Making Kitchen Knives – Part 16 – Human-knife Interface

Last time I did this, I shaped the handle-scales first, then I fumed them wit ammonia and then I glued them onto the knives. This time I have changed the order of doing things, but time comparison should still be possible.

After taking the pieces of wood out of the solution I have left them dry. First for a few days outside, out of direct sunlight and out of the wind, with both end-grain ends covered with plastic to reduce cracking (still insufficient, next time I will have to try something more drastic). After they were dry and stink-free, I put them for a few days into the direct sunlight to dry even more, and then I left them to stabilize in the workshop for a few days. That way the wood should be neither too wet nor too dry and hopefully, it won’t change in size too much.

When I started to polish the pieces to sort them out properly – any markings were taken out by the solution – I could not find the oak pieces anywhere. So I took an offcut that was not in the solution and I polished that a bit and I realized that it is not, in fact, oak, but an especially dirty and grimy piece of black locust. I do not even remember where I got it and why I thought it is oak in the first place…

Anyhoo, after grinding all the pieces to flat and parallel, I drilled the holes for pins, cut all pieces to a rough shape on the bandsaw and I paired them up and I shaped and fully polished the forward-facing facets since those won’t be accessible once the scales are glued on. What I learned here was that I will need some finer scaled drill bits, since different woods react differently and when you drill with a 6 mm drill bit, the resulting hole can be anywhere between 5.5 and 6 mm. And trying to force the 6 mm brass pins through some pieces was a real pain in the nether regions. I have to drill the holes in wood ever so slightly bigger than the intended pin, but whilst 6.5 mm was fine for the softer woods it was almost too much for the harder ones.

The next step was glue-up.

To get as near perfect flat surfaces as I can, I have bought a spray-on glue and I used ti to attach a piece of coarse sandpaper to a granite tile. It worked really well, I have got a very nearly perfect match between the tangs and the scales on all twelve knives, the best result I have got yet for this type of handle construction. But I also managed to get a lot of glue on my hands and I lost the spray nozzle when wiping it off and it took two days before it resurfaced under the shop vacuum. So yeah, not my finest hour and the good came with some bad-ish.

During the glue-up, I have suffered from a common ailment –  the insufficient clamping power syndrome. I had to do it in two stages, gluing six blades in the evening and the remaining six in the morning next day, Which was not too much of a problem this time,  since I was tired and I would have to call it quits anyway, but I will probably need some more clamps or maybe even some thingamajigs for gluing the scales on the tangs more efficiently.

© Charly, all rights reserved. Click for full size.

And this is what I got in the end – a pile of roughly shaped handles attached to the finished blades.

During the subsequent grinding to shape with a 40 grit belt, I still could not do too much to evaluate the real effect of ammonia fuming on these woods, but I did get some inkling of what the results might be already. And let us say that for some of the woods I have preliminarily considered the results promising, for some surprising and for some completely “meh”. More about that when the knives are finished.

This whole step took me approximately 73 minutes per knife, and that is a significant improvement against last time – 38 minutes, 34%.

The last step is polishing the handles up to ~300 grit (already done) and putting on a protective coat of boat lacquer. That will take about a week, an hour or so a day. We shall see how that goes, but that part should be relatively free of any surprises.

YouTube Video: DELIBERATE DESTRUCTION – Film and TV weapons

I found this video to be informative and interesting, as well as very painful to watch. I cannot imagine doing something like this to a knife that I have spent several days making. I would do it if I got paid and the destruction were for a purpose, as it is in this case, but even so – ouchouchouch…

Corona Crisis Crafting IX: Restoring my Earrings

Apparently some people take off their earrings before taking a shower or going to bed. I’m not one of them (unless they have some parts that must not get wet or are huge ones for special occasions), so I tend to periodically ruin my cheaper earrings. The pair I was currently wearing is a cute fox where the stopper is actually the body of the fox so you have the whole animal dangling from your ears. Since I can’t go out and get new ones and also have some time I decided to restore them using UV resin.

©Giliell, all rights reserved

Here you see the sad remains after about three months of constant wearing. From behind it looked like the red was some kind of shrink wrap with little adhesion to the metal. First I cleaned off the remaining paint. The paint around the eyes looks like it’s proper enamel, so I left it at that.

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Next I coated the parts in several layers. One difficulty is the attachments of the tail, since resin would glue it to the body permanently. I worked carefully there with moderate success. Another thing is that resin leaves a lot of volume. The previous “shrink wrap” paint showed off the contours you can see above, but in the restored version they are gone. Foxy probably got a thicker winter coat. Also the colour is more brownish.

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Here’s the finished version. I quite like how they turned out. Kestrel would probably laugh at my clumsy painting skills, but I can live with that.

©Giliell, all rights reserved

©Giliell, all rights reserved

 

And here’s some bonus Pikachus. Because why not have a flock of them?

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The Results are in….

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The tiny horse painting competition has been judged and Kestrel tells us,

I did not win anything but I got an honorable mention in the Gallery division, and the judge – a very well respected top level artist in the hobby – made nice comments about my entry. So that was nice, I appreciated that she made comments. Thought you’d like to know! 

Thanks for the update, kestrel. It’s too bad my vote doesn’t count because I think you should have won first place.

Corona Crisis Crafting VIII: The Dragon Egg

After lots of sanding and polishing and some more sanding and polishing and then dropping it on the concrete because it’s so smooth and getting a dent in it which I won’t sand out again, the dragon egg is done.

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What you can see in this picture is that I didn’t get it completely round. For one thing, I don’t have a lathe on which I could actually turn it. The other one is that I wasn’t willing to remove so much material. The piece of burl that I used was a triangle and if I’d gone for a really round design, I would have lost about an estimated 30% in size. Also I don’t think that most people will notice anyway.

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There’s that damn scratch on top. Clearly not my favourite side. One thing about the resin I’m currently using is that it allows for rather thick pours without many bubbles. Usually the maximum in fast curing resins is 1cm (though it depends a lot on how you’re mould is. The other eggs I posted a while ago have more than 1cm in any direction, but they also have a large surface that allows for cooling). This block had a lot more than that in any dimension and actually I’d speculated on getting bubbles, which I thought would look cool. But as you see, nothing happened. Sure, it got warm and cured super fast, which allowed some of the gold leaf to stay afloat, but no bubbles. Definitely a good resin for dragon eggs.

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OK, I got one bubble, probably from when I stirred the darker blue resin that you can see in this shot in. The burl got a bees wax coating to make it shine.

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Here you can see the odd shape of the burl. The remaining bottom is clear resin. While the biggest part was poured in one go, I actually did three castings: the first one to create a solid bottom, gluing the burl into the mould. BTW, I used an old milk carton for that. The second casting added one thin layer to the burl:

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Fluorescent pigment, here under UV light. In normal daylight this is just blue as you can see in the pic above. It glows white under UV light and then…

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…it glows green in the dark.

I think I’ve proved to my own satisfaction that you can make dragon eggs without a ladle and it#s definitely something I want to repeat, probably with a somewhat larger piece, though I already dread the sanding…

 

 

 

Corona Crisis Crafting VII: Finally Finishing a UFO

In crafting circles, a UFO is an Un Finished Object and they tend to be common. You may remember that some time back voyager sent me a giftbox that contained lots of pressed leaves and I wanted to do something special with them. I had bought a set of small couch tables from IKEA and wanted to turn the larger one into a resin covered table. If you look at the pictures from Ikea, you can see that they’ve got a rim around them and I didn’t want to fill that with resin during the first casings, so I carefully taped around the rim using gaffer tape.

Well, let met put it like this: there’s still resin on my kitchen floor. Also some of the leaves very stubbornly refused to take on any resin. And removing the now resin glued gaffer tape took off parts of the white coating.

Now of course I needed something else to construct a barrier around the table and I decided that I could hotglue some firm plastic round it. Once it was finished I would heat the glue with a hairdryer and remove everything. This created a resin proof barrier. To hide all the horrible things that happened to the tablerim I poured some orange there. and tried to persuade the damn leaves to please let themselves be coated. In the end, the hot glue removal involved sharp knives and took off a lot more paint and I think you can see why I lost a bit of enthusiasm. Because I don’t have a router I needed to carefully round the new sharp rim by hand. Also the orange hadn’t managed to hide the damage completely, so I decided to leave it matte, which actually does look quite nice. At this point i was so fed up that the table went into the Lego room unfinished until I took it out again this week.

I painted the sides again where the colour had parted with the wood, and looking at it in the sunlight I noticed that my top was anything but nice. now I probably only have myself to blame. When mixing resin you have to make sure it’s well mixed. There are certain amounts that mix well in a 0,2l cup. Too little and you stir in too much air. Too much and you can’t mix thoroughly anymore. If you want to do it right you mix, pour it into a different container and mix again. Usually I am too lazy for that and when working with small amounts of coloured resin it doesn’t matter, because you mix it again when you add the ink and then you see perfectly well if you need to keep mixing. This time, not so much. I tried polishing it out with chrome polish, but that didn’t work. I tried 2000 grit paper to no avail and then decided to go back to 800 grit and you know how much that hurts. I got most of the “stains” removed and it does look ok when not seen in direct sunlight. Thank goodness the window in the Lego room is quite small…

©Giliell, all rights reserved

©Giliell, all rights reserved

©Giliell, all rights reserved You can see the spots here where no resin ever stuck.

I do have ideas fro the second table in that set, now with a lot of knowledge about “how not to do it”. When I do that one I’ll probably give this one a well mixed top coat, but until then I#ll call it finished. Of course I#m less than totally happy with the result, but it’s still a pretty and unique piece of furniture.

 

Corona Crisis Crafting: Smoll Things

There are some larger projects still in progress, like the dragon egg, but in between there was time for some smaller things, especially some that could be done with the kids.

#1 A birthday gift

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At school we have the tradition of “Geburtstagswichteln”. Now, Wichteln is what you’d call “secret Santa” at Christmas, but since the German word comes from “Wichtel”, a gnome, you can use it all year around. Tomorrow is the birthday of my recipient and since I cannot hug her or give her a present I sent her gift by mail. A necklace in the “smoke in resin” style, Lindt chocolates and nasturtium seeds for flowers.

#2 Shakers

You will remember my shaker disasters. After the second try I simply gave up and ordered some moulds.

They come in two varieties. Number one: open

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To finish them you need overhead transparency film and UV resin. You cut a piece of transparency to fit over the opening. Then you fill in your glitter and glue the transparency to the mould using UV resin. Then you fill the shaker with baby oil through the tiny opening you can see at the basis of the TV set and close that opening with UV resin. Finally you put a coat of resin on top.

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The other version comes with two moulds, one for the shaker, the other one for the top

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The idea is the same, just without the transparency. There’s also a little piece to close the opening, but it’s not in the picture. I sent the first set of those to my friend so she can craft them with her kiddo as well. I know she’s got UV nail polish so she won’t need to go shopping for UV resin. I also noticed that while I know exactly where cutlery and plates are in their kitchen, I had no idea what number their house is…

#3: And, you already spotted them: Pikachus!

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These moulds are a set of four. I first cast them in normal resin and then added the details with UV resin. The local Pokémon expert informed me that the eyes were all wrong above so I had to do them again. Working with black and white UV resin is tricky because, duh, they’re opaque and need a lot of UV light and time for curing. So if you spot a madwoman with sunglasses in her kitchen, don’t worry, she’s a madwoman wearing proper eye protection.

#4 Landscapes

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I saw these moulds on Youtube and I was really fascinated by them. You cast the pieces in two steps: First you do the landmasses as you can see in brown here, then you put those into the other moulds and pour the sea. They are really pretty (the image doesn’t do the finished brown pieces justice), but they’re also a bit on the small side, as you can see in the Euro coin next to them (for ‘Muricans, a little less than an inch). I think they would work best in a necklace putting several of them next to each other, but for that I’ll have to cast them in the same colours.

Well, that’s it for today. See you next when it’s time for “thank goodness my hands are keeping my mind busy”.

A Walnut Collecting Thingamajig

Collecting walnuts is a really unpleasant chore each fall. For a week or so we have to pick up several hundred walnuts each day from the ground and put them into a bucket, putting a big strain on back and legs. Two years ago I have improvised a little thingy that makes this work a lot easier, and this year I have perfected the design and made two pieces.

It © Charly, all rights reserved. Click for full size.

It is nothing complicated, just a ladle with a very, very long handle. The handle should be so long that when you hold it against the ground at a comfortable angle where you can scoop up the walnut, it should be almost balanced at the point where you hold it, just a few cm before your hand. That way it requires almost no strength to manipulate and you can pick up the walnuts from the ground and put them into a bucket with minimal effort. It works so well that even my mother was able to do it even though she cannot walk around without a cane anymore.

The first prototype was made from a tin can and an aluminum pipe for window curtains, the second prototype was an old soup ladle with an old broom handle.

For the final version, I bought two cheap stainless steel ladles with flat handles. Then I took two willow branches, stripped them from bark and let them dry for a few days indoors over the radiator. When they were sufficiently dry, I have scraped and sandpapered them to a smooth surface finish so there are no splinters anywhere.

There are several options on how to fix the ladle to the end of the stick. I have simply cut about 15 cm slit into the thinner end of the sticks it and I also cut a piece of pipe that fits snugly around it. Then I inserted the ladle handle into the pipe, then into the cut in the stick and I hammered the pipe over the stick as a bolster. It does not need to be super strong, just strong enough to hold the ladle in place. Should it ever get loose, it should be possible to fasten it either by hammering the pipe further up the stick or by inserting a wedge.

As a final touch, I have screwed two steel hooks on the end so I can hang it in the shed, and I covered it with linseed oil to protect against moisture.

I have chosen willow, because it is extremely light and porous, dries up quickly and is for me relatively easy to get at appropriate size. But you could also buy shovel handles for this if you decide to make your own. They will be slightly heavier, but they will work. Broom handles would work too, but they are straight, and that is not optimal.

As you can see, these sticks are not straight, they have a slight bend to them, just as a shovel handle does. This helps a bit because the ladle naturally balances to a position where the nut stays in it. So you only need to exert force when picking up something, or tipping it out, not to keep it in. But one of the sticks was not only bent but downright crooked in all kinds of directions. And I did not guess the balance correctly when cutting the groove for the ladle handle on that one. That one tended to twist in the hand, causing it to not function comfortably.

So I had to re-shape it.

In case you ever need to correct a bend in a piece of wood, here is the most minimalist way:

1) Fix the piece of wood to your table or in a vice near the portion where you want to bend it, with one end freely accessible.

2) Hang some weight on the end of the stick and make any adjustments so it bends the stick in the desired direction. Here you can see me using a bucked and two bricks with a rope. That also allows me to regulate the extent to which the wood will bend – when the bucket rests on the ground, bending stops.

© Charly, all rights reserved. Click for full size.

3) Wrap the area where you want to bend the stick with a towel – paper or cloth, does not matter – soaked in water. Really soaked, water should drip from it. Then wrap the towel tightly with tinfoil, but do not squeeze the water out of it.

4) Try and build something around the tinfoil that will help to keep hot air to hold in place there for a bit. Here you can see me improvising with fireclay bricks and a piece of aluminum profile.

5) Heat carefully the tinfoil with either heat gun or propane torch at least until hot water starts boiling and dripping out of it around the edges and then some more. With a heat gun at 550°C it took me about two minutes. The wood gets soft and pliable under the foil and as long as it is hot, it can be bent a lot more than it would normally be without cracking.

6) You can either let it cool wrapped or if you are in a hurry, remove the foil and wet towels without burning yourself. The wood cools quickly and when it does, it will retain most of its new shape.

7) Repeat on different parts of the stick as many times as it takes to get it right.

Corona Crisis Crafting VI: A Dragon Needs a Tower

While the next batch of dragons is drying, I built them a tower to live in, because that’s a natural dragon habitat.

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That first layer of stones needed to be absolutely even, because any differences in height would multiply by the time I got to the top. I filled the middle stone with concrete and anchored it in the ground with some construction steel, because this stone carries most of the weight of the next layers. I used up some left over gravel to fill in the gaps. The stones are set about 10cm into the ground so they aren’t pushed apart by the weight of the stones on top.

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The next two layers. The stones are glued together by construction glue, the kind you can lift a car with. I am very proud to tell you that the second level only had a two mm difference in height on one stone, which is probably due to the stone itself. I let it set over night and finally today the first inhabitants could move in.

©Giliell, all rights reserved

©Giliell, all rights reserved

 

There’s going to be one more on the left side. The two slightly mishap dragons also move in, lurking behind the bushes.

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I’m also happy (haha) to tell you that my mum is back in her good (haha) old shape. Yesterday I sent her a pic of the finished but unplanted tower. “You are aware that you can’t go to the hospital now if your back hurts, right?”

Today I sent her a pick of the finished tower, with grandkid! “Are you lurking around in hardware stores or what?!”

Yes, mum, I love you, too.

Making Kitchen Knives – Interlude 2 – Picklin’ Scales

Today I took a bit of time and I have chosen and cut to size some wood for the handle scales. Among the species that I have chosen for this experiment are: Black locust, Cherry, Jatoba, Black elder, Larch, Oak and some unknown semi-rotten wood, probably birch.

© Charly, all rights reserved. Click for full size.

Because the purpose of this project is to gather information, I have taken all these various pieces of wood and I have given them into a jar with a mixture of ammonia and alcohol. I have written about this process before as “ammonia fuming”. The ammonia reacts with acidic lignin compounds in the wood and thus artificially ages it. In some woods the effect is really subtle – and I already know that using it for maple is a waste of resources – but on some woods, it can be really profound by giving the wood significantly darker and richer color. Oak should get almost ebony black after a few days. The rule of thumb is that if the wood has differently colored heartwood, then it is worth a try.

Some color will leech out into the solution, as you can see already (it was not a fresh solution), but that should not be a problem, it will not seep into the wood itself any more than any other pigment would. What is important here is the chemical reaction, if the wood does not react with the ammonia, it won’t change color significantly no matter what.

Ideally, only ammonia fumes would be used, with the sitting wood above the solution. But I cannot do that comfortably yet, for that I will have to make a grit of sorts that I can put into the jar. If I will ever bother, because whilst that process is a bit safer, it is a lot slower.

That is why I have added alcohol to the solution. It reduces the swelling of the wood during the soaking and subsequently reduces shrinkage and risk of cracks when drying. Plus it makes the subsequent drying a bit faster. That is something that I have tested already on two pieces of fresh birch which I have subsequently put away somewhere in my wood stash and now I cannot find them.

I will take the pieces out of the solution after a few days and let them dry outside for a bit (they stink like hell as you can probably imagine). Then we shall see what has happened to which wood. Some effects can already be seen after a few hours.

Excuse me, I’m a Little Horse

Kestrel’s little horse is looking better, bit by bit.

Progress! I thought it might be interesting to see how the layers of fine pastel dust build up. People who have never done this before don’t realize that it just takes time and patience; you don’t have to glob the pastel on there, thin tiny layers are the way to go. The nice thing about pastels is they are very slow and you have a lot of control, but it takes many layers to get a nice deep rich color. I’d also like to point out that I changed the markings from the living horse a little bit. It’s one of the nice things about painting; if you don’t like where a particular thing is, you can just move it over a little, or add on an extra blob here and there! 

©kestrel, all rights reserved

©kestrel, all rights reserved

©kestrel, all rights reserved

©kestrel, all rights reserved

Aaaand… now it’s time for some details with acrylics! Acrylics kinda scare me because they are very fast. They dry out so quickly in my area I sometimes can’t even get the paint on to the model, because it dries on the brush as I’m trying to apply it. There are products that slow down the drying time on acrylics and I am using them here.

Although the acrylics are perfect for details, you just can’t get that same degree of blending and shading as you do with pastels. Some people use an airbrush for the blending, but I don’t have one, so it’s pastels for me.

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He’s starting to look like a horse now. In case anyone wonders, eyes are about the last thing you do. It would be very sad indeed if you did the eyes, got them perfect (NOT easy, especially at this scale!) and then the model fell over into a puddle of paint and ruined them. So, you save them for the very last. They really help to bring the piece to life.

It’s starting to look like I’ll be able to get him done by the deadline!