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Backin May, Pete Galbert posted a video to his blog showing a method for honing gouges that he first learned from Steve Brown. It involves running a screw through a board, clamping the board upright in a vice, and registering the dimple at the back of the gouge handle on the point of the screw. You then swing the gouge from that pivot point while rocking the bevel on the stone.

I took a thin scrap of wood and clamped it in my vise so that the upper edge was parallel to the benchtop at the appropriate height to put the bevel flat on the stone. I could have used a thicker board and tapered the edge. With the bolster registered against the edge of the board, I slide the gouge back and forth along the board and stone while rocking the gouge from corner to corner to cover the entire bevel. This mimics the same motion I use when freehand sharpening but assures a consistent honing angle.

In my last post, I wrote about redesigning a bowl after I had already begun to excavate the hollow. The first thing I did was to relocate the center down in that recess somewhere. If you zoom in, you can see some pencil lines struck from the compass. I started by guessing a little over half of the distance and striking the arcs at the yellow arrows. Then I could easily estimate the distance between them and reset the compass to strike the lines indicated by the blue arrows. I did the same from the sides to determine center at the red arrow. Unlike straightedges, compasses reach over obstructions.

A compass is pretty straightforward to operate, but before you go off striking arcs, make sure to put the legs of the compass together and set the pencil point and the compass point at the same depth. This will keep the hinge balanced over both points as you use it, making it feel much more natural to use. Also, a compass is a great use for pencil stubs.

I laid out a symmetrical bowl with handles, but as I started hollowing with the adze, I noticed hints of past trauma to the tree on that left side. So I started digging over that way to explore the extent of it.

I chopped and shaved the troubled end lower until I was past the major problem areas. The bowl would now have one end higher than the other. And eliminating the handles would allow me to dig further toward the end, past more of the trouble.

On the foot, I carved a relief of a simple tree, making sure that all parts of the image were carved below the level of the outer rim of the foot. To do the carving, I kept the beanbag under the bowl and wedged it against a sandbag to take it easy on the edges of the completely-carved bowl. I was able to just flip the bowl/beanbag stack around as needed.

Chairmakers have to pay particularly close attention to the flow of the fibers through narrow chair components. Peter Galbert has a great article on understanding grain and the effect of twist hidden within straight boards in the April 2024 Issue (#309) of Fine Woodworking Magazine. He has also tackled the subject in his Substack blog, including video.

It had been a couple years since I had carved a hen bowl. This chunky bit of cherry showed up and it seemed ideal for the form. Due to some deep checks and knots in the log, I was only able to get a good blank that was a quarter section of the log.

I carved an egg into the foot and emphasized it with milk paint. I also carved the flutes a little deeper/steeper this time, so I decided to leave a narrow flat between flutes. Like the flutes themselves, the flats are widest at the midsection and taper as they approach both ends.

In order to undercut the hollow, I work mainly with a spoon bent gouge. I put a series of four photos in the slideshow below, beginning with the gouge at the start of the cut, nearly upside down, then proceeding through the stroke. The last couple images show a scorp from Lee Stoffer that does a good job of cleaning up the deepest portions of the hollow.

Box lids can pop off, swing out, hinge up, wedge in, slide over, and who knows what else. This post is about the sliding kind. The box above is one of a pair that I recently made at the request of a friend. He and some fly-fishing companions had planned a themed (see the box top) excursion and he was looking for some gifts.

The top is held in place, and allowed to slide, via a sliding dovetail arrangement. This is the most sensible solution when carving the box from a single chunk of wood. When joining a box from boards, the top is typically held in grooves plowed into the sides (and, sometimes, far end) before assembly. The little sketch below shows three typical situations.

For the fly boxes, I decided to allow the lid to slide either way so that flies could be retrieved from either end of the box without necessarily removing the lid entirely. I wanted the fit to be pretty tight, just right to slide with a little pressure, but hold its position otherwise.

I chose a butternut board that was quarter-sawn to avoid warping and movement as much as possible. Since the lid and the base were oriented in the same way they had been before the resawing, any movement should be harmonious. Fingers crossed. With the lid fit to the base, I cut the length in two.

This is spicebush (Lindera benzoin) and those leaves will be a treat the rest of the year. I like plucking one or two on walks in summer and fall, rubbing them between my fingers to release the refreshing lemony spicy scent.

We will also publish regularly interviews with carvers, tips for beginners in the carving, step-by-step DIY projects, videos, patterns - everything that you need to get you inspired for your next carving project.

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