I use a variety of tools with the lathe, from traditional steel skews and gouges to carbide tools. Carbide tools come in a variety of shapes and sizes, and they can be extremely useful. I do most of my work with traditional bowl gouges, but I use my carbide tools often enough that they’re right there in the rack with my gouges.
Carbide cutters last a long time but eventually they do get dull, and then you either have to spend a significant amount of money to replace them or you have to sharpen them. Some people think you need special equipment, special jigs, and special sharpening equipment to do it. You don’t. If you have standard carbide cutters like these up above, all you need to sharpen them is a diamond hone.
These things aren’t all that expensive. The one in the photo up there cost me $45 and will probably last for many years. We have one in the kitchen we use to sharpen knives and we’ve had that one for over 20 years and it’s still working well. This one is 325 grit on one side and 1200 grit on the other. The 1200 grit side is the only one we’re going to use.
Note that this will only work on standard type cutters like the ones in the photo. If your cutters have a negative rake or any of that other fancy stuff, all bets are off.
Take the cutter off your tool. Put the diamond hone down on a flat surface. You may want to put a piece of plastic under it because things are going to get wet. You need to use something as a lubricant when you do this. There are fancy honing oils and other stuff out there. I use (drum roll please) glass cleaner. Yeah, seriously. Hey, what can I say? It works for me.
Thoroughly wet the surface of the hone with the stuff. Put your cutter face down on the hone. Then put your finger on top of the cutter and start moving it round in circles using light pressure. Do this for a minute or so, moving all over the surface of the hone so you don’t just wear out one spot.
Add more liquid as needed to keep it wet. After doing this for a while you’ll see the liquid starting to get dirty looking. This is the surface of the cutter wearing off as it is moved against the hone. This means it’s working.
It doesn’t take long to do, maybe a minute or two is probably all it will take.
When you’re done the surface of the cutter won’t be shiny any more, but that doesn’t matter. You don’t cut with the surface, you cut with the edge, and that edge is going to be sharp.
Is it as sharp as a brand new cutter? Possibly not. But it’s certainly going to be sharp enough to let you keep working with that tool, and save yourself some money in the process.
Note that this isn’t going to remove chips. You’re honing, not grinding, so you aren’t removing anywhere near enough material to get a chip out.
I just finished this box yesterday. This is why I like padauk wood. I mean, wow, just look at the color and grain on that stuff. You should be able to click on the photo to embiggen it to full size. I hope.
(Someone told me I should mention the email address here for people who have questions or comments and don’t want to leave them in the public comment section. It is old.grouchyfarmer.@gmail.com, or, of course you can use the comments section. I only check that account once a week or two so it may be a while before you get a response that way.)
I’ve been getting some questions about wood and woodturning, specifically about what types or species of wood work best, give the best results, what different species are like to work with, how to get wood, how to deal with wet or green wood and other things, so I thought it might be helpful to talk about wood itself. I’m going to write a couple of pieces about wood, starting with what it’s like to work with different species of wood. I’m going to stick with commercially available wood bowl blanks for this bit because if you’re new to this, that is probably what you’ll be working with, bowl blanks you pick up off Amazon or directly from a wood vendor.
Now I come from a furniture making background. When making a piece of furniture I am making an object that not only needs to look good, it needs to have considerable structural integrity. The wood needs to be strong enough to be able to deal with the stresses of being a functional chair or table or bookcase or whatever item I’m making. This limits the kind of woods I am able to use in a project.
But structural integrity isn’t an issue with wood turning. I’m concerned almost entirely with appearance on that situation. The projects I crank out don’t require structural strength. Even a plain, utilitarian bowl doesn’t need a lot of strength, it just needs to hold together and look good. So when selecting wood for a bowl, especially one that is intended to be primarily decorative, the things I’d worry about when selecting wood for furniture don’t really matter to me. All I really care about is appearance. And with turned objects, things that would be considered defects in furniture grade wood can actually make interesting decorative features in a turned object. A lot of woods that would be horrible for furniture work very well for wood turning and can result in some beautiful artistic pieces.
I’ve been fortunate enough to be able to work with a wide variety of different woods ranging from the common to the exotic, so here, in no particular order here are the woods I typically work with and why I like or dislike them, along with some samples of a finished projects with that wood to show you what it looks like. If you’re new to this you’re probably going to be buying pre-made bowl blanks online from Amazon or some other retailer, so I’ll include info on what this stuff can cost if you buy it commercially. Some of these photos have appeared before, some are new.
Black Walnut – I’m going to start with my absolute favorite wood to work with, walnut. I love working with walnut. Generally it cuts easily on the lathe with either traditional steel or carbide tools. It is easy to shape, easy to sand. I think the color and grain is beautiful. It can range from a deep, rich chocolate brown to a beautiful, almost iridescent brownish gold depending on how it is cut and finished. It will handle just about any kind of finish you want to use on it, from a low gloss satin to an ultra high polish. Either will work well with this wood. I’ve used waxes, spray lacquers, OB shine juice, bees wax and even just plain shellac and have had good results with all of them. If it gets dull looking all it takes is a quick buffing or polish to bring back the luster.
It is commonly available either kiln dried or green. Cost isn’t too bad either. Prices on wood vary all the time depending on market conditions, of course. A decent sized bowl blank about 6″ square and 2″ thick is going for about $7 – $12 each right now if you shop around. Thicker pieces… Well, prices go uprather quickly as the wood gets thicker. All things considered walnut a darn nice wood to work with and prices are generally reasonable.
Side note: A lot of places are selling green wood, not dried. I’ll talk about that later in more detail. But here’s a hint – if you’re new at this, avoid green/wet wood. Stick with kiln dried at first. Learn the basic skills first, then worry about how to deal with green wood. Some people like to work with green wood, I don’t. It requires lengthy drying times, is subject to warping and cracking and has other problems. I’ll deal with green/wet wood in a later post.
Padauk – Since that piece up there includes padauk, let’s go with that one next. It’s imported from Africa. It is a very striking wood, especially when freshly cut. Color ranges from red to brilliant orange, with the grain showing up as darker, brownish and in some cases almost black stripes. The first time I saw a piece of this I couldn’t believe it was real. As it ages the brilliant color begins to fade. It will eventually fade into a somewhat duller, reddish brown, even chocolate hue, sometimes even fading into gray. It will still be a beautiful piece of wood, it’s just that the colors change over time. How quickly do they fade? It depends. A good finish seems to help slow down the color changes, but nothing will really stop it.
As for working with it, it’s great stuff to work with. It machines about the same as walnut. It cuts easily, although you may need to sharpen your tools a bit more often than with some woods. It sands easily, but use a dust extraction system. The dust will get everywhere if you don’t, leaving a fine, red film over everything. For finishes, all I’ve used with it so far is a thin seal coat of shellac followed by buffing carnauba wax onto it to get a high gloss. It’s imported from Africa and is available kiln dried only. (Generally speaking wood imported into this country must be kiln dried to prevent pests and diseases from getting into the U.S.)
It isn’t cheap though, typically going for 2 – 3 times the cost of walnut. A 6″ square by 2″ thick piece of padauk is currently going for around $30.
White Oak – You wouldn’t normally think of white oak as being all that suitable for wood turning. But in a lot of cases you use what you got, and I have a lot of white oak cut offs from larger boards that were used in furniture projects. The stuff was too nice to just throw out or burn, but what can you do with 1″ thick boards of random short lengths and widths?
Glue it up into bowl blanks, of course. So I glued a few 1″ thick board scraps together into a 4 inch thick bowl blank and gave it a try and, well, damn… The results weren’t utterly horrible? I stained it to bring out the grain, finished it with a sealer and top coat of wax and it turned out as a decent little bowl. I made an even bigger one, almost 11 inches across and about 4 inches tall which was an absolute beast to work with on my midi sized lathe, but that worked out reasonably well too and I ended up with a pretty nice fruit bowl with rather striking grain patterns brought out by the stain.
It was not easy to work with, though. White oak is very hard, dulls tools quickly, and can be prone to chipping, especially if it is really, really dry, as this stuff is. White oak is one of the few woods where I used carbide tools almost exclusively because my steel gouges were dulled within just a couple of minutes and I was getting tired of running over to the grinder every little while. Once I switched to carbide it went better, but it was still a relatively slow process. Sanding wasn’t a lot of fun either.
(Which is possibly why it seems nearly impossible to find white oak bowl blanks on the commercial market? At least I haven’t seen any. )
Ash – Go read the comments about oak again but replace “oak” with “ash” and that pretty much describes it. Ash seems to be just a wee bit more forgiving than oak. I can generally work it without having to resort to using carbide tools. Certainly it has a nicer color, or at least I think so. But like oak it can be pretty bland looking, so you might want to experiment with stains. And wood suppliers who carry bowl blanks seem to frequently have it in stock at fairly reasonable prices. Mostly I’ve seen blanks offered as green wood, but I do see kiln dried stuff available from time to time. Alas, while I’ve made some projects with ash I don’t have photos of any.
(Sidenote: In some areas there is a glut of ash on the market because of infestations of the emerald ash borer, which is decimating the ash tree population all over the country. In a lot of places it is illegal to transport ash wood into or out of certain areas to try to restrict the spread of the beetle and the disease it carries. These restrictions generally don’t apply to kiln dried ash because the kiln generates enough heat to kill the borers. I’ve seen a few vendors offering “green” ash wood. This is possibly illegal in some jurisdictions.)
Red Cedar – I really, really like working with cedar. It’s a soft wood, cuts beautifully on the lathe, and wow, does it smell amazing! It sands easily to a smooth surface, is easy to finish to a brilliant shine. I used OB shine juice on this one. Personally I think the grain and colors are absolutely beautiful but some people don’t like it for some reason. Colors can vary wildly, even in the same piece of wood, as you can see, ranging from a deep chocolate brown, to rich purplish reds, to golden yellows. It’s widely available, and if you live in the right part of the country you might be able to source it locally and save yourself a considerable amount of money.
Cedar does have some issues. It can often have “defects”, knots, inclusions, wild grain, but personally I think that adds to the beauty, like that unexpected knot I discovered in this piece as I was hollowing it out. To me that knot and the wild grain surrounding it makes the piece far more interesting than if had been just plain wood. But because it’s a soft wood, it’s easy to damage a finished piece.
Prices on cedar are pretty reasonable if you can find it. Not every wood seller seems to carry it. My main source for pre cut cedar bowl blanks is Green Valley Wood Products in Indiana and they’re running 6″ square 3″ thick cedar blanks at about 4 for $39.95, or about $10 each. They are green, not dried, but when it comes to cedar I’ve never really had problems with working with green cedar.
Mahogany – Mahogany is, well, complicated. Some mahogany is mahogany, some mahogany isn’t… Heck, I don’t know. I do like the stuff, though. Maybe. Sort of. Kinda. Certainly it can be a very pretty wood that can take on a brilliant iridescence when the light hits it just right. It can glimmer and shimmer. But in order to get that shimmer and iridescence you have to have exactly the right piece of wood and have to do exactly the right things to it.
I honestly have sort of a love/hate relationship with mahogany. I’ve built furniture out of the stuff and frankly I didn’t like it that much. I didn’t think it looked all that good and it can be surprisingly soft and easy to damage when used in furniture. It isn’t difficult to work with, but it seems to produce a very fine dust that clings to anything and everything. It seems to dull my tools quickly. For whatever reason carbide tools don’t seem to work very well at all with this stuff. When I try using carbide I get lots of catches, gouges and tearout. So I stick with traditional bowl gouges, scrapers and skews when I’m working with it. And I sharpen them a lot. And while they claim it’s a hardwood, it sure doesn’t behave like one. It’s relatively soft, it is easy to get dings and dents in finished pieces. I ended up somehow with a 15″ square, 5″ thick hunk of the stuff that I into a fruit bowl that looked nice for, oh, about 10 minutes. Oh, it’s a perfectly good utility bowl, and that’s what we use it for, but it sure didn’t stay looking good for very long. But every once in a while a piece like this below comes off the lathe, and and I start to want to work with it again.
This is a mahogany and walnut canister or box or jar or whatever you want to call it. About 5″ wide and 10″ or so tall, and it turned out way better than it had any right to. (The crappy camera in my iPhone doesn’t do this justice. I don’t care what the reviewers claim about the iPhone camera, it’s garbage, especially when it comes to rendering color.)
Back to mahogany, though. It’s decent wood, it can be very pretty. It isn’t all that difficult to work with, but it does have some issues. Prices for dried, pre-cut bowl blanks are generally a bit higher than walnut, depending on where it is sourced from. Right now it’s going for about $11 – $13 for a typically sized 6″ square 2″ thick precut bowl blank. It should be provided kiln dried, not green, because all of it is imported.
Hickory/Chestnut – Okay, I’m going to make a confession here. I’m not sure if that bowl over there on the right is hickory, or the one on the bottom is hickory. I’m not even sure if that is what they actually were, to be honest because I’d never worked with either before I got my hands on these two pieces of wood. That’s what they were labeled when I pulled them off the shelf, though, so we’ll go with that. My experience with these two is extremely limited. Still the results for both were good and I wouldn’t hesitate to use it again if I could get my hands on the stuff. Both were hard, about the same working characteristics as ash, but with a much more striking grain. And the one above had some beautiful coloring and inclusions. Once I saw how nice the grain was, I kept the shapes simple and tried to cut them to show off the wood.
I wish I could remember where I got these two pieces of wood and what they cost so I could give you more info because the wood was really nice.
Rosewood – Rosewood is amazingly beautiful. It has a rich, lush, chocolate color with a lighter colored, reddish brown streaks, and can include wider bands of lighter reds.
I see the stuff for sale all the time, but only in small pieces suitable for ornaments and pens. I’d never seen the stuff in larger pieces suitable for making bowls or larger decorative objects like I’m interested in making until I ran across these three pieces. One was about 4″ square by 3″ thick and the other two were about 6″ or 7″ square by 3″ thick. I’d never seen it in pieces that large before. The reason why is simple. Holy cow the stuff is expensive! I probably shouldn’t have blown that much money on these three pieces of wood because as it turned out I had serious problems with all three, but I’ll come to that in a minute.
The stuff works pretty nicely. It cuts well, sands well, looks especially good with a high gloss finish. I think the coloration and grain is absolutely beautiful. It doesn’t show up well in the photo but that larger piece has a beautiful band of a lighter, red tint running through it horizontally that really adds interest to the piece. I can see why penmakers like it so much, the stuff is beautiful.
Drawbacks? You bet. Some serious.
First, it stinks. It literally stinks. To me it smells like sewage. Seriously. The aroma isn’t overpowering but it is definitely there and it is unpleasant. Once it has a finish on it it’s barely perceptible. MrsGF can’t smell it at all, thankfully. I’ve worked with three pieces of this stuff and all three smelled really bad. It is also oily. It left an oily, dark brown residue on my tools and lathe while I was working with it. Nothing serious, but I couldn’t just vacuum it up, I had to wipe everything down when I was done.
The real deal killer, though, is that all three of the pieces I made have developed what I call micro-cracks, very thin, hairline cracks that aren’t noticeable at first and may have developed days or even weeks after I’d finished the bowls. If you look closely at the bowl in the top photo you’ll see what look like scratches. They aren’t, they’re micro-cracks that developed after they’d been finished. The wood should have been stable, they were kiln dried and the moisture content was low, the bowls haven’t warped or distorted to indicate there is some issue with stress going on. But it’s obvious that something is going on with that wood.
So, to sum up rosewood: The wood may be absolutely beautiful. It may cut and finish nicely. But based on my experience with these three pieces I can’t recommend it. It’s expensive. Really expensive. Those three little blocks of wood I used were well over $50 each. I’m going to do some experimenting to see if I can make the cracks less visible, but I’m still disappointed. If I were doing this commercially I would consider all three of the rosewood projects to be unsellable because of the cracking.
There are a whole cluster of woods that can be classified as ‘maple’, ranging from very hard versions suitable for flooring, other types suitable for furniture, and even very soft types that aren’t useful for much of anything except maybe firewood. I’m going to stick with the one that most woodturners are probably interested in, so-called ambrosia maple. Ambrosia maple isn’t a separate type of maple, it’s standard maple that has been infected with a fungus carried by the ambrosia beetle. The beetles bore into the wood, carrying the fungus into the wood. The fungus causes spectacular staining and discoloration similar to spalted maple. The discoloration is generally centered around the path the beetle bores through the wood. You’ll almost always find holes in ambrosia maple that were made by the beetles.
(Spalted maple and other spalted woods also exhibit similar colorations which is also caused by a fungus, but in the case of spalted woods the fungus is part of the decaying process and you can also find parts of wood that are literally rotting away inside of a piece of spalted lumber.)
Ambrosia maple is generally very easy to work with. It is usually relatively soft, cuts easily, and the end result can be spectacular. Prices are a bit steep, about the same as padauk. If you shop around you can sometimes find some real deals on the stuff if you’re willing to deal with green wood. A single 6″ square by 3″ thick bowl blank will set you back about $20 – $25, green. Larger size blanks get expensive real fast. If you remember the cake platter I made for MrsGF that top piece which started out at about 13″ square and 2″ thick cost me about $75.
Potential problems? It’s generally soft and easy to damage. You can sometimes find “punky” (i.e. rotting) areas buried in pieces. And you have to remember that the discoloration is caused by a fungus, so chances are good there are fungal spores lurking in that wood. Now I’ve never heard of anyone getting actually ill or getting a fungal infection from working with this stuff, but I would always wear a respirator when cutting or sanding it, along with a dust extraction system and air filtration system.
Sapele – I’ve only worked with this stuff once and it was such a disaster that I gave up and chucked it into the burn pile.
Catches, gouges, tear outs, chipping, kick backs… It was horrible to work with. It didn’t matter what tools I used, what techniques I used, how sharp the tools were, whether I used carbide or steel – nothing worked right with this stuff. I don’t know what the heck was going on with that piece of wood but it became obvious real fast that it wasn’t just bad, it was downright dangerous. It is entirely possible that it was just some quirk with that piece of wood I had. Don’t care. My experience with it was so bad that I’m never going to work with it again. There are more than enough other species of wood that are actually pleasant to work with, so I’m not going to risk it again.
If you want to try it, fine. Maybe you’ll have better luck than I did. The stuff is going for about $15 for a kiln dried 6″ square, 2″ thick blank.
Cotton wood – I’ve only worked with this stuff once, and the piece I had was really large and very, very wet. I mean seriously wet. Since I didn’t want to wait for, oh, three or four years for it to dry out, I went ahead and roughed out a bowl shape and stuck it on the shelf for a few weeks to dry. Frankly I fully expected it to crack and warp horribly, but surprisingly it didn’t and the end result was pretty darn nice. Fairly nice grain and the color isn’t bad either.
But stink? Holy cow this thing smelled bad when I was working with it. It was worse than the rosewood. It had a sort of pungent vinegary, swampy, rotten kind of smell to it that even came through the respirator. Fortunately once it dried the smell went away but wow, it almost made my eyes water while I was working on it.
I rather liked working with it. Surprisingly it didn’t warp or crack while the roughed out bowl dried down, and when I finished it up after it had dried down to a reasonable point I ended up with a fairly nice bowl. It cut well, sanded well. I finished it off with a seal coat of shellac topped off with homemade “ob shine juice” and it turned out a pretty decent looking utility bowl.
Cotton wood is fairly cheap. I see Green Valley is selling it for under $10 for a 6″ square, 3″ thick bowl blank, green. It can often be found at reasonable prices for much larger pieces suitable for larger bowls like salad or fruit bowls. The drawback is that it is almost always sold green, so you’re going to have to deal with trying to dry it down yourself.
Pear – The only pear wood I’ve worked with comes from the wood I saved when we took down the pear tree here. I don’t think I’ve ever seen it for sale commercially. But if you know someone who is taking down a pear tree it’s worth looking into getting your hands on some of it.
It cuts well, sands well, and was very easy to work with all the way around. The little bud vase over there on the right was sanded up to about 320 grit, then sealed with shellac, buffed out with OOOO steel wool, then finished with carnauba wax.
Personally I think it’s a bit on the bland side and I’m not sure if I really like the color. MrsGF likes it a lot though. Anyway, if you can get your hands on some, give it a try. It’s worth looking at, especially if you can get it for free from a neighbor taking down a tree.
Cherry – You’ll find a lot of cherry bowl blanks for sale commercially. It seems popular with woodturners and I’m not sure why. I’ve worked with it and I don’t like it all that much. Oh, there’s nothing wrong with it. It is easy to work with. It cuts and sands well, easy to shape into just about anything you like, and it isn’t all that expensive, about the same as walnut.
So why don’t I like it? Dear lord, it’s boring! If I’m going to go to the trouble of making something on the lathe I want the end result to be eye catching. I want prominent grain patterns and interesting colors. And cherry is, well, it’s just dull to my eye. The color is blah, the grain is blah. Insipid, that’s the term I’m looking for. Perhaps it’s just the pieces I had. Every piece of wood is different, after all. Maybe I’ll try it again. I have a half dozen blanks sitting on the shelf still, but I’m going to have to be awfully bored before I resort to using it again.
Cost is about the same as walnut, around $10 – $13 for a standard 6″ square 2″ thick blank. It’s not a bad wood. It’s not real expensive. As I said it is very nice to work with. It’s just, well, dull.
Elm – I’m going to be completely honest and admit I have no idea what elm wood looks like so I can’t be sure if this is elm or not. It came with a shipment of “miscellaneous bowl blanks”, a sort of grab bag kind of deal. It was labeled elm so I’m going to go with that. Elm was almost completely wiped out in North America because of dutch elm disease, but there are still some out there and occasionally it shows up.
I worked this blank while it was wet, which is normally something I don’t do, and there was some issues while drying the bowl down but nothing too serious. It was easy to work with. It seemed a bit on the abrasive side and I had to sharpen my gouge more often than normal, but nothing serious. It has a very striking grain, with dark brown and black streaks running along with the normal grain making me think this tree had some kind of fungal infection. Personally I don’t like how it looks, but MrsGF likes it. As for cost, I don’t really know. It was in a grab bag deal with a bunch of other chunks of wood.
Holy cow, this got long, so let’s wrap up this part up. There are more types of wood I could have looked at but I wanted to stick with the types that are generally available commercially.
Eventually I’m going to get around to talking about the difference between kiln dried, air dried and wet/green wood, and how to deal with it, why some woodturners really like wet wood (I suspect they’ve been inhaling lacquer fumes), how to dry wood, including the “great microwave experiment”. Well, if I don’t start something on fire or blow something up. I’m stocking up on fire extinguishers for that one. Also how one man’s defect is another man’s “decorative feature”, working with epoxy as a decorative element, playing with india ink and whatever else I can come up with.
… wait a minute, how did a blog about gardening, farming, photographing flowers, travel and ham radio turn into a tutorial on wood turning?
On the pandemic front, MrsGF got her first vaccination last week and I’m getting my first one this week! Wow, maybe we’ll actually be able to hug our kids by summer?
It’s been a while since I did one of these. It isn’t that I’ve lost interest in what’s going on in the ag industry, it’s just that since I’m not personally involved any more it just hasn’t had the same importance for me. But a lot is going on out there in the farming business, and one thing I want to focus on is ethanol today.
2020 was a bad year for the ethanol industry. This was due to the pandemic, of course, but only partly. A lot of production facilities had to cut back, even temporarily close. Some shut down completely and will probably never be brought back online. Adding to the problems the industry is facing is the fact that they primarily use corn as the base material to make ethanol from, and corn prices have jumped up to $5.50 a bushel and show no signs of going down any time soon. (It’s a bit ironic that an industry that was created, at least partly, as a government mandated program to push up corn prices is now threatened by high corn prices.)
But the real problem with the ethanol industry isn’t the pandemic or corn prices, it’s the fact that the entire ethanol fuel industry is dead and the promoters of this stuff simply refuse to admit it. Like it or not, it seems that the future of transportation is not the internal combustion engine, it is going to be electric motors.
Electric vehicles are no longer a novelty item, they’ve gone mainstream, and consumers are buying them in droves. And it’s easy to see why. There is little to no maintenance. No more oil changes, no more cooling systems to flush and fill with antifreeze, no more transmission fluid to check and change and flush, no more exhaust systems rusting off that need to be replaced regularly. They’re quiet, efficient, with ranges of up to 300 miles depending on the model. Fast charging systems that can recharge a vehicle in a half hour or less are finally starting to turn up in a lot of cities, and will quickly become more common. It seems virtually certain at this point that the vehicle you buy in the near future is almost certainly going to be electric.
It isn’t just me who’s saying this. Several countries have already declared that they will ban sales of cars and light trucks with internal combustion engines within the next 15 to 20 years. California will ban the sale of new gasoline powered cars in 2035, as will the Canadian province of Quebec. Britain will ban the sale of new gasoline and diesel powered cars in 2030. Norway is doing it in 2025. China, of all places, is considering doing something similar.
And now GM, General Motors, has announced that it will only produce zero emissions vehicles by 2035 or 2040. And they aren’t the only car maker considering it. Heck, even the railroad and tractor manufacturers are getting into it. One company already has small utility tractors in the 30 – 40 horsepower range suitable for orchards, landscapers, organic farms and the like, in the $25,000 range. Run times are up to 4+ hours, and if you can’t wait to recharge, you can get a second battery pack and swap the uncharged one out, put the charged on in and keep working while the other battery charges.
The future is clear. The entire ethanol fuel industry is as good as dead.
It isn’t going to go down without a fight. It is spending millions of dollars lobbying politicians to try to keep itself on life support. It is about to embark on a massive lobbying campaign against electric vehicles, claiming they are actually more polluting than internal combustion engines, demanding ever increasing percentages in blending with gasoline, pushing for even more government subsidies and tax breaks… The industry will bluster and threaten and lie and bribe and do everything it can to try to hang on. It isn’t going to work. It’s time to nail the lid on the coffin of ethanol and bury it once and for all.
Instead of trying to continue to prop up a dying industry with ever more government bailouts and mandates, we should be preparing to deal with the repercussions of the industry shrinking and eventually going away entirely. This will cause problems that will ripple through the entire ag industry. Corn prices could potentially plummet. Livestock and dairy will have problems because they have come to depend on brewers grain, what’s left after the ethanol is made, as a relatively low cost protein supplement for cattle. All of this, and more, will happen. And it looks like no one is going to try to deal with this before it turns into a crisis.
I’m interested in a lot of different things, as you already know if you’ve been reading this blog for a while. I’ve dabbled with amateur radio, electronics, farming, gardening, photography, astronomy, wood working, etc. I can’t help it. That’s just the way I am. I’m enormously curious about just about everything, especially if it’s something I can play with personally. And once upon a time I did needlework like crewel, needlepoint, etc.
Stuff like this:
This dopey cat and kittens needlework project took 41 years to complete. Seriously. Let me explain.
It was 1980. MrsGF and I were just married, had moved into a tiny one bedroom apartment, and we were looking for things to do to wind down once we got home from work. Something that didn’t take up any space because we basically didn’t have any space in the cramped apartment we were living in. Oh, and something that didn’t cost any money because we had even less money than space.
So for some strange reason I started to fiddle around with needlework. That’s when this project started, 1980. And I rather enjoyed doing it. I got the cats more than half done and then stopped. Why? It got lost when we moved. We moved a lot the first couple of years we were married. The cats, all the yarn and thread, the hoops, needles, everything, got stuffed into a box and it was forgotten about.
Until late in 2020 when MrsGF found the thing in the attic when she was looking for something else. It was badly stained but MrsGF said why don’t you finish it anyway, and I said I just don’t have the time and told her she should just do it if she wants to. So she went to work trying to get the stains out, and did a darn good job of it. The thing was really dirty. And she finished up the needlework and we stuck it in a frame. I did maybe 60% of it or so before we lost it back in 1980, and she did all the rest, and now it’s hanging on the wall, our 41 year long project.
I’ve made a lot of mistakes learning how to do this, but sometimes the wood itself is just – just weird and things go wrong no matter what I do, and that’s what happened here. There was no sign of cracking or anything at all odd about this block of wood when I started turning it, but for some reason it ended up with cracks all over. It was reasonably dry, well under 15% moisture. The wood itself seemed reasonably stable, with nice grain. But by the time I got it turned into a rough shape it started cracking. I took it off the lathe and let it sit for a few days and this is what it looks like now.
I suppose I could try to salvage something from this piece. I could seal up the cracks with CA or cast it in resin but, well, why? It would still look like a badly cracked bit of wood. This one will get chucked into the burn pile, I think. Won’t be the first time I’ve had to do that. And it isn’t like I have a wood shortage around here. I have dozens of blanks of various sizes and species sitting on the shelf in varying stages of drying, quite a few probably ready to turn.
I don’t just do wood turning, of course. I do everything from rough framing to furniture.
This a blanket chest and it is on the agenda for tomorrow. It was kicking around the shop for ages and finally MrsGF put her foot down and told me to just finish the dopy thing, so I got the lid done and a few other things finished up and now it needs finish sanding and some of the glue joints to be cleaned up and I need to get some handles for it and this will be ready to go out the door. It looks rather pale now but once the finish is on the inlay will really pop and the black walnut edges will really show.
I forgot one item when I looked at the tools I’d picked up during 2020, and that’s the Oneida “Dust Deputy” in the photo over there on the left. It helps to deal with an ever present problem for anyone who works with wood, the dust and debris generated by woodworking.
In an ideal world we’d all have professional quality dust collection systems. But those things are big, expensive, etc. Not all of us have the space or the money to set one of these up, so a lot of us end up using a good old fashioned shop vac as our primary dust/debris collection system. Modern, good quality shop vacs can be almost as efficient at removing dust and debris as a traditional dust collection system, although they don’t have the capacity to keep up with some tools like planers and jointers. It all depends on the power of the motor, the CFM (cubic feet per minute air movement) and the filtration system the vac uses. The biggest drawbacks are that the vacs are (usually) very loud, have to be moved around the shop to be hooked up to individual pieces of equipment, and have to be emptied very frequently. Lugging my big 16 gallon sized shop vac up and down a flight of stairs to get it in and out of the house in order to empty it is not fun.
This Dirt Deputy gadget and similar devices have been around for a long time, but I’ve never been that interested in them before because A) I wasn’t making that much dust and debris before now, and B) I figured that like a lot of things that sounded too good to be true, it was, well, too good to be true. But wood turning generates massive amounts of dust and wood shavings, far more than making furniture did. So not only was I lugging that big vac up and down the stairs all the time, I was going through filters like crazy. No matter how good of a job you may do blowing out or cleaning that filter, you can’t get it completely clean and eventually it will get plugged up to the point it won’t pass enough air to permit the vac to work. So I decided to try this thing.
The basic idea behind these things has been around for a long time. You hook the shop vac up to the outlet on top, hook your hose to the lower outlet, slap it on top of a standard 5 gallon bucket, and that’s it. As the air (and dirt) whirls around inside of the funnel shaped thing, the dust and shavings and other debris end up falling down into the bucket instead of getting sucked into your vac.
As I said I was skeptical of this thing, but the darned thing actually works, and works pretty well. Even fine dust seems to settle into the bucket instead of ending up in the vacuum. Instead of having to lug the whole vac up the stairs and out to the garage I can just carry the bucket. But the biggest hope I had was that this would save me money. Those big cartridge filters on my shop vac are expensive. About three of those filters would pay for this whole Dust Deputy thing, so it could potentially save me a lot of $$. And it does. This thing has already paid for itself in the two months or so I’ve had it. I’m really quite pleased with it.
Are there drawbacks to it? Sure. There always are with things like this. The biggest drawback in this case is a reduction in suction power, which makes sense. You’re adding several feet of air hose, the Deputy itself, possible air leaks, etc, into the system. So that all restricts air flow and reduces the amount of vacuum power. In my case, my big vac, which could keep up with my thickness planer without the Deputy installed, can no longer handle my DeWalt planer with the Deputy. That’s not a big deal, though. I don’t use the planer all that often these days and when I do need it I simply hook the vac up to it direct and bypass the Deputy.
So, what’s this thing cost? Oneida will gleefully sell you a whole “kit” for about $100+ which includes the Deputy wind tunnel swirly thingie, the bucket lid it attaches to, a short hose to hook to your vac, some hose clamps, a 2nd bucket that the first bucket nests into, and little wheels to bolt to the outer bucket to make it easier to lug around and the instructions tell you to drill holes through the side of your vacuum and bolt the 2nd bucket to your vac for some reason and, well, don’t. You don’t need the 2nd bucket, you don’t need the wheels, you don’t need the hose clamps (if your existing hoses don’t fit perfectly, you can always resort to duct tape, that’s what I did), you don’t need any of that stuff. Basically they’re charging you $50 for a couple of buckets you can probably get free and $10 of hardware. If you want to try one of these, get the “basic” kit.
The basic kit goes for about $50 without the wheels, the buckets and all the other guff, and that’s all you need. It comes with the cyclone thing, some bolts and a gasket. That’s it. You get your own 5 gallon bucket with a lid (probably free). Cut a hole in the lid, screw the cyclone thing to it, and use your own hoses and clamps. If you need more hose or clamps you can get everything you need at the local home improvement store.
The way things look right now, this thing is going to save me easily going to save me money on filters.
I found a vendor on Amazon that was selling large blocks of Indian rosewood. It was actually not all that expensive and I’d never worked with it before so i got a couple of blocks just to see what it was like. I picked up two pieces, about 6 inches square and 3 inches thick. I think I paid about $30 each for the two pieces. That may seem like a lot but that’s actually pretty reasonable for this stuff on the commercial market. If you want good quality imported woods, you’re going to pay for it. Rosewood is really popular with the pen turning people. I see a lot of places selling rosewood blanks sized for pen makers, but almost never see large pieces big enough to make bowls.
As you can (hopefully) see in that photo over there the wood is absolutely beautiful once it’s sanded and finished. And it just feels nice to the touch. Whenever I walk past that bowl I find myself running my fingers over it. I can see why pen turners like this stuff. It is a bit messy, though. I don’t know if it was just the pieces I got or if it is normal, but the stuff seemed really oily, with the dust clinging to my tools (and me). It machined beautifully, though. No problems with catches or snags or weird tear outs or anything like that, and it even sanded down beautifully. And it polishes up to a beautiful luster.
But the smell… Now I’m one of those weird people who are classified as a “super smeller”. I have a ridiculously sensitive sense of smell (and taste, for that matter). To me this stuff has a very distinctive aroma that vaguely resembles, well, poo, to be blunt. MrsGF can’t smell it at all. After putting a finish on the bowl the smell diminished greatly, but I can still smell it when I get within a couple of feet of it. I wondered if maybe it was just that one block of wood, but the second one smelled just like the first.
I like this rosewood stuff, but… There are problems. I’m seeing what I suppose you could call micro-cracks in the wood, very fine, almost invisible cracks that I can’t see unless I get within a foot or two of the bowls. I’m rather concerned about that because I have no idea why they are there. I need to take a closer look at this and figure out what happened. Wood is, well, wood. It moves, absorbs and gives off moisture, swells, contracts. It’s all part of the challenges of working with the stuff. I generally know what happened when a piece of wood cracks or warps, but I’m not sure what’s going on here. MrsGF is encouraging me to start trying to sell some of this stuff, but I don’t want to end up with people complaining about something like this so I want to figure out what went wrong before I turn out more stuff in rosewood.
Let’s see, what else…
Oh, the pear tree – I saved a lot of the wood from the pear tree when we took it down last year after it collapsed with the intention of possibly using it for various projects. I got curious about how it would look and work so I grabbed a bit that seemed reasonably dry and ended up with this small vase.
The stuff machines nicely, sands well and looks fairly good once it’s finished. It seems to be prone to cracking. You can’t see it in this photo but on the backside of that thing there is a vertical crack running almost the entire length of the vase that’s sealed up with epoxy. Still the results are encouraging and I’m going to keep fiddling with this stuff as I get time.
As I said, MrsGF and a few other people are telling me I need to try selling some of the stuff I’ve been cranking out so they’re pushing me to set up a shop on Etsy. Sigh… I don’t really want to get involved in all of that guff, but I do see their point. If I keep this up much longer I’ll have to rent a storage unit somewhere just to store the projects I’ve been cranking out.
Yes, a Christmas rose! It was a beautiful sunny Christmas morning here, if a bit cold out, I walked over to the window and saw this. One of two new budding roses on that goofy little rose bush that started out life as a $5 teacup rose I bought on impulse for MrsGF a few years ago. Roses blooming in Wisconsin on Dec. 25? Hey, I’m not going to complain. It was an unexpected and amazingly beautiful Christmas gift.
Her Christmas cactus is being equally fruitful. It has been in full blossom since October and is still going.
Anyway, let’s get on with this…
Wow people must be bored out there because people have actually been emailing questions to me (email@example.com is how you can get in touch with me but be warned I do not check this email account more than once a week or two. If you want a fast response the best way is to just leave a comment). So I’m going to talk about some of the questions I’ve received over the last few weeks.
First someone told me they heard that KFC was coming out with its own gaming console. Yeah, right, I thought. Sure it is… Only, yeah, they are.
There it is, folks, the Kentucky Fried Chicken’s gaming console. KFC is supposedly coming out with its very own video game console, completely with a special warming unit to keep your chicken warm while you, oh, blow up aliens or something. And yes, it’s real. At least according to Snopes. Supposedly there is a special rack inside of this thing that uses the heat generated from the electronics to keep your nuggets or whatever warm.
At first I thought this was the stupidest thing I’d ever heard of, but then I thought, well, why the heck not? Yes, it’s silly and utterly ridiculous, but we need something that’s ridiculous and fun and silly to take our minds off what’s going on out in the real world right now. So go for it. Heck, if it isn’t too expensive when (if) it comes out I might buy one.
So let’s talk about sanding next. A couple of writers mentioned in emails to me there are some people out there, especially woodturners, who get a bit, well, weird shall we say, when it comes to sanding. Both of them turned my attention to YouTube videos showing woodturners going to extraordinary, even ridiculous lengths, like sanding a bit of wood to 1,000 grit or even higher, in one case wet sanding at 4,000 grit. Then using all kinds of exotic polishing abrasive pastes and, well, it’s just ridiculous. Yes, I understand they want a lovely, high gloss finish on their finished product. But a lot of what they’re doing is a complete waste of time and money.
Look at these two bowls. Both of these have a beautiful, very high gloss shine on them. And if you could run your fingers over them you’d feel that both are as smooth as glass. Even the one on the left with all of it’s bark inclusions and peculiar grain structure is like that. Both of those bowls were only sanded up to 240 grit. That’s it. No special expensive and exotic polishing abrasives, no wet sanding at 1,000 grit. No fancy tools or anything else. Just plain old sandpaper starting at 80 grit and working up to 240. And no fancy, expensive, difficult to apply finishes, either. One has nothing but OB shine juice on it and the other is carnauba wax over the top of shellac sealer.
Yes, I might have gotten a bit better finish if I’d gone up to 400 grit when I was sanding, but after a while you reach the point of diminishing returns. The effort and expense doesn’t justify the end result. I look at this the same way I look at sharpening tools. There is such a thing as “good enough”. Yes my chisels might cut slightly better if I went to the trouble of putting a mirror finish on them, but not that much better. And that slight improvement is going to be lost after making a few cuts anyway. I know that from experience. So what’s the point? I feel the same way about sanding. Yes, if someone examines one of those bowls up close with a magnifier they’ll probably see some very fine scratches. But so what? People aren’t going to be taking out a jeweler’s loupe or magnifying glass to look for every defect they can find. They’re going to be looking at that bowl from a distance of several feet. Even if they pick it up they aren’t going to see a problem. So why go to the additional work and expense of carrying things farther?
Of course there are exceptions. There always are. I’ve been talking about wood. When it comes to resin things are different. Resin is great fun to work with, but it presents its own unique challenges. One of my first resin experiments is over there on the left. The end result doesn’t look too bad, but lordy did I have problems getting it to that point because, frankly, I had no idea what the heck I was doing when I started messing with this stuff. I had to do considerably more work to get this little lamp smooth and scratch free, but in the end I still didn’t have to go to the extremes I’ve seen people go to on YouTube. This one was sanded to much higher grit than my wood projects, but only to 600 grit. And I did use a final abrasive paste/polish before putting a finish on it. But that’s it. I didn’t sand it up to 1,000 grit or more, didn’t wet sand it, didn’t do anything extraordinary. The wood parts were treated with my usual sealer, and the whole thing was topped off with a buffed coat of carnauba wax.
All of this only applies to woodturning, of course. If you’re working with flat surfaces like furniture you may want to go with an entirely different approach, which is to not do sanding at all. I rarely resort to sandpaper with my furniture. I use cabinet scrapers. Once I learned about these and how to properly use them, I found out that if used properly you can often get away with not needing to sand a flat wooden surface at all before applying the finish. These things have saved me hours of sanding, and it’s well worth the effort to learn how to use and sharpen them. Here’s a short video explaining what they are and how to use them.
Getting the proper burr on the edge isn’t a big deal, either. You can do it by hand but I use one of these things over there on the right. It’s from Veritas and it will put the proper burr on a scraper in just a few seconds.
How well do they work? Well look at that table down below. I made that, oh, must be 20 years ago now. It could probably use some refinishing about now, but considering how old it is and that it has survived two teenaged boys and their friends, a rambunctious golden retriever and several crazed pussy cats, it’s held up pretty well. And except for the curved edges, none of that wood was touched by sandpaper. It was prepped for finish with just cabinet scrapers.
Of course it all depends on the “look” you’re trying to achieve. Personally I like wood that looks and feels like wood. I think wood is beautiful all on its own and doesn’t need much to make it look better. And on my furniture I want people to not just see that beautiful grain, but to feel it, too. My stuff is made to be used, to be touched, and to be lived with. I don’t like these high gloss, glass smooth finishes that a lot of people put on furniture. I think it makes it look like plastic, not real.
Anyway, that’s my two cents on that. Remember that there is such a thing as “good enough”, and once you reach that point, seriously think about whether it is worth the effort to go farther.
And to wrap this up, here’s a violet in the early Christmas morning sun.