR9sN6wVze-nHatHM6cSwBv38b2do0JyOxGUTw_I2P4J1o8mrHRV77Fw9KVWvFT7iAs_63T8pKGfHj-KrhG6sjf5gSn-570P7xaganbbKie2S_1N6xV03zEyxWEOgQE/s1600-h/ApolloVulcanVelazquez.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBRbzX0fcig_zrAR9sN6wVze-nHatHM6cSwBv38b2do0JyOxGUTw_I2P4J1o8mrHRV77Fw9KVWvFT7iAs_63T8pKGfHj-KrhG6sjf5gSn-570P7xaganbbKie2S_1N6xV03zEyxWEOgQE/s400/ApolloVulcanVelazquez.jpg" alt="" id="BLOGGER_PHOTO_ID_5233932635397239666" border="0" /></a><br /><p class="western" style="margin-bottom: 0cm;"><span style="font-family:AvantGarde Md BT,sans-serif;">It may be that before 1800 the painter was an artisan first and his studio a workshop with apprentices and craftsman alike working together in their expectation of producing work that would last many centuries, they produced their own colours, made their own grounds and passed on their knowledge to their students, all with the aim of continuing a tradition for employment, the only possible reservation was to have kept this within the confines of the town or city. Later artists had developed a more insular approach and with it have come the development of the brush, paint, varnish maker, framer and guilder, all separate entireties and all possibly subject to other market forces that may create the need for economy of materials or the vagaries of a market force with supply and demand adjusting price. This off the shelf approach would certainly have led to the artist being separated from intimate knowledge of his materials, especially the quality and content of the materials, also the painter gradually became less concerned with the quality or the longevity of his/her work, not appreciating the re sale but only the initial sale value, leaving others to find that they had bought a painting that now required maintenance, a very good example of this was the painter William Turner, whose almost cavalier attitude to paint and its application, led to his works cracking and flaking within months of their completion, thankfully his drawings and water colours where free from these problems. The earlier painter, by over three hundred years, Van Eyck whilst developing and learning the process of painting in oils, produced such quality paintings that they are now among the most well preserved of all art, sadly the expertise that he and his brother developed went to the apprentices but does not seem to have travelled beyond and saved the rest of art from the vagaries of bad technique and poor quality paints.</span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3VDgjEVK1H_w660N8VqqMkey8w-ehjksVo_bsiH8ox_WsFXbvznX5kyKrp_wOP3pPv6gHNuQ6q38u5vPEY0S8mKR9_OhQNTHM1jO7noOCul58G4KgaLP7RsocgKt8XkJxNx0L3Yx97g/s1600-h/ghentopn.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP3VDgjEVK1H_w660N8VqqMkey8w-ehjksVo_bsiH8ox_WsFXbvznX5kyKrp_wOP3pPv6gHNuQ6q38u5vPEY0S8mKR9_OhQNTHM1jO7noOCul58G4KgaLP7RsocgKt8XkJxNx0L3Yx97g/s320/ghentopn.jpg" alt="" id="BLOGGER_PHOTO_ID_5233936573711814162" border="0" /></a><p class="western" style="margin-bottom: 0cm;"> <span style="font-family:AvantGarde Md BT,sans-serif;">It is difficult to think how works of art before 1700, largely religious subjects and commissions, would have survived without them undergoing restoration, retouching or repainting, the continuance of style change and the gradual change of emphasis within the church, will have led to many paintings being up dated, given altered prominence and fresh adornment, provided by eager young artists that would need new commissions and seek fame. This would be for the church and the artists an ongoing work of art, almost seen as unfinished and certainly not the ownership of the original artist, the extreme of this can be seen in the <a href="http://italophiles.com/medici_6.htm">‘Guilio 11’ statue, by Michelangelo</a>, becoming the ‘ Guilio Canon’.</span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7aLGxOwY3wh8A8_wen9VWCah1L5FA-0f_4WztyLYI3Fqoh3IJ9Q2SSNeGPCohb8srU2I7gKLECXaQTOe9v53WqEtr64nSZJtRNTAS0a4ZLZJwi_RqiPNlJQ0yo2HcJvppaLC_e531PE/s1600-h/brown12urbino.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt7aLGxOwY3wh8A8_wen9VWCah1L5FA-0f_4WztyLYI3Fqoh3IJ9Q2SSNeGPCohb8srU2I7gKLECXaQTOe9v53WqEtr64nSZJtRNTAS0a4ZLZJwi_RqiPNlJQ0yo2HcJvppaLC_e531PE/s320/brown12urbino.jpg" alt="" id="BLOGGER_PHOTO_ID_5233935937655645090" border="0" /></a><p class="western" style="margin-bottom: 0cm;"> <span style="font-family:AvantGarde Md BT,sans-serif;">The sensitivity of the eye and the ear has become something of a daily demonstration to me, with an almost loss of sight in the right eye, which is progressing well at the moment, and the diminished sight in the left eye, no longer able to improve the state of this eye, I have become aware that my hearing has adapted quickly , becoming more responsive and giving me more special awareness that seemed before to be the priority of my eyes.</span></p> <p class="western" style="margin-bottom: 0cm;"><span style="font-family:AvantGarde Md BT,sans-serif;">My experiences whilst working for the theatre as a free lance scene painter, taught me to use daylight when ever possible and to use lamps that had a daylight factor when needed, for to get the colours correct and the tonal values balanced it was bar far best in natural daylight. This was however studio practice and when the canvas was sent to the theatre it became necessary to rework, under artificial lights, the canvas because of the demands from the designer, director and lighting director, the colour balance would be completely altered by the intensity of light and the use of coloured filters, a similar result is found when paintings are hung in galleries that have artificial lighting and coloured walls or floors. The direction of the light and its subsequent reflected angle can transform colours and hues, for it needs to be remembered that ‘ a painting as few tactile attributes. It is totally dependent on surface reflectance’</span></p> <p class="western" style="margin-bottom: 0cm;"><span style="font-family:AvantGarde Md BT,sans-serif;">The play over light over smooth or impasto surfaces alter the effect that the eye perceives and that the relining of a canvas as well as the cleaning of the same can alter the viewers appreciation of the artists intent- ‘ the conservator’s primary loyalty is to the artist’ and then the artist can influence humanity.</span></p> <p class="western" style="margin-bottom: 0cm;"> ‘<span style="font-family:AvantGarde Md BT,sans-serif;">Solvent action and the degree of persistence used in the removal of oxidized layers have a profound effect on the visual values’, ‘white, for instance, is not simply a tone but a colour’ and is worth noting when we consider the painter as an individual, all painters as individuals along with the spectators and restorers, not all painters, spectators and restorers view colours with the same sense of value. The surgeon, as it where, needs to remember that the work in front of him/her is an individual work of art with their own need to expression.</span></p> <p class="western" style="margin-bottom: 0cm;"> <span style="font-family:AvantGarde Md BT,sans-serif;">The gallery as well, as the restorer, needs to consider how best to show works of art, it is important for students to see the real article and not be content with a photographic record. Travelling to school, generally took three buses each way, meant that the return would take me through the city centre of Birmingham on foot and gave me the opportunity to spend time in the city art gallery before it closed in the evening, good during the summer or on wet evenings, this offered me the chance to see painters work on a regular basis and my joy was to look at the large collection of Pre Raphaelite paintings, their intensity of colour and craftsmanship was a constant inspiration to me, it could never be the same to have seen these fine works as photographic copies, especially when you may consider that those who produce the copies have never seen the originals. This is the danger therefore when applying varnish, especially the liberally applied tinted varnish of the past, in the cleaning or restoring of a painting, the fine glaze of pigment that may have been used by the artist to change the colour or hue can be lost or altered beneath a varnish or removed by a careless worker whilst cleaning, lost or removed with such ease, sometimes without the restorer noticing, can alter the artists intention or vision.</span></p><p class="western" style="margin-bottom: 0cm;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9efWMY_wcwMDmRPH5yFLYoeWvSHz9ikuYvcpr5EcshmeIwwZxV56RyWzxjjCB1sBQcR-lIhc86pRvUj7dI0kVS9ZidKOTl9JBJ_yS_WFxzZOPHtZ1iCfO1nLOx1VLu2HugFJu86Jntag/s1600-h/800px-Rain_Steam_and_Speed_the_Great_Western_Railway.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9efWMY_wcwMDmRPH5yFLYoeWvSHz9ikuYvcpr5EcshmeIwwZxV56RyWzxjjCB1sBQcR-lIhc86pRvUj7dI0kVS9ZidKOTl9JBJ_yS_WFxzZOPHtZ1iCfO1nLOx1VLu2HugFJu86Jntag/s320/800px-Rain_Steam_and_Speed_the_Great_Western_Railway.jpg" alt="" id="BLOGGER_PHOTO_ID_5233933126608305874" border="0" /></a></p> <p class="western" style="margin-bottom: 0cm;"> <span style="font-family:AvantGarde Md BT,sans-serif;">From a restorers view point there are many aspects of aging that cannot be redeemed or altered to good effect, pigments oxidize and change colour and effect the surrounding pigment, the effect can alter the balance and depth of a picture, a fading yellow that had been mixed to form green, will now leave an area blue.</span></p> <p class="western" style="margin-bottom: 0cm;"> <span style="font-family:AvantGarde Md BT,sans-serif;">Now a final comment in this posting on my blog, the use of oil as a medium was clearly known in antiquity, mixed with pigment and used as a paint, mostly to give extended time on frescoes, the paint applied as a dry, coat, secco, used sparingly, later this was used with tempera in the same manner but the whole would be varnished in order to preserve and give the dry looking tempera a more brilliant and deep colour. This coating could also be retouched and re-varnished, a procedure that would gone on for centuries. Clearly it should not have been any great step to try and make the medium and the preservative as one coat, to dismiss the egg yolk as a base and use only the oil and varnish. There is a problem however in the chemical make up of the pigments used, they are not all equal and have structures that are very different, ranging from metals, stone and vegetable bases, chemically not stable and often light sensitive, extended periods of time and sun light are able to change and fade the colours, this and the lack of consistent development as given rise to the restorer becoming so much more of an academic, if not now a scientific post but the essential that we must remember is to pay homage to the artist, when we attempt to restore a painting and not indulge in a re interpretation.</span></p><p class="western" style="margin-bottom: 0cm;"><span style="font-family:AvantGarde Md BT,sans-serif;">The use of animal glue as a medium is also one that I am aware of through my time in theatre, when I first started work in London we restored sets that had been painted during the 1930s and they were painted with glue size and pigment, most of the time we used whiting as a bulk pigment and then added other colours, unlike Titanium white, whiting had very little covering power but bulked the medium. The advantages for glue size was that at the end of the play's run the canvas was laid face down and the back of the canvas was drentched with hot water and scrubbed, resulting in the whole image lifting from the canvas and leaving it fresh for a new image to be painted. Animal glue can also be used with gesso, traditional priming for most early paintings and especially for early oil painting on wooden panels, the panel would be spread with a mixture of glue and gesso, using a spatula to smooth the surface, on drying it was then pumiced down and coated with more size, this led later to the same method being used to create a copy of <a href="http://www.lacma.org/japaneseart/lacquer/j-lacquer.htm">'Japanese lacquer'</a>, the animal if left to boil for some time becomes very hard and brittle, can be worked over almost the same as bone and then <a href="http://www.stutler.cc/pens/wajima/urushi.html">varnished </a>and coloured to appear as tortouse shell or <a href="http://www.ibiblio.org/pfaf/cgi-bin/arr_html?Rhus+verniciflua">Japanese decoration.</a></span></p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXbj7kgwBq4SX4TOU76cMW2Dr_ir_1PUb0D7XXBqVvwsDgwvR03QovXwA7ojscYzAYeI6d9Dr4pzs3eoG0xE0-zZ2bZwhWWbI4yPyZYovOKq-PnlXPCyaDaXrI6DIdhCJcmw3c7uKPOg/s1600-h/JGA++Lbox++9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilXbj7kgwBq4SX4TOU76cMW2Dr_ir_1PUb0D7XXBqVvwsDgwvR03QovXwA7ojscYzAYeI6d9Dr4pzs3eoG0xE0-zZ2bZwhWWbI4yPyZYovOKq-PnlXPCyaDaXrI6DIdhCJcmw3c7uKPOg/s320/JGA++Lbox++9.jpg" alt="" id="BLOGGER_PHOTO_ID_5233943921542638194" border="0" /></a><p class="western" style="margin-bottom: 0cm;"><span style="font-family:AvantGarde Md BT,sans-serif;"><br /></span></p>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0tag:blogger.com,1999:blog-750768114571175908.post-69525039897754921282008-05-12T18:18:00.000-07:002008-05-22T07:25:01.554-07:00Lathes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwOYiJZUWxyqxYJ8AGuJTod2XlRPqP0I4rrxBTv4o5cpU6qF8xhyLQvyKD1iyqjlqSzTYLQHDUkWfVfOzS3qvbiWpeehWgjNvEdRAz7LhDgQqoGzc0RMylWzWdxrT7tpwBsVAFlT5efY/s1600-h/monkton+house002.jpg"><img style="cursor: pointer; width: 84px; height: 170px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHwOYiJZUWxyqxYJ8AGuJTod2XlRPqP0I4rrxBTv4o5cpU6qF8xhyLQvyKD1iyqjlqSzTYLQHDUkWfVfOzS3qvbiWpeehWgjNvEdRAz7LhDgQqoGzc0RMylWzWdxrT7tpwBsVAFlT5efY/s200/monkton+house002.jpg" alt="" id="BLOGGER_PHOTO_ID_5202556271482229426" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQkcoIUxJRPfw4svlnLTu12GKF0POPZ_kzshhRSwJ8NSoFHipu1aDHuaa2NZfFo87TTmLf63PpWGRp_gWbGy24HPU7JuPnTmx7DfB8Wym4wxj7SBFBm_fmHyjibzf6g9TdI4eYUAAo5I4/s1600-h/DSC00838.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQkcoIUxJRPfw4svlnLTu12GKF0POPZ_kzshhRSwJ8NSoFHipu1aDHuaa2NZfFo87TTmLf63PpWGRp_gWbGy24HPU7JuPnTmx7DfB8Wym4wxj7SBFBm_fmHyjibzf6g9TdI4eYUAAo5I4/s200/DSC00838.JPG" alt="" id="BLOGGER_PHOTO_ID_5203207516741317410" border="0" /></a><br /><br /><br /><br /><br />The candle stick above is a piece I made for a client in Glasgow.<br />The<a href="http://en.wikipedia.org/wiki/Polelathe"> pole</a> and bow <a href="http://en.wikipedia.org/wiki/Lathe">lathe </a>have certainly had a long <a href="http://www.bloodandsawdust.com/sca/lathes.html">history</a> and have not been solely used for wood <a href="http://www.living-wood.co.uk/greenwood_chairmaking.html">turning</a> but also for ceramic and metal work.<br />Today I have been on the lathe turning bone collars for an old velum portable telescope, the bone is irregular and needed to be softened first, hot water, then placed on a former, a tapered bottle, allowed to cool to hold the more rounded shape and the held on the <a href="http://tech.groups.yahoo.com/group/liveaboardlathe/message/33">lathe</a> with some adjustable chucks whilst I firstly cut the inside diameter correct for the tubes and then formed the outside shape to form a collar with a small ring, so as to be able to catch each tube seperately with the fingers and extend the telescope, similar to those used at sea. Then the art is to sand it to a more irregular shape and tint the bone to appear old, in keeping with the velum tubes. One other job today is the repair of the base for an old <a href="http://en.wikipedia.org/wiki/Rose_engine_lathe">Rose lathe</a> that once worked its pay in the centre of Birmingham's <a href="http://en.wikipedia.org/wiki/Jewellery_Quarter">jewellery quarter</a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbwioREXXky5_S6jPDkd1jGOvgA18toiH3crGJSrVM8XSrcBfckgcR2kdR2vJif0ComiWg7esM7OeFpnRwVAtQCH27wYjgjZwvE1QPz429w-tKjQ93FB__SXlz2ZJ8HQbBYm9iwXwjkBA/s1600-h/Tools.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbwioREXXky5_S6jPDkd1jGOvgA18toiH3crGJSrVM8XSrcBfckgcR2kdR2vJif0ComiWg7esM7OeFpnRwVAtQCH27wYjgjZwvE1QPz429w-tKjQ93FB__SXlz2ZJ8HQbBYm9iwXwjkBA/s200/Tools.jpg" alt="" id="BLOGGER_PHOTO_ID_5202555154790732130" border="0" /></a><br /><br /><br /><br />----------<br /><br />Origins of the Lathe<br />Since we are dealing here with a specialized form of lathe turning,<br />it would be well to give some of the history of the lathe itself. The<br />name, which is a linguistic curiosity, comes from the English lath<br />which was a pole or split strip of wood, and was used as a spring<br />power source for early lathes. In India, for example, a lathe was<br />called a chakra, a wheel, and it is common to other languages than<br />English that the term for lathe has a relationship to a wheel, or<br />circle. The lathe is a tool of rotation and the works generated<br />thereon are always 'solids of rotation'. That is to say that if a<br />cross-section be taken perpendicular to the axis of rotation, this<br />section will always be a true circle.<br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrJKes1US6-4BtOStsJcRIdtQYthsEco7363K3jZELLwk8vT1H9fD_dNmt0IiCgrX5b_WFwS_VYIs624v7vY8Kr0MfV65-s4AIo3SOuWDkg7SBgWAy0c71ZBgXwwLcTSpm7yzJmNjdSgY/s1600-h/bodger.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 140px; height: 196px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrJKes1US6-4BtOStsJcRIdtQYthsEco7363K3jZELLwk8vT1H9fD_dNmt0IiCgrX5b_WFwS_VYIs624v7vY8Kr0MfV65-s4AIo3SOuWDkg7SBgWAy0c71ZBgXwwLcTSpm7yzJmNjdSgY/s200/bodger.jpg" alt="" id="BLOGGER_PHOTO_ID_5199866200320753122" border="0" /></a><br /><br />Turning is the process of shaping an object mounted in a lathe into a<br />rounded form by applying tools against the workpiece as it spins.<br />Plain turning creates objects whose every section is a perfect<br />circle. Ornamental turning, however, works upon the plain-turned<br />shape to apply some form of ornament by means of an externally<br />powered cutting device. The cut surface which results can evidence<br />great complexity of decoration. A variety of types of motion and<br />interaction of workpiece with cutter is possible. The workpiece may<br />be held stationary by an indexing device while an external cutting<br />tool is brought in to make a cut; when indexed and the cuts repeated,<br />this can create a basketwork effect of pattern among many others.<br />Additionally, the work and cutter may move in a synchronized motion<br />maintained by means of gear trains much as in the cutting of screw<br />threads on a machinist's lathe. A rocking motion is also a possible<br />complication of technique when using a specialized ornamental lathe<br />called a rose engine. The embellishment of plain-turned objects with<br />designs can elevate merely utilitarian objects into the realm of the<br />decorative arts.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR6Sbtcdk8hwfbxoDEI-_oLAkJerxPuIDzr9LnlhUqwAGcq0fVewh6G-nyJO5onQUBQ1DXjBDpSpUuR78cdMsC9crIgAdnm5y2K7hPWI0FTeKv-Z-Jse7yJ1WVH1IPxBnqEtcX49aIXDo/s1600-h/woodwork.jpg"><img style="cursor: pointer; width: 181px; height: 128px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR6Sbtcdk8hwfbxoDEI-_oLAkJerxPuIDzr9LnlhUqwAGcq0fVewh6G-nyJO5onQUBQ1DXjBDpSpUuR78cdMsC9crIgAdnm5y2K7hPWI0FTeKv-Z-Jse7yJ1WVH1IPxBnqEtcX49aIXDo/s200/woodwork.jpg" alt="" id="BLOGGER_PHOTO_ID_5202555159085699442" border="0" /></a><br />The lathe, termed "the engine of civilization," unique amongst<br />machine tools in that it is the only machine capable of replicating<br />itself, is also capable of manufacturing all other machine tools. Its<br />history dates back at least 3000 years. There are extant fragments of<br />an Etruscan bowl dating to 700 BC. An illustration of a lathe carved<br />on an Egyptian tomb wall dates to 300 BC. The Egyptians undoubtedly<br />turned the legs of chairs and stools and other long objects. Though<br />they did not leave us with descriptions of their lathes, the<br />Egyptians did describe and picture their potters' wheels and bow<br />drills, both forms of vertical lathes.<br />The lathe was certainly known in Grecian and Roman times, though no<br />accounts remain of it or the tools employed in turning. Cicero and<br />Pliny refer to the turners or vascularii, and the master Greek<br />sculptor Phidias is assumed to have turned cups before encrusting<br />them with ivory and then carving them with chisel and file. Herodotus<br />is quoting as saying, "But I smile when I see many persons describing<br />the circumference of the earth, who have no sound reason to guide<br />them; they describe the ocean flowing round the earth, which is made<br />circular as if by a lathe." Virgil, as translated by Dryden,<br />describes in the following passage a process whereby wooden bowls<br />were plain-turned and ornament was then hand carved upon them:<br /><br />Two bowls I have well turned of beechen wood;<br />Both by divine Alcimedon were made;<br />To neither of them yet the lip is laid.<br />The lids are ivy: grapes in clusters lurk<br />Beneath the carving of this curious work.<br /><br />A primitive apparatus used in India is likely illustrative of many of<br />these early lathes. The Indian lathe was portable, and set up by the<br />turner at the site where work was needed. Two wooden poles were<br />driven in the ground and the work mounted between them on centers<br />which were simply round nails or spikes driven through the mounting<br />poles. A bar or rod was then lashed with cords to the two poles to<br />serve as a toolrest. In use, the turner sat on the ground and guided<br />the cutting tool edge with his toes while holding the handle with his<br />hands. Motion was imparted to the workpiece by means of a cord<br />wrapped around the workpiece which was pulled by a helper. Cutting<br />could only be done on one-half of the motion, that of the workpiece<br />towards the tool. Early Persian and Arabian lathes work on a similar<br />principle, but are more sophisticated in that they are built into a<br />box and the power is supplied by a bow and string<br /><br />----------------------------------------------------------------------<br /><br /><br /><br /><br />The Lathe Through The Middle Ages in European History<br />The lathe was introduced into England at least by 200BC by the Iron<br />Age Celts. In the West, improvements to the lathe appear to have<br />arisen from a different method of rotating the lathe conditioned by<br />the European habit of selecting the erect posture for most mechanical<br />operations. One end of the driving cord was fastened to a treadle or<br />stirrup, it was then passed around the workpiece and then the other<br />end was fastened overhead to a pole or spring above the lathe. Such a<br />technique greatly increased the power of rotation and left both hands<br />free for controlling the tool. The paucity of written records leaves<br />us little information about the lathe during medieval times, and it<br />is not until the Renaissance that evidence of the use of lathes<br />appears. Gio Paulo Lomazzo described the oval turning of Leonardo da<br />Vinci (1452-1519) in 1590. The following verses accompany an<br />illustration of a turner in the book "Panoplia Omnium," by Hartman<br />Schopper, published at Frankfort-on-the-Main in 1568:<br /><br />A turner I:--with unremitting skill,<br />I turn from yellow box, whate'er you will:<br />Boxes of shapes unnumbered we produce<br />And who can tell our boxes' varied use;<br />There may'st thou store, secure from stranger's view,<br />Thy noble treasures of the brightest hue,<br />There too the ball is made, which--wondrous sight!<br />Struck by the wand, rebounds in varied flight,<br />Here too the top, that warms the schoolboy's force,<br />And whirls on level ground its well urged course.<br /><br />The first book dealing specifically with ornamental turning as well<br />as 'plain' turning was published by L'Abbe Charles Plumier in 1701.<br />Joseph Moxon described turnery in his book Mechanick Exercises or the<br />Doctrine of Handy-Works in 1703. Denis Diderot D'Alembert prepared<br />the first encyclopedia from 1751 to 1772, and therein illustrates<br />lathes and the work done on them. The great classic of early turning,<br />however, is Le Manuel du Tourneur published by L. E. Bergeron in<br />1796. This comprehensive set of two volumes, containing 96 plates,<br />was published for the aristocracy rather than for the artisan. In<br />great detail it illustrates the state of the art at that time. By<br />this era, lathes had developed into very sophisticated machines from<br />their humble origins.<br /><br /><br />----------------------------------------------------------------------<br />----------<br /><br />The Invention of the Modern Lathe(ca. 1700)<br />The modern lathe was not actually invented, but was a product of the<br />refinement of input from many sources. Its evolution was one of<br />gradual improvement. One key element to this development was the<br />introduction of a large flywheel separate from the spindle that could<br />serve to maintain a uniform speed and always allow the lathe to<br />rotate in the same direction so that cutting could be continuous.<br />Moxon, in 1677, describes the advantages of this improvement to<br />powering the lathe:<br /><br />Besides the commanding heavy Work about, the Wheel rids Work faster<br />off than the Pole can do; because the springing up of the Pole makes<br />an<br />intermission in running about of the Work; but with the Wheel the Work<br />runs always the same way; so that the Tool need never be off it,<br />unless it be to examine the Work as it is doing.<br /><br />So with a flywheel to store energy and redistribute it with a uniform<br />motion, and a treadle and crank to allow the turner to stand and pump<br />power to the machine with his legs, the turner had both hands free to<br />manipulate tools.<br /><br />Another important refinement to the lathe was the introduction of<br />iron bearers for the bed instead of wood. The iron would maintain its<br />alignment and if a carriage be mounted on a bearer of triangular<br />section, it would serve to keep it in a true relation to the lathe<br />axis for its whole length. The accurate bed then served as a platform<br />for the final refinement which was the moveable carriage connected to<br />the spindle by means of a gear train. In the 1780's, the French<br />inventor Jacques de Vaucanson (1709-82) built an industrial lathe<br />with a sliding tool carriage, advanced by a long screw. Then almost<br />simultaneously in 1797, Henry Maudslay (1771-1831) in England and<br />David Wilkinson (1771-1852) in the U.S. improved this lathe by adding<br />a sliding tool carriage geared to the spindle. By this means, the<br />carriage mounted with a cutting tool was able to move in<br />synchronicity with the spindle at a constant speed and the cutting of<br />accurate and repetitive screw threads became possible. This<br />breakthrough heralded the age of mass production and interchangeable<br />parts. With lathes this sophisticated by the end of the 18th century,<br />ornamental turning began to reach a state of high development.<br /><br />| CONTENTS |<br /><br />----------------------------------------------------------------------<br />----------<br /><br />The Refinement of the Ornamental Lathe<br />by Holtzapffel, et al.<br />Generally considered in the same breath with the term "ornamental<br />turning" is the family name of Holtzapffel. John Jacob Holtzapffel<br />moved from Alsace to England in about 1785 and opened his engineer's<br />tool business in London in 1793. His first lathe was sold to a Mr.<br />Crisp on June 31st 1795, the outfit costing £ 25-4s-10d. When one<br />considers that today this would be over £ 2000, or $3000US, and that<br />the skilled mechanic of the day earned less than 8d per hour, this<br />lathe represented over 3 months wages. All of Holtzapffel's lathes<br />were numbered, and not all had full ornamental turning apparatus<br />included. By about 1805, after the Holtzapffel firm had reached<br />nearly No. 500 in their numbering scheme, almost all lathes had iron<br />beds instead of the previously used mahogany wood beds. The last<br />lathe sold was Holtz. No 2557, made in 1913/14 and sold in Nov. 1928.<br />No other maker of ornamental lathes matched the productivity of the<br />Holtzapffel family in the field of ornamental lathes.<br /><br />When John Jacob I died in 1835, about 1600 lathes had been sold by<br />his firm. Not all were fully equipped as ornamental lathes, but with<br />the large number that were, quite an impetus was given to ornamental<br />turning as a leisure occupation in England. The introduction of the<br />cutting frame by Holtzapffel allowed for significantly more complex<br />patterns to be cut as compared to what could be done previously with<br />only the drilling frame. The elder Holtzapffel standardized his screw<br />threads before 1800, his spindle thread being 9.45 threads per inch<br />for example, and the firm maintained this standard throughout all the<br />lathes they manufactured. This standardization was initiated long<br />before any kind of screw standards were established for industry at<br />large.<br /><br />The son of John Jacob I, Charles, who joined the firm in 1827, began<br />the monumental series of five books that were called Turning and<br />Mechanical Manipulation in 1835. This ambitious effort, comprising<br />over 3000 pages and 1600-odd illustrations, was intended to be a<br />complete survey and overview of all the mechanical arts of the day.<br />It was not until 1884 that Vol. V was published by the son of Charles<br />Holtzapffel, John Jacob II. However, it was not until 1894, with the<br />addition of a revised and enlarged version of Vol. III, that the set<br />was complete. Today, Vol's. IV and V of this series are known as<br />the "Bible of Ornamental Turning" because of their wealth of<br />information about all aspects of the craft of ornamental turning.<br />Charles managed the firm until his death in 1847. He was considered a<br />distinguished engineer, developing and inventing various devices. An<br />obituary notice remarked of him that,<br /><br />Mr. Holtzapffel probably never put his hand to a machine which he did<br />not improve, and his practice in the construction of machines has<br />been more miscellaneous probably than that of any other mechanist,<br />his workmanship more accurate, and his general mechanical<br />arrangements more refined...He had all the humility of genius without<br />its eccentricities, and his heart habitually overflowed with kindness<br />towarrd everyone around him.<br /><br />Charles' wife, Amelia, ran the firm until 1853, and in 1867, Charles'<br />son, John Jacob II, became head of the firm until 1896. He died in<br />1897. A nephew of Charles, George William Budd, became head of the<br />firm in 1896. Few ornamental lathes were made after the turn of the<br />century and the 19th century was known as the zenith of the<br />ornamental turning lathe. Many lathes were sold to the aristocracy of<br />England. The earl of Harborough, for instance, bought nine<br />Holtzapffel lathes between 1812 and 1848. This was certainly not<br />common, but is instructive of the popularity of these machines once<br />one developed an affinity for OT.<br /><br />The contribution of John Jacob Holtzapffel's work was significant in<br />several respects. As expressed by Walshaw (see Bibliography), "First,<br />he brought the cost of the machine down to a figure which a<br />mere 'gentleman' (or even a prosperous tradesman) could afford, and,<br />second, the design was both elegant and functional." His designs were<br />much improved over the lathes previously made on the continent of<br />Europe. Holtzapffel also was a master of marketing apparatus to his<br />clients over time. Improvements and additions to apparatus increased<br />the capability of his equipment and induced his clients to continue<br />to be his customers. The remarkable set of books by the family were,<br />in effect, an extensive set of owner's manuals for their machines.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq9uN33p2h14G0pCy4_bJVshRim9sPPGA9cZrttFZd39GyXyzDtukYQ834l1psNPCXVvYmsgFGxKO9H_rj96TN2iO4ptxqWFcLFHc47UGozzhl_IEes2AiWOBwwCaIoqNrmkJimYORrr4/s1600-h/2006_0509monkton0015.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq9uN33p2h14G0pCy4_bJVshRim9sPPGA9cZrttFZd39GyXyzDtukYQ834l1psNPCXVvYmsgFGxKO9H_rj96TN2iO4ptxqWFcLFHc47UGozzhl_IEes2AiWOBwwCaIoqNrmkJimYORrr4/s200/2006_0509monkton0015.JPG" alt="" id="BLOGGER_PHOTO_ID_5203207495266480898" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HBf7ZhymWetb_wlZeklbEt1octmM6eSKEnqSISlpDN6W1d7G5QsXAO-6-jbCp4PgPcbYY5bal4hsQErvlRckXGubxT2qVSteifgkUY2yN5Iphye5hrhTZ7MayazyNhsOHt8a7yDCEIc/s1600-h/2006_0509monkton0016.JPG"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2HBf7ZhymWetb_wlZeklbEt1octmM6eSKEnqSISlpDN6W1d7G5QsXAO-6-jbCp4PgPcbYY5bal4hsQErvlRckXGubxT2qVSteifgkUY2yN5Iphye5hrhTZ7MayazyNhsOHt8a7yDCEIc/s200/2006_0509monkton0016.JPG" alt="" id="BLOGGER_PHOTO_ID_5203207508151382802" border="0" /></a><br /><br /><br />In addition to the Holtzapffels, other makers produced ornamental<br />lathes. Among them were the ornamental lathes of John Evans (1843-<br />1919) which were of high quality and counted some improvements over<br />the Holtzapffel lathes to their advantage. A large number of lathes<br />were attributed to his firm, and improved overhead drives, sliderests<br />and cutting frames marked the work of this talented machinist. He<br />also wrote a book on ornamental turning which some find much more<br />easily understandable than the Holtzapffel books. George Birch and<br />Company made a few ornamental lathes, but they were essentially<br />engineers' metalworking tools which were given the necessary<br />components to do ornamental turning. George Goyen, a retired South<br />American railway engineer who took to making lathes as a hobby, is<br />generally credited with singlehandedly creating the finest ornamental<br />lathes ever produced. He probably made his lathes for his friends'<br />amateur use and only ten Goyen lathes are known to exist. There were<br />other makers such as George Plant, George Hines, Hulot, James Munro,<br />Joseph Fenn and James Lukin and many of them made lathes of a caliber<br />of workmanship equal to a Holtzapffel. Lukin also wrote a book (see<br />Bibliography) on ornamental turning and Frank Knox considered<br />it "second only to Holtzapffel in usefulness," as "Lukin clarifies<br />much of what Holtzapffel leaves unclear." There were indeed other<br />toolmakers who made ornamental lathes, but these makers are those who<br />have left us with extant examples of their machines.<br /><br /><br />A typical example of an array of ornamental cutters is seen in Evans'<br />book. This was an assortment of cutters that would be in a basic<br />collection from any of the ornamental lathe makers. Cutters such as<br />these were mounted in the universal cutting frame, the horizontal<br />cutting frame or the vertical cutting frame and could produce a great<br />variety of pattern, especially if the cuts from several cutters were<br />combined in the design of the pattern.<br /><br />Many specialized chucks and apparatus comprised a complete ornamental<br />turning lathe package.Typical of the presentation of apparatus for a<br />Holtzapffel OT lathe is this array of gears and accessories for the<br />spiral and reciprocator apparatus. They are housed in a finely-<br />crafted mahogany box, and are beautiful to look at and in use. A<br />drill frame was necessary to do work in which the cutter rotated as a<br />modern router bit would. Pearls and other features could be created<br />depending upon the profile of the cutter. An eccentric cutting frame<br />allowed for shallow circles to be cut with adjustments to vary the<br />diameter of the circle cut and its displacement from the central axis<br />of the piece. With careful thought and design, very intricate<br />patterns of a geometric nature could be rendered by this technique.<br /><br />Other apparatus included a variety of special-purpose chucks, such as<br />the eccentric and rectilinear chucks. It was also possible to create<br />ellipses and, by means of a compensating index, create equal<br />divisions of the ellipse. A geometric chuck comprised of a complex<br />set of interacting gears would allow tracings to be made that would<br />demonstrate complex geometric curves, such as the epicycloidal<br />pattern. Much ornamental turning was done in ivory, as it produced<br />the finest cuts and allowed for great delicacy of pattern due to its<br />hardness and strength. At times, incredibly intricate work was<br />performed by the Holtzapffel firm to illustrate to the public the<br />capabilities of their machines.<br /><br />A beautiful example of the finest work put out by the Holtzapffel is<br />in this Rose Engine Lathe, one of only 8 ever made. These were a<br />specialized type of ornamental lathe in which the headstock rocked<br />back and forth as controlled by a rubber moving against a rosette or<br />cam-like pattern mounted on the spindle at the same time as the lathe<br />spindle rotated. Rose engine work often reveals flower patterns, and<br />convoluted, symmetrical, multi-lobed organic patterns. It has the<br />potential to be very complex and to produce beautiful and unique<br />patterns unlike any other on the ornamental lathe.<br /><br />Excellent engraved plates of ornamental turning and an extensive<br />depiction of various OT apparatus can be found in Holtzapffel Vol. V<br />(see Bibliography). Much of the historic ornamental turning machinery<br />that has survived is now held by collectors or is in museums. Only a<br />small number of machines are still being used for their intended<br />purpose. Most of this machinery bespeaks an era of unbounded optimism<br />and is beautifully made and a joy to view and use. They represent a<br />time in history when quality still meant "excellence." To my view,<br />the makers and users of this machinery were obviously on a quest to<br />participate in the experience of beauty and "a thing done well," and<br />from our own perspective in time, succeeded admirably.<br />Here is an extract from the site Regia Anglorum,<br /><br /><p>Timber was the most important resource for the Anglo-Saxons and Vikings. The early medieval carpenter was not only skilled in working the wood, but also in selecting the correct timber and shape for the job. If the finished item needed to have a curve in it, the carpenter would select a piece of timber that had the correct natural curve. You can use natural junctions where a branch joins to the tree as joints that have grown to suit a job that you had in mind. These natural joints are stronger than man-made ones and save the carpenter a lot of time creating joints. Wherever possible they would 'follow the grain' to leave the finished product as strong as possible.</p><br /><p>To a certain extent, all the peoples who lived then managed their woodlands, although if a tree needed to come down for a building let's say, as far as we know they didn't replant to replace that tree deliberately. A thousand years ago, trees were still a resource that would have seemed limitless. It takes for example over 80-90 years for an Oak tree to become large enough to be useful. Large scale timber production had yet to make the impact it would later. A large stand of trees felled would just be providing clearance for yet more farmland. The Vikings are regarded to some extent today in Iceland as 'environmental terrorists', as they eventually felled all of the trees that had once grown there. The Iceland we see today has been irrevocably changed due to their habits.</p> <p>A great deal of Saxon and Viking woodwork was done 'green,' that is the timber was not seasoned (dried out over time) before working. This meant that the timber could be split easily (green oak can be split with a seasoned wooden wedge), and need not be sawn. The big advantage of using cleft (meaning split) timber is that it is less likely to crack as it dries.</p> <p>Most of the 'roughing out' and shaping was done with axes and adzes. The saw has obvious advantages. It can cut out a straight piece of timber every time, splitting can result in planks that are twisted etc. But the trouble with saws was that they were very expensive and difficult to maintain and make. At the time of the Domesday Book in 1086, only 13 saws were recorded in the kingdom. These were probably large saws for what is called 'ripping' down the beam of timber to create planks, as much smaller bow saws are routinely shown in manuscripts.</p> <table align="right"><caption align="bottom"><br /></caption> <tbody><tr><td><br /></td></tr></tbody></table> <p>The trimming and shaping with Adzes and Axes is quite a wasteful process as well. With saws, large pieces of wood can be separated from the job at hand, leaving you with a reasonable piece of wood that can be utilised for other smaller jobs. The Adzes and Axes just convert the unwanted timber into pieces only suitable for the fire. However, the bark would be stripped off for the tanners, as it contains tannin, especially if the tree had been an oak, alder or elm, and the bast fibres that lie just under the bark would also be pulled off to make rope and other ties. Willow, lime and again oak trees give some of the most useful bast fibres. And ultimately, any left over timber could be used in the Charcoal making process, or just burnt to keep the workers in the woods warm in the Autumn.</p><br /><table align="left"><caption align="bottom"><br /></caption> <tbody><tr><td><br /></td></tr></tbody></table><br /><p><br /></p> <table align="right"><caption align="bottom"><br /></caption> <tbody><tr><td><br /></td></tr></tbody></table> <p><br /></p><br /><table align="center" width="100%"><caption align="bottom"><br /><br /><br /></caption> <tbody><tr> <td align="right"><br /></td> <td align="left"><br /></td></tr></tbody></table>stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com1tag:blogger.com,1999:blog-750768114571175908.post-90108423072621383662008-05-12T17:48:00.000-07:002008-05-12T18:16:52.455-07:00returnable woodland skills<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD2_Xml85NlORbibcg0ZIqAJtro7QdAjlp6hyFoDvtgGlWXN2nFCKVaT6BXnZRWLsmp0zQqCm5IyP7ILWsQSc3cCehcwtIbatWoqPXdEc9pPHKFx3F5NrHz_1vB6egqjFJ6_yIcNrkg_Q/s1600-h/ladder+back+chair+2.jpg"><img style="cursor: pointer; width: 81px; height: 113px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD2_Xml85NlORbibcg0ZIqAJtro7QdAjlp6hyFoDvtgGlWXN2nFCKVaT6BXnZRWLsmp0zQqCm5IyP7ILWsQSc3cCehcwtIbatWoqPXdEc9pPHKFx3F5NrHz_1vB6egqjFJ6_yIcNrkg_Q/s200/ladder+back+chair+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5199662386942688578" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieWFLCHnIr9Y99BMOgRmxoisUezqdirdxIJpfd6uRSzM_P37FYluM_YEpBbFmffa3eDSLfS1vIFTfc0zemFfDIgMvpbwrDA1QFCuWmUj1HzpfkRKzy-XsqqiOMm7VkEoKk3cFQL0pHB3o/s1600-h/DSCN0636.jpg"><img style="cursor: pointer; width: 119px; height: 160px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieWFLCHnIr9Y99BMOgRmxoisUezqdirdxIJpfd6uRSzM_P37FYluM_YEpBbFmffa3eDSLfS1vIFTfc0zemFfDIgMvpbwrDA1QFCuWmUj1HzpfkRKzy-XsqqiOMm7VkEoKk3cFQL0pHB3o/s200/DSCN0636.jpg" alt="" id="BLOGGER_PHOTO_ID_5199661661093215474" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisYglmFukb3WuqlETUjWHHvcFfPPDrGKhcSBhLi7nHImDJYi5vuEAydPN9LRwTklNU3GBqpoyxQbgmrZGguM4idMst-R5TkBr1Kj9jVsJrKvjppYX0d3TfX8vPKn5EZxNxT3VBZ8XkJCk/s1600-h/bowmaking_at_shavehorse_2.jpg"><img style="cursor: pointer; width: 111px; height: 83px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisYglmFukb3WuqlETUjWHHvcFfPPDrGKhcSBhLi7nHImDJYi5vuEAydPN9LRwTklNU3GBqpoyxQbgmrZGguM4idMst-R5TkBr1Kj9jVsJrKvjppYX0d3TfX8vPKn5EZxNxT3VBZ8XkJCk/s200/bowmaking_at_shavehorse_2.jpg" alt="" id="BLOGGER_PHOTO_ID_5199661665388182802" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-O-_w5GFed95eAnLb-KyGvWURRlmB0_VCjdiOeR7dd_iIiIs091qvzEA8SddE1FGZsYJABb6QK6kVWWmvR5JIl6wzesglXVXHTU3t-TszCljKCiPSQaAXCZoDYjjgBGcM08nl0zvxFE/s1600-h/advanced+woodworking+arm+chair.jpg"><img style="cursor: pointer; width: 86px; height: 122px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk-O-_w5GFed95eAnLb-KyGvWURRlmB0_VCjdiOeR7dd_iIiIs091qvzEA8SddE1FGZsYJABb6QK6kVWWmvR5JIl6wzesglXVXHTU3t-TszCljKCiPSQaAXCZoDYjjgBGcM08nl0zvxFE/s200/advanced+woodworking+arm+chair.jpg" alt="" id="BLOGGER_PHOTO_ID_5199661669683150114" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7saOsRHOANhpHMxkbKYg8Akn6oFSUZtInRktiHoKypBOAcYz3BmPIiAFDr6tQf392McGiUFJX7cB4eOeZi4pvhqbfFMmNrJStRD-pLFeb2DkCdDKQfBhzhM4oQGCRQI1l801lPtrjWlo/s1600-h/DSCN0661.jpg"><img style="cursor: pointer; width: 87px; height: 117px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7saOsRHOANhpHMxkbKYg8Akn6oFSUZtInRktiHoKypBOAcYz3BmPIiAFDr6tQf392McGiUFJX7cB4eOeZi4pvhqbfFMmNrJStRD-pLFeb2DkCdDKQfBhzhM4oQGCRQI1l801lPtrjWlo/s200/DSCN0661.jpg" alt="" id="BLOGGER_PHOTO_ID_5199661669683150130" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJvg7zE-W_pHesQtM8rdKvjuNjXHIf4mnDuNY4mr20_gtBjNm0Jn_Rwvd0_dHtMpSNAsDBx72IDxNoKH-dg-6V6wUhZg3nD6ubpSo5eJXZo1dXnyJ17_fYXlwuCJkyUPFaAYh9828yZuI/s1600-h/DSCN0517.gif"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJvg7zE-W_pHesQtM8rdKvjuNjXHIf4mnDuNY4mr20_gtBjNm0Jn_Rwvd0_dHtMpSNAsDBx72IDxNoKH-dg-6V6wUhZg3nD6ubpSo5eJXZo1dXnyJ17_fYXlwuCJkyUPFaAYh9828yZuI/s200/DSCN0517.gif" alt="" id="BLOGGER_PHOTO_ID_5199661665388182786" border="0" /></a><br /><br />I am reminded by the response I received over the posting, which I put on my other blog, on coppicing and in finding another helpful site for Tim Noble , who sent in a comment on this subject, that one good place to start an article on design of furniture and its construction is right there in the woods. The art of tool making and the inicial use of tools was clearly a hunter gatherers art and skill, that desire to refine and tune tools is the essence that drives us now, it would of been first a need to help in hunting but that desire to embellish with design seems to have started very early on. The bow and cross bow are weapons and also means of producing motion for lathes, the simplest of lathes is the pole lathe and was still in use during the time of my grandfathers youth, he often remarked about the work done on such a lathe. They had the benefit of mobility, it was possible to use the branch of a living tree to give propulsion and the bodger, turner who uses green timber for making furniture, would work in the open very much a local rural craftsman. The art of drying timber was a later move to stop wood splitting when used inside a house, the bodger's furniture was more likely to be in poor folks houses and therefore had very little heating.stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com1tag:blogger.com,1999:blog-750768114571175908.post-31390872973706627922008-05-12T12:45:00.000-07:002008-05-12T13:38:42.386-07:00New blog on wood<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqPe8gdkzfqfhOm3KnFzBJceGguIS8_ztL__wHBPCGExg-r-ZS30I9scF2luWuNF9It57or-3TmHrLknD-OuX_wHkiy5L-IS__rnvMkLsY930B75aJp_bwY_4hJ93aYztfM_x5NawVlJQ/s1600-h/A_097.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqPe8gdkzfqfhOm3KnFzBJceGguIS8_ztL__wHBPCGExg-r-ZS30I9scF2luWuNF9It57or-3TmHrLknD-OuX_wHkiy5L-IS__rnvMkLsY930B75aJp_bwY_4hJ93aYztfM_x5NawVlJQ/s200/A_097.jpg" alt="" id="BLOGGER_PHOTO_ID_5199584622264827042" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_dQH6YiyE997JBEWV89lKDHJgadtbKPPQ3FjpRlqmjTvK_MqTVjNuwHyBuPy8pdgr869RVlYy9GCyK-s6ieLWs_pdToIeLOl88yW5w8tCW-Iy3BYLMOSGcsPRGzY97FYh-qp8Se6Uae0/s1600-h/work+completed012.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_dQH6YiyE997JBEWV89lKDHJgadtbKPPQ3FjpRlqmjTvK_MqTVjNuwHyBuPy8pdgr869RVlYy9GCyK-s6ieLWs_pdToIeLOl88yW5w8tCW-Iy3BYLMOSGcsPRGzY97FYh-qp8Se6Uae0/s200/work+completed012.jpg" alt="" id="BLOGGER_PHOTO_ID_5199584609379925122" border="0" /></a><br /><br /><br /><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMUFiTvs9VPJoG69Zg6_QpbZHoLQ0Fgvv4hT11DVeb7H8QnpfBEWlfvy0j2P8_YikBPqU_HKlhSmD1P43qF2YFEKpeV4EHofuEkv04pznoOUWRTEU4H16p0IN4XA0HAuXT3lbG8QIRU4E/s1600-h/A_057.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 147px; height: 110px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMUFiTvs9VPJoG69Zg6_QpbZHoLQ0Fgvv4hT11DVeb7H8QnpfBEWlfvy0j2P8_YikBPqU_HKlhSmD1P43qF2YFEKpeV4EHofuEkv04pznoOUWRTEU4H16p0IN4XA0HAuXT3lbG8QIRU4E/s200/A_057.jpg" alt="" id="BLOGGER_PHOTO_ID_5199584626559794354" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYeE_Mvl3iE7sNzKKLPl1gGvcBg_BylsOhvR4j7NHpSghPNPxvy0CRbmaIeFEO_OBS_dP1gZkBubFXUwz8bjlfNXMRiWFMf6b6vzfoQobl4ifWXCGIZZT4WS0dsrJAUTfqIN0MB9RzRBQ/s1600-h/home13.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYeE_Mvl3iE7sNzKKLPl1gGvcBg_BylsOhvR4j7NHpSghPNPxvy0CRbmaIeFEO_OBS_dP1gZkBubFXUwz8bjlfNXMRiWFMf6b6vzfoQobl4ifWXCGIZZT4WS0dsrJAUTfqIN0MB9RzRBQ/s200/home13.jpg" alt="" id="BLOGGER_PHOTO_ID_5199584605084957810" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCNCMfkPhYVMTrQ0EdsO6BRYQJgL9w-GDbjDRqS586GmlBWlfT5lPS0KHnNC6-HUCyvjE7mieHws9-n4fuAy64DYXjRz41D04eFDQzVJnTYEGNFm64B45sJX2qR6QZeQ_V2Hy_xlFrXI/s1600-h/A_075.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer; width: 152px; height: 106px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWCNCMfkPhYVMTrQ0EdsO6BRYQJgL9w-GDbjDRqS586GmlBWlfT5lPS0KHnNC6-HUCyvjE7mieHws9-n4fuAy64DYXjRz41D04eFDQzVJnTYEGNFm64B45sJX2qR6QZeQ_V2Hy_xlFrXI/s200/A_075.jpg" alt="" id="BLOGGER_PHOTO_ID_5199584613674892434" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />My great grandfather George Hill was a cabinet maker and by all accounts a very fine furniture maker at that. He made furniture for the Duke of Bedford as well as run his house as a small shop, coal merchants, coffin makers, cabinet makers and restorer. He did, however, have the failing of drinking in excess of moderation and at times being known to have thrown the family out of the house into the street, due to his drinking, also to be the owner of a fine early camera he often pawned the lens in order to meet the cost of beer for the weekend. I never met him, my eldest brother, 12 years older and wiser too boot, had the good fortune of knowing him and seeing his house and workshop, I am left to relate stories that were told to me and I am without proof of their honesty. Still for me he was obviously a man with passion and the small pieces of wood carving, I remember seeing as a child, that exsist show him to have been very skilled. Grandfather, Lewis Hill, worked for his father from early teens to the point of being married to Florence Patterson, although he had an apprenticeship with another cabinet maker before hand, clearly George Hill did not think it appropriate to teach his own son but wait for him to be useful in the workshop. The problem with family firms can be that everyone is expected to work for nothing and subsidise the business with long hours of unpaid work, this was the case with my grandfather and it led to Florence asking Lewis to stop working for his father and get another job that had a pay packet at the end of the week.<br /> My grandfather told of work that was hard, dusty and repetative, often using the old belt driven lathes and saws, not stopping to change speeds or drives but moving the wizzing belts with a piece of wood. Those times the whole workshop would rely on one traction steam engine that drove several rods across the workshop above the workers heads, to these where added pulley wheels and these drove canvas belts that went onto the pulleys attached to the various machines on the ground. The noise must of been deafening and the belts would have constanly blown the saw dust around the workers. It was before Henry Ford but with the same intention of mass producing articles, the turnings for chairs and tables would be slung into large boxs and then taken to the assemble rooms for fabrication. I will go through as many subjects as I can remember and not always in any order for this is more of a magazine than a guide book. If you have any wishes for a posting please contact me and I will research the subject and write on it. So here goes designs on wood.stuarts brasilhttp://www.blogger.com/profile/10430259839872413790noreply@blogger.com0