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:

Hello,

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

 

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! 

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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. 

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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. 

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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.

©Giliell, all rights reserved

 

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

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.

©Giliell, all rights reserved

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!

©Giliell, all rights reserved

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?

©Giliell, all rights reserved

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.

New Forge Build – Watching the Cement Dry

As a mold for the inner chamber, I have used a piece of a paper tube of slightly bigger diameter than is my goal and a bottom made of plywood with supports that could hold the forge on its side like an impromptu bucket. I have covered the plywood and the tube with a plastic paper bag to make it waterproof. For the inlet-outlet channels, I have inserted into the orifices plastic tubes at an angle. Both tubes are at an identical angle, slightly inward and off-center. The idea is to create a rotating vortex of hot air in the forge since in the previous one I got the best results when I have managed to achieve this. Both channels should be approximately the same.

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

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

After that, I have mixed ordinary fireclay with pearlite at a ration 1:3 to the consistency of dry cement and stuffed the whole structure almost full, with only about 5-10 mm gap at the top (at the bottom the gap is taken care of by the thickness of the plywood. I think I have used too little binder (water glass) – I have used the amount recommended for the fireclay and I forgot that the dry pearlite will suck out most of it – so the result is not very strong and it is a bit crumbly. But I hope it won’t be a problem since it is not a load-bearing structure and I will make 5-10 mm hard coating on top after it dries. It did not crumble when I have carefully taken out the tubes and the plywood bottom after three days.

Now it will take its time to completely dry. Today it is over a week and still, it is very wet. I have added a fan to blow air through it to aid the process a bit, but even so, I suspect it will take at least a month to dry properly. Luckily I have twelve knife blades hardened and in work now, so I won’t need the forge for some time. Plus soon there will be more than enough work in the garden to keep me occupied for weeks.

So, in the meantime, we all can watch cement dry.

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

 

Making Vice Jaws

I could not work on anything else much today. Outside it is still very windy and the workshop concrete floor was freezing cold even with the fire roaring in the stove. So I could not be there for more than two hours at a time and then I had to go inside to warm my feet for about the same. But I have managed to do something useful – three sets of jaws for my bench vice.

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

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

On the left aluminium, then beech wood and then spruce wood covered with an old carpet. I needed these for a long time and I had to do with impromptu padding the jaws of the vice with slabs of these three materials several times on each project. And impromptu padding leads to time loss each time you use it, not to mention the cussing. For a hobbyist making one – two knives per year it is not a big problem, but now…

The dark spots on the backside covered with masking tape are where a strong 6×3 mm neodymium magnets are hidden – they collect the magnetic dust in the shop very quickly. Thus the masking tape. I had eight these magnets for a long time and I had no use for them, so I have used them for this.

And the jaws work very well. The grooves on the alluminium ones might be a bit too shallow for stock thicker than 10 mm, but I am not going to do anything about them just yet, they do seem to work just fine as they are and I will probably need to hold even 3-4 mm stock in them more often than something bigger, so they cannot be too much deeper than they are.

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

Working with aluminium is a bugger. Whenever I have an urge to file, cut or drill aluminium, I usually sit down quietly in the corner and wait until it passes. But sometimes there is no way around it.

Did I already mention that working aluminium is a bugger? It is worth repeating. It is soft but relatively strong in tension. It is an extremely good heat conductor. And it is also extremely prone to galling and cold-welding. The end result is that it blunts and overheats saws and drillbits and clogs-up files and abrasives.

A few years ago I got a useful tip from a machinist at my former workplace. I complained about how filing and cutting aluminium by hand is more difficult than steel because of the clogging of the tool teeth. I told him that I tried using powdered chalk to coat the file and clean it with a brass brush – a tip from another machinist – to prevent this, but it did not seem to work very well. And this machinist told me “wet your file with alcohol to keep it cool”.  And it does indeed help a lot. I still need to keep a brass brush at hand to clean the file from time to time, but the alcohol does prevent the shavings from sticking to it very strongly. And unlike oil, it dries off and does not make a mess, so I use it for drilling aluminium too.

Even so, it is worth repeating. Working aluminium is a bugger.

 

New Forge Build – Start

The lining inside my portable mini forge is starting to fall apart, and instead of repairing it I have decided to build a completely new one. I have observed a few problems with the old one, how to achieve the best circulation of the hot gasses etc, and I think I can do a better job at it now than I did then.

I started with a rummage around my junk-pile. I thought about the hows and whats and I selected a few pieces of steel v-profile, a few treaded rods with matching nuts & washers and a long piece of stainless chimney duct. Then I made a sketch (sorry for the grime, it occurred to me to make the pictures only after  I have done all the work).

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

It is slightly bigger than the previous one, but it should still be easily portable. And the fireclay bricks fixed at the front and back will save me some time preparing for my work. I hope. I see no reason why it should not work as expected, but proof of the pudding is always in the eating. In my previous job, I have always reminded engineers that reality, not their expectations, is the ultimate arbiter of what works and how.

After I was done with the sketch, I started to make a list of parts. I have decided to not weld it together, but to use screws. Partly because my welding sucks big time, partly because the fireclay bricks are all miss-shapen and of different sizes and I wanted to have a bit of room to play and partly I reasoned that if it all goes south, I will be able to disassemble it easier. This has meant however that I had to ad a lot of nuts, screws, and washers and that has proved to be a bit of a problem. A lot of the M8 nuts and screws in my junkpile were rusty beyond rescue and I had trouble getting all I need.

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

However, I have managed to get everything I need without having to go shopping. I cut the steel profiles to size, wire-brushed them, drilled holes, then filed some of the holes to an oval shape in order to be able to adjust the size of the holders for fireclay bricks and I assembled it to try it out. It seemed to work alright, so today I disassembled it all again. Then I degreased every profile thoroughly with acetone and I spray-painted them with silver stove paint (not the duct, since that is already stainless and the paint would probably not hold on it anyway). When the paint dried, I could finally assemble the whole thing together.

Here it is.

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Today I have made the mold for the inside – the actual chamber and the in- and outlet. This time with my old trusty method “just wing it, mate”. Tomorrow I hope to fill it with refractory cement.

I will post about how that went.

How to Make a Soft Buffing Brush Wheel

    1. Materials: Threaded rod or long screw, two matching nuts and at least two washers. The bigger the washers the better, to spread the load more evenly over a broader area. Further, you will need some sturdy paper and very sharp scissors or a razor. And the final ingredient is a lot of soft, thin string, at best some sort of linen or cotton.

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

    2. Cut several (in my case it was 24) identical semi-circles out of the sturdy paper, with the radius of the desired buffing wheel.

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

    3. Divide the semicircles into pairs and wrap each pair evenly with the thread so that approximately 60% of the paper is covered. It is good to wrap each pair in approximately the same amount of turns.

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

    4. Prepare one nut and one washer on the rod a few cms from the end.
    5. Pull string between the paper of one of the semicircles and tie it around the threaded rod as close to the washer as possible. You probably won’t be able to tighten it properly yet, but it is good to have it at least somewhat secured.

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

    6. Cut the string at the outer rim of the semicircles, remove the paper and tighten the thread around the metal rod properly. Twist carefully the threaded rod to pull the whole thing close to the washer.

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

    7. Repeat steps 5-6 for the rest, try to space the thread tassels around the rod as evenly as possible.
    8. Cap it with the second washer and nut and tighten the nuts. Be careful not to over-tighten them, it might shear the threads.
    9. Trim any threads exceeding the radius.
    10. Enjoy your soft buffing brush wheel.

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

I did not actually need to do this, but I had some rubbish thread that I have no better use for, I cannot spend too much time in my workshop yet for I would either freeze or burn through more wood than I can afford, and this was a fun way to spend an hour. It works a treat for buffing up lacquered or oiled handles, I will probably make several more to use with various grades of buffing compounds, but I need to buy or make the big washers, since I only had these two.

 

A Hunting Knife – Auction for FTB Legal Defense Fund

You can still donate, the damage Richard Carrier has done with his petulance is not undone yet. I cannot afford to donate any meaningful cash right now since I have no income. But I can afford to donate a bit of time. So I am giving this knife in exchange for the highest donation. Details see further.

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

Technically it is a hunting & fishing knife since my first customer specifically requested it for angling, but you need not be a hunter for having a use for it. I am regularly using a knife like this when collecting mushrooms or just walking in the forest when it might come handy. It would also be useful as an all-purpose knife for camping. The false edge is sharp, but not cutting sharp. The blade is signed and numbered “2” in Glagolitic script.

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

I made a simple leather scabbard, this time symmetrical so the knife can be conveniently fastened on either left or right side since the preference of its future owner is unknown.

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

The handguard/bolster has a few dark spots. These are inclusions in the used material (see further).

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

The endcap is fastened over an ornate stainless steel washer into which is the end of the tang peened.


If you are interested, write your bid in comments or per e-mail to affinity (note, I might not be able to post your e-mailed bids in the comments next two days, there is a huge storm coming our way and I might experience blackout).

If you bid from outside of the European Single Market, please make sure that you are allowed to import such things and be prepared to pay for any import/customs fees, duties or other taxes as may be relevant in your region/country/state. I will pay for the postage.

The knife will be sent to you after submitting proof of the promised donation. If the highest bidder reneges on their promise, it will go to the next one in line. The start is 10$ (the cost of materials), the sky is the limit.

The auction will run for two weeks until February 23. 2019 and this post will be pinned to the top of the page until then.

More info below the fold.


[Read more…]

Making Kitchen Knives – Part 14 – Straightening Curls

Last time I was working on this project, I had some very bad results from quench. This week I have finally managed to test one idea of correcting the problem and maybe prevent it from ever happening again in the future. And I am glad to say that it did work. Not perfectly, but the new process is definitively worth to use instead of the old one.

Here is first the comparison of the three worst blades before and after. As you can see, there are still some curls in there, but they are noticeably less pronounced and one blade is almost completely straight. They will still come smaller than intended out of the polishing process, I will still have to remove some material from the edge until I get to the straight part, but I estimate it to be about 1/2-1/3 of what it was before. On the worst blade, the curls went about 10-15 mm from the edge towards the spine, whilst now it is about 3-5 mm. That is a significant improvement, and I think that had the blades been quenched from a straight form, they would never have curled in the first place.

As I alluded to previously, the process that I wanted to use for correcting the blades is called plate-quench. It cannot be used for simple carbon steels. Only so-called deep hardening steels can be thus quenched, and N690 is such steel, according to some articles I found on the internet. Nevertheless, it is better to not have the internet at all than to believe everything you can read on it – the manufacturer recommends oil quenching.

So I have tested the process first on one blade that I accidentally broke when correcting an ever so slight banana-bend. When the broken blade hardened properly – which I have confirmed not only by scratching with my gauges, but also by breaking off a tiny piece of it – I went on with the curly ones. On one of these, I confirmed the hardening too by breaking off a tiny piece of the tip, with the remaining two I was satisfied with the scratch test only.

For the plate-quench are used two flat plates from either alluminium or copper. These two metals have very high heat conductivity and thus can cool down some steels fast enough for them to turn into martensite. Luckily I got quite a few nice slabs of alluminium on hand. And because I wanted to make the process a bit faster (despite not making time-measurements this time), I have made a simple prototype quench-jig.

It consists of two identical pieces of alluminium with a small hinge, and locking pliers. The hot blade went out of the forge between the plates with the edge towards the hinge. Then it was firmly clamped by the pliers to hold it straight. When it stopped glowing near the tang – indicating a temperature well bellow 600 °C – I dunked the whole thing in a bucket of cold water just to be sure. And just as last time, because it costs nothing, I have put the blades into a freezer straightway for a few hours before tempering them. None of the three blades cracked.

Not an actual quench, staged photo – sometimes I miss having third hand greatly. © Charly, all rights reserved. Click for full

It worked reasonably well and quick. I will definitively improve it and build a proper jig when the weather is nicer and I do not freeze my nuts off in my workshop. I will add a more stable hinge(s) and maybe even screw one of the plates to the pliers.


Another advantage of this process is no burnt oil gunk on the blade, no flames and no stinking oil fumes.

Resin Art: Wood You Love Me?

When Marcus sends out boxes, they are always two things: treasure boxes and challenges. There’s all this wonderful pieces of wood and they’re asking: “What am I?” and then it’s me who has to figure it out. For some of them the question could be answered.

First two pieces of burl:

©Giliell, all rights reserved

©Giliell, all rights reserved

As you can see the wood is very thin, at the most 2mm, which made sanding quite difficult. I made them by firmly wrapping tape around the wood to create a container and then I filled it with resin. This, of course, creates a rather cylindrical resin shape which then needs to be evened out. I’m pretty happy with how both of them turned out, fire and water respectively.

The next three pieces look rather different but are all from the same piece of wood. The last parcel Marcus sent contained some bog oak with which I instantly fell in love. It pretty clearly told me that it wanted to be SOMETHING so I took the first piece and tried SOMETHING. I have some golden pearl pigment I am not completely happy with, as it is heavier than the resin and sinks to the ground, but which for the very same reason became idea for this project.

The original piece of wood was maybe 2″ by 3″, already sawed into a disc with that sharp angle on one side. I cast it in a big slab, pouring the gold pigment resin first and then filling up with mostly clear resin.

This is the “central piece”:

©Giliell, all rights reserved

I cut off all the resin around the wood and cut the top into a rhombus, matching the angle at the bottom. The gold pigment sunk into the gaps in the wood, filling it with veins of shimmer. As you can see there were still some bubbles trapped in the wood, but they’re actually more visible in the pic than in reality. I’m sooooooo happy with how that turned out because I was quite afraid to ruin the gorgeous wood.

An speaking of the precious wood, it would have been a crime to throw away the scraps:

©Giliell, all rights reserved

This used to be the top of the wood. I cut it into an oval and rounded the sided before polishing. The wire lies in a groove to keep it from slipping, but I still need to glue it to the cabochon with some resin. Same goes for the next piece.

©Giliell, all rights reserved

This one’s a bit smaller and only a tiny bit of wood remains, but the colours are so gorgeous. It’s fascinating how the same cast yielded such different shades. All that was left after that were small pieces of resin, but even they got used, but that project isn’t finished yet, so you’ll have to wait. Those five pieces represent about 15 hours of sanding and polishing and sawing between, not to mention an open wound the size of a big bean on my left palm because I’m stupid.

Always wear your protective gloves, kids.