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.

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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!

Making Kitchen Knives – Part 15 – Tumble Time!

I was on and off working on this project in February. I have filled my tumbler with very fine sand (one that is used to fill in the spaces between concrete pavement bricks) and walnut shells and I polished the blades with increasing grit belts, then I stuck them into the tumbler for a day or two until I thought I can get the scratches all out after 12 hours evaluation.

It was still more time consuming than I would like to, mostly because many blades were ever so slightly bent, a problem that I really hope to solve with plate quenching in the future. On a bent blade, the concave part gets polished quickly, but the convex is a pain in the ass.

So I progressed slowly and at 150 grit I stopped, thinking that the fine sand can take the scratches out in time. It did, however, it took over a week in the tumbler, so next time I will go probably somewhere around 240 or perhaps even 320 grit before going to the tumbler. The blades did have a nice sand-blasted like look to them, so they were de-facto good to go functionally, but I thought they might be still improved by putting them in the tumbler some more. So I did, into a mixture of jeweler’s rouge (Fe2O3 powder) and crushed walnut shells. And I was right, they have now a very nice satin finish that I think is perfect for kitchen knives.

A mirror polish can be a bit sticky, so for kitchen knives, it is not the best option. I will see how sticky this polish is in a bit, but it looks good. Unfortunately, pictures do not give it justice, I won’t even try.

Time-wise, I have spent about 110 minutes per blade with this polishing process to achieve this result. So an improvement of 58%, but with a different look in the end.

Here is the blade line-up from worst to best:

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

The first left blade has a slight crack on the edge. Not from the tumbler – that would be possible, but it did not happen – but from the one time where I forgot that the blades are drying on a rug and I took it to wipe my hands. All twelve fell to the floor and this one cracked near the edge and will have to be re-ground to a different shape – I do not know which yet. It was also one of the curly ones and that might have played a role too.

The second blade from the left would be perfectly OK if I did not mess it up. There is a place about 1/3 from the tip where I run accidentally not over the edge of the platen but over the corner. I nearly ground through the blade there, making an unseemly spot where it is paper-thin. I will probably prototype this to a much smaller blade, like a peeling knife. A lesson for the future.

The third and fourth are the remaining two of the curly-wavy blades. One will be re-shaped into a fish gutting/filleting knife for my uncle, one will remain an all-purpose kitchen knife, only with a slightly narrower blade than intended. It will be more similar to the knife I gave my mom and my brother.

The next five blades have a slight bend to the right side that I was unable to straighten out. They will be functional, but cutting straight will be a bit difficult, so not ideal for bigger things like cabbage, but still OK for carrots, leeks and onions, and sausages.

The last three are what I intended to achieve. 25% success rate – a disaster. But I am still learning, so hopefully next batch comes out better.


Corona Crisis Crafting IV: Face Masks

Around the world hospitals are asking for volunteers to sew masks and I started already for my sister and her colleagues, as well as the relatives who care for her elderly patients.

I’m using this pattern and it’s super easy. Time needed is probably 15-20 Minutes per mask, so grab your fabric stashes and start sewing (finally you have the justification for keeping all those letter sized fabric pieces).

BTW, I guess that some protection nobody could measure in their experiments is that wearing them really keeps you from touching your face.

©Giliell, all rights reserved

I’ll also hand out instructions with them that read as follows:


I’m a washable cloth mask. I am not a medical product and should not be mistaken for one. I am especially no substitute for other measures like washing hands and staying at home. Please wash me before you first use me and after each use. I’m 100% cotton and can be washed at 60°. Caressing me with a hot iron is a good idea as well. I’m free. If you want to say thanks please stick to the guidelines put forward by the authorities. But if maybe you have some elastic lying around, that would be nice, so many more masks can be distributed.

Best wishes and take care


Corona Crisis Crafting III: Tools

Yes, I didn’t only stock up on resin, but also on tools, though admittedly I’d have bought them anyway.

The first one is a tiny foldable workbench. I still don’t have a workshop and if this lasts long enough for us to clean up the cellar we’ll also be busy digging up the garden and planting potatoes. Anyway, shaping resin mechanically makes a hell lot of dirt, so I prefer doing it outside anyway.

©Giliell, all rights reserved

The top plates can be moved together or apart and the little plastic thingies are cramps you can use to hold your stuff.

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Works surprisingly well. For the next part I removed the cramps and unpacked item #2: a plate to fix the jigsaw to:

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Oops, it looked better in the thumbnail. But you get the principle. This is so I can cut some larger pieces of resin. In the end I will get a bandsaw some day, but for now this will have to do. First object: a wannabe dragon egg.

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It’s got a piece of burl at the bottom and some gold flakes in the resin. As a container I reappropriated a milk box.

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I figured that every bit of resin I could remove with a saw would safe a lot of sanding later and girl was I right. It worked OK. As expected the vibrations were bad, especially when the angle at which I cut got small and of course holding the piece with two hands was not always possible. I will also add that I’ve got a very, very good jigsaw and the blade was new. Still a success.

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Today I unpacked another toy, eh tool, a plate grinder. I only have a belt grinder that is meant to be handheld and therefore a pain in the ass. This is something completely different and seriously makes sanding so. much. easier.

So here’s the remaining pieces before and after sanding:

©Giliell, all rights reserved: Bog oak and red resin

©Giliell, all rights reserved “Old something” and nails

©Giliell, all rights reserved: Burl and resin

BTW, if you ever want to ruin some sanding paper quickly, try having hot glue on your work piece:

©Giliell, all rights reserved

And, finally:

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The eggs aren’t perfect, but I’m happy with them. The one with the nails was hell to sand because they would heat up and burn your fingers on the other side of the piece…

Now for my favourite (cough, cough) part: sanding and polishing…


You Need a Steady Hand To Do This

Kestrel has decided to enter a painting competition for a micro mini model horse and she’s bringing us along on the journey.

There is a novice model horse painter contest coming up and I want to enter. The contest is specifically for the category of “micro mini” resin model horses – this is 1/64 of live size, and these little horses are made by a sculptor who then either casts or 3D prints them, depending on who is producing them. I’ve painted only 4 of these micro minis and I’m going out on a limb here – this horse is not done, so I have no idea at this point how he will turn out. I need to hurry though – entries close the last day of March! 

©kestrel, all rights reserved

Here is my painting area cleaned up and ready. I have pastels, acrylic paints, the model I’ll paint, some water, my glass palette, various brushes, a tiny piece of flexible sanding paper, a blade to clean the palette and toothpicks, which I use the way some would use a palette knife. 

©kestrel, all rights reserved

Now for safety! People are supposed to breathe air, not pastel dust or paint fumes, so here is my respirator and a pair of gloves. I also wear a visor on my head that goes down over my eyes, and glasses under all that. Hopefully no one comes to the door while I’m so accoutered… The model has to be scrubbed down with something like Comet. Paint won’t stick to finger prints, grease, or dirt, so from now on I won’t touch this model with my bare hands, I’ll always be wearing gloves until I put the final finish on him. 

©kestrel, all rights reserved

My model is already “prepped and primed”. The little donkey resin is not; he has holes and flaws in the casting, seams and rough areas, and all of that has to be filled in, filed down and fixed so that he has a perfectly smooth surface for painting. After the prepping, I spray the model with primer, in this case I used white primer. 

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I’m using this horse as my reference for how the markings will look on the finished model, although I’ll paint the marking as she is in the summer, all shed out and slicked off, not all hairy and dirty like she is here in the spring. Fortunately she lives right here at my house, so if I get stuck on how exactly a marking goes, or the right color, I can just go outside and look. (Plus I have about a million pictures of this little horse on my computer!) It’s very important to use a reference photo or photos. People show these models, once they’re finished, and the judges know very well how a horse should look. If I just made something up, I might accidentally put markings on a horse that are genetically impossible, and that would get marked down in the show ring.

I can’t take photos while I’m painting, so just imagine me putting the first layer of pastel on the model.

©kestrel, all rights reserved

Now I go to my spray booth, to put a layer of fixative on that first layer of pastel paint. The spray booth has a super powerful motor that pulls air through the filter, up through the hose on top and out the window. That way I don’t have paint all over inside the house, there are no fumes inside the house, and I can paint even when it’s cold or snowing/raining outside. The reason the model is on a piece of tape is because these tiny little things don’t weigh much at all, and as gently as I puff the fixative on the model, it will blow right over, possibly messing up the paint I’ve so painstakingly applied. You can see the white primer I used on the filter of the spray booth. I truly am a novice painter; this will be the 5th model horse I’ve ever painted, and that spray booth is brand new.

©kestrel, all rights reserved

Corona Crisis Crafting II: There be Dragons

Another cheat post, because I started those last week as well.

I want to redecorate the front yard and therefore ordered some very cool latex moulds. I still have plenty of pouring concrete left from the renovations, so I can probably breed a lot of them.

Here’s the first, not so good attempts:

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My attempts in supporting the moulds weren’t as successful as I thought they would be. The wings on this were supposed to be upright, which isn’t a big issue, but I also made my concrete too wet*, so when I tried to demould it after the recommended 5 days, it was still too wet and the tips of the wings broke off.

Next one:

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I left that one for a few more days to dry, which worked out well, but… the weight of the concrete pushed the head down.

For my next attempts I buried the moulds in damp earth. I’ll have to get myself some regular sand for the next ones, but I hope that this time they wont be flat.

Last one is a cute little croc, only that I broke off its tail, but that was easily fixed with some glue.

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*As my dad said: It’s too dry, too dry, too dry right until it’s too wet.

Corona Crisis Crafting I

Ok, this is cheating a bit, because I made the pieces over the last two weeks or so, but it’s still something pretty that you can make indoors.

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The necklace turned out very elegant and beautiful and I’m wondering what to wear it to, once we can go out again and support our local restaurants. It’s ten individual resin pieces with Bohemian glass beads to separate them. here are some of my favourite ones:

©Giliell, all rights reserved

©Giliell, all rights reserved

©Giliell, all rights reserved


From a File to a File Guide

I do not know where and when, but I have gotten a broken and rusty file that was too small to make a usable knife, but I thought I might find a use for it. Then, somehow, somewhere, I got another, very similar one. Almost as if I CTRL+C CTRL+V it.

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

I even nearly forgot about both, but the learning batch of kitchen knives is giving me some grief and I realized that among other things I do need a file guide for making ricassos if I am to make knives reasonably fast and comfortably (all 12 knives have mistakes now, but their whole purpose was learning and it was to be expected – these will be given out for free anyway).

And since I have to heat my workshop nowadays to do anything, I have used that opportunity and I tossed them both into the fire. I got them nice red-glowing and I let them cool down very slowly in the stove.

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

The next bit was pretty straightforward – I cut off the tangs with angle-grinder and I ground the rest flat-ish on the belt grinder with a pretty chewed-up 40 grid ceramics belt and nothing more. I do not have grinding attachment for flat surfaces yet, so I had to grind simply against the platen, but I have managed a flatness that I estimate about ~0,1 mm – there was a tiny bit of light coming through when I put them against each other and looked against a lightbulb – which is definitively good enough for its purpose.

Next, I have drilled two pairs of 5 mm holes down the center of one piece,  10 and 22 mm from each end, and I copied the holes into the other piece. To keep the holes reasonably aligned I have first drilled one hole, then used a 5 mm drill bit to keep the pieces aligned, drilled the opposing hole and so forth.

The four holes were not perfectly in line, but that does not matter that much and in the end, it has proven a bit of a blessing – the slight miss-positioning serves as a visible sort-of poka-yoke. However, I had to make temporary marks with a file on both pieces to keep their alignment in check without having to fumble each time I take them apart during the work.

With four 5 mm holes in both pieces, I have cut M6 threads in the inner pair on one piece and the outer pair on the other. The other four holes I have widened to 6 mm and chamfered the edges with an 8 mm bit.

I have found two M6 screws with wide-socket heads in my drawer, but I could not find any 6 mm steel stock. I thought I have one, but I thought wrong. I also could not find any M6 screws that had the non-threaded part thick enough for a good fit. So I had to make one. I started with a 6 mm thick old, bent and rusty nail and I cut out the approximately 100 mm straight part. Then I have ground it down to 5.8-5.9 mm using running slack-belt on my belt sander and spinning it with a cordless drill. And then I polished it a bit with old and used-up trizact A-65 belt.

Of course, staged, neither device was running for the photo-op. © Charly, all rights reserved. Click for full size.

I cut the resulting round piece in half and then came the most challenging part – to cut about 4 mm of M6 thread into one end of each bit. I failed at this, both shafts have the thread a tiny bit at an angle. I guess one of my future projects will be making a jig for cutting precise concentric threads, cause I certainly cannot manage it by hand.

But I could assemble the whole thing after that and it worked, although I cannot fasten the leading-rods too much due to the badly cut threads. But when assembled, it had no sideway wobble and that is all I needed. So I have assembled it, tightened the screws and ground the outside-facets into perfect alignment. And here is the nearly finished thing, gleaming in my grubby hand.

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

Now for hardening. I did not know whether the files were surface hardened or thorough-hardened, and of course, I had no knowledge of the carbon content of the nail I used for the leading rods, only that it was very, very soft. And even so, I wanted to make it as hard as I possibly can.

Therefore for the hardening, I did not go for simple heat-quench. I went for carbonitriding, which is the hardest I can make a steel surface in home-setting. For this, I took the whole thing apart again and I put the two flat-pieces and two rods into a steel tube together with a mixture that would, when heated, enrich the surface with both carbon and nitrogen.

Commercially this is usually done with various cyanide salts, but not only do I not have those. I don’t even want to have them. I have the training to handle cyanide properly, bot I do not have the means and the desire to do so. Luckily many ordinary things will do the same – leather scraps, bone and hoof dust, hide glue, soy flour etc. Anything organic that contains a mixture of carbon and nitrogen compounds. But I have not used any such improvised mixtures, I went for a 1:1 mixture of urea and dehydrated sodium carbonate. These two chemicals react together to produce sodium cyanate when heated. Despite the very similar name, this chemical is not nearly as toxic as sodium cyanide – its LD50 is about half of that of kitchen salt. And it works for carbonitriding.

I compacted the salt mix around the parts as well as I can.

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

Next, I put a cap from an old pea-can on it – it need not be air-tight – put it in the forge and the whole assembly went into the fireplace, because the first circa 20 minutes it produces rather noxious smoke that I am not too keen on inhaling.

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

It sat there for two hours with the burner on the lower setting. Temperature between 600-800 °C is enough for this and after two hours I should have a hardened layer of at least 0.2 mm.

When the time was up, I took the container out of the forge, took the lid off and dipped its contents into a bucket of cold water. A slight explosion took me a bit by surprise – either not all salt has evaporated yet or a piece of glowing hot fireclay dropped out of the forge (my forge, unfortunately, died in the process, the inner lining has finally disintegrated completely), but it was just a little bang and nothing dangerous.

All the pieces were successfully hardened, although one flat piece developed a very slight bend – a few tenths of an mm. But I could still assemble everything together, so I did that. I tightened the screws and tempered the whole thing for two half-hour cycles in boiling water – I wanted to relieve some of the stress so it is not as brittle as glass, but I also want it to retain as much hardness as possible.

A few passes with scotch-brite wheel cleaned all the crud off and buffing with abrasive pastes polished the scratches enough for a bit of protection against pitting corrosion.

And that is it, I now have a file guide. Despite my lax attitude to precision, it does not wobble but it opens/closes easily, the surfaces are hard enough for ordinary files not scratching them and it is from recycled materials, which is my favorite kind of material to use for such thing.

© Charly, all rights reserved. Click for full size


Resin Art: Fitting a Square Peg in a Round hole

Yes, I’ve been productive last week. Last night I sanded down some pieces I had cast some days ago, finally revealing their true shape. One piece contains some of Marcus’ burl and I wanted to try something new and I’m quite happy with the result, unlike with yesterday’s catastrophe.

The piece started out as your basic square block. I drew the oval shape I wanted it to be on the back and the front and then set to shape it with the belt sander (this time without also sanding my hand in the meantime. It’s a nice scar I got myself the last time). After I had the general shape I set to creating a dome so it would become a regular cabochon. I’m sure you have already spotted the problem here: taking out one sharp edge with the belt sander creates two more, so I only worked out the basic shape and then went to hand sanding.

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This is what I got after the belt sander. You can see the shape and also the deep, deep scratches. Now sanding paper creates the same problem as the belt sander, unless you keep the piece still and move the sanding paper. I prefer a different method for smoothing edges: First I like working with sanding fleece anyway. For the rough sanding it’s much more durable than the sanding paper. It#s also thick so it creates naturally smooth curves. Once the rough sanding was done I simply placed my wet sanding paper on top of a piece of fleece and kept sanding. It’s a hell lot of work, but I can tell you, the moment when you wash off the grit and for the first time it becomes really transparent and shiny? Pure magic! With this piece that happened at a 3000 grit and got “fixed” with abrasive paste.

©Giliell, all rights reserved

©Giliell, all rights reserved

Now I have to figure out how to turn it into a necklace…

But wait, there’s more!

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This little fellow is a scrap of pear wood. It is part of a longer piece. the top got turned into something else and the bottom got turned into this. Isn’t that wood gorgeous?

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I tried to give it roughly a crystal shape, but it would not hold the edges. I’m not sorry, I love it the way it is. Also, it’s shape just nice to hold.

The last piece is oak wood. I experimented with some cheap pearl pigment and I quite like the effect:

©Giliell, all rights reserved

©Giliell, all rights reserved

Since I had some problems with the sticky tape that enclosed the cast getting stuck in the resin I had to take off quite a lot of material, but I am please with the result nevertheless.