Stephen Shepherd

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About Stephen Shepherd

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  • Birthday 04/20/1948

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  • Location
    Great Salt Lake City
  • Interests
    19th Century American Woodworking Technology

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  1. What is it about liquid hide glue that you don't like for your work? I am not a Luthier but a Cabinetmaker and there are some traditional furniture makers that don't like it either and use hot hide glue. I use both and I am interested in knowing what you think about the properties of liquid hide glue?
  2. The Devil you say. If you are having success scraping spruce [or fiddleback maple] into corduroy you might try a chair makers/cabinetmakers Devil. It is a small wooden tool that looks like a spoke shave but has a blade set straight up. The blade is either square or with a burr [hook]. The small flat sole of the Devil prevents the hard/soft, spring/summer wood from developing a wave.
  3. It can still be used as an abrasive. Just rough it up to the desired grit. A variable grit abrasive. This is from my blog.
  4. The glass like beads are mineral tubercules and the piece you examined was probably ready for market ray skin. Shagreen is quite coarse in the wild and is polished smooth for sale. You can take a piece of this stuff and roughen it to any desired grit by sanding or abrading the minerals until they are the desired roughness.
  5. I have made several toothed blades from replacement block plane blade. Done entirely with a triangular file.
  6. I just picked this up on trade, the fellow got a copy of Shellac, Linseed Oil, & Paint - Traditional 19th Century Woodwork Finishes. I am happy with the trade.
  7. Thank you all. I did mention violins on the title page. Problem with kindle is it is b&W and there are a couple of color pages.
  8. St. John Barley Corn, Diatomaceous earth, fossil earth, infusorial earth, fuller's earth, Kieselghur, rottenstone or tripoli are all the same thing.
  9. The rottenstone [Tripoli] I have is a very light tan color, some diatomaceous earth used for gardening.
  10. Traditional practice from the 19th century and earlier was to fell the trees in the fall when the sap is down. Then wait for the snow to move the logs to a river, then wait for the spring freshet and float the logs down to the sawmills. The wood was always green as dried wood could not be easily cut in up-down mills.
  11. Anthony Hay Cabinet Shop Thought you might be interested in this.
  12. You can't shoot the bird if it is sitting on the end of your gun.
  13. Might have to start using wax candles, grease lamps and whale oil to light our shops.
  14. I don't usually quote myself in public, this is from my recent book Shellac, Linseed Oil, & Paint - Traditional 19th Century Woodwork Finishes: 'I have experimented with these traditional abrasives; I have even made my own sandpaper and understand the price structure of doing so. The surprises are Shagreen, a variable grit adhesive, and of course horsetails being able to scratch even hardened steel files, but the one I find most intriguing is the cuttle-fish bone. I found reference to it being used to smooth the cut edges of pasteboard stencils, I purchased some (from a pet store; birds and other animals use them for pecking, calcium and sharpening their beaks or teeth) for a reasonable price and tried it on some hardwoods and other surfaces. While it is frangible it produces a very smooth surface and did well for removing the fuzz from a fresh-cut pasteboard stencil and when powdered (not used in the solid form) will polish copper, brass, &c. quite effectively. Because it is soft, it also shapes itself to that which it is smoothing to provide uniform abrasion. Also one of the ingredients in a pounce powder to keep writing ink from soaking into scraped {erased} paper. Remnants of the smoothing material, i.e. pumice, rottenstone, etc., may be part of that layer of mineral ground [seal coat] that is detected underneath old finishes on some musical instruments.' I will have to go wash my hands now.