No power tools allowed!

[stevasaurus 22,231]

Cas, I read the whole thread this morning.  Incredible pictures and commentary.  I have a question about the finish you will put on it.  Is it possible to use subtle but different colors of stain like for the grapes, one for the flowers, one for the stems, the background and the main frame...or do you plan on using just one finish and which one would you use??  Just wondering what is possible at this point.

   How did you create the background around the flowers and such...looks like thousands of holes punched with an awl?  

[formariz 11,849]

57 minutes ago, stevasaurus said:

Cas, I read the whole thread this morning.  Incredible pictures and commentary.  I have a question about the finish you will put on it.  Is it possible to use subtle but different colors of stain like for the grapes, one for the flowers, one for the stems, the background and the main frame...or do you plan on using just one finish and which one would you use??  Just wondering what is possible at this point.

   How did you create the background around the flowers and such...looks like thousands of holes punched with an awl?  

Thank you Steve. This particular aspect of my craft is a very dear and personal cultural part of it with very deep meaning and importance. Perhaps the most important of all .

Although in other parts of the country their oxen yokes were indeed colored vibrantly, with different colors the ones from my area are not. They are also unique in their  style and carvings.They are usually left natural or stained . My intent is to leave it as true to tradition and costume as possible. A darker tone on it is definitely better since it accents carvings by allowing light and shadows to accent them. Staining on something like this is always problematic with inconsistent  not so predictable results.If it goes badly there is no fixing it due to the complexity of the surface. The best finish is always no finish at all allowing age and oxidation develop into a precious patina that only time can achieve. There are however ways to accelerate that  patina. One can leave it exposed to light as long as possible. A faster method which I like to use is to expose piece to ammonia fumes. The ammonia will react  with the Tannin present in the wood and naturally darken it. The longer it is exposed to it the darker it will get. Although Ash does not have a Tannin content as White Oak or Cherry for example have, it will darken sufficiently. It is a dangerous process that cannot be done indoors. A tightly sealed container will have to be improvised for it , placing then yoke and a bowl with ammonia in there. Careful monitoring will be needed to stop darkening when desired tone is achieved. I then just oil them with a mixture of linseed oil and mineral spirits. Once that has dried for several weeks they are waxed with hot bees wax and buffed with a  shoe brush.The photo below illustrates the tone I am looking for. The combination of the different parts of the process produces not only a pleasant tone but also imparts to them a warmth that makes one just want to feel it. No stain and varnish coating can even begin to achieve that look.Unlike staining this "coloring" goes up to 1/8" deep.

 

 

You can see on photos the difference from the "oxidized" yoke to the non oxidized bows out of "fresh" Ash.

 

[rjg854 10,745]

Beautiful

[formariz 11,849]

4 hours ago, stevasaurus said:

 How did you create the background around the flowers and such...looks like thousands of holes punched with an awl?

Forgot to answer this one.

Done with a customized nail for that effect. There are tools for that called "frosting" punches, or one can make them. Never liked the result from them. Inevitably they leave tell tale signs from their outside edges and or create distinct patterns . They require substantial striking force and do not fit everywhere. My way seems insane but it is actually very easy and quick. One "hole" each time but total control over leaving any specific pattern.Just one constant even background. Just have to control the striking force which is very minimal using a jewelers hammer. One has to however "read" the grain the same way as with the actual carving since some grain areas are much softer. There one has to do it lighter so depth is the same. I usually use the smallest one since it will fit in the tiniest places.

 

Edited October 28, 2022 by formariz

[stevasaurus 22,231]

Very clever Cas, and they way you did that really attracts the eye.  What is the ratio of Linseed oil to Mineral Spirits that you use ?  One more question...does the ammonia vapor affect the brass inlays, or do you take them out ?  

[formariz 11,849]

1 hour ago, stevasaurus said:

Very clever Cas, and they way you did that really attracts the eye.  What is the ratio of Linseed oil to Mineral Spirits that you use ?  One more question...does the ammonia vapor affect the brass inlays, or do you take them out ?  

Its about two parts oil one part mineral spirits or so. The spirits allow for easier absorption into wood and faster frying. Too thick and it is very difficult to wipe off from the inner parts of carvings some inaccessible with a rag creating a gunky mess in there.

Ammonia will severely corrode and crack brass or bronze if it is exposed to it in liquid form for a long period of time. The fumes alone however for this short time will also oxidize the brass which is the intent.

 

The metal piece in this case brass/bronze alloy has advantages and also serious disadvantages if one is not mindful. It is traditional of the yokes from my area but many times it is a mistake to use it. Its function is to reinforce the upper part of yoke in which most of the material was removed leaving only in many cases a very delicate grid which during use and handling would quickly break across its width. However if yoke were to get wet it will want to expand . Metal piece will then prevent that and it will crack. I have seen the opposite happen also where the slab was less than dry when yoke was made and as it shrank. Since it was restricted by metal band it actually buckled the metal. So one has to be very mindful of that part. I have large holes for the screws allowing them to hold piece only by a small part of the countersunk head this way allowing some wood movement. I thought about milling slots instead and using a pan head screw but I am not a fan of the screw heads sticking out. Its always a balancing act and a gamble.

[formariz 11,849]

 

Edited October 30, 2022 by formariz

[formariz 11,849]

Life hasn’t allowed as much time on it as I wished but carvings are now completed. Only finish, hair and leather work to do. 
 

Front

 

Back

 

Dedication

[ebinmaine 63,166]

Absolutely breathtaking Caz. 

[rjg854 10,745]

Golly gosh, that thing is beautiful.    

[JimSraj 338]

Stunning!

Is it ash?

[lynnmor 6,795]

You look at that and think about the incredible amount of work and then he shows the flip side. 

[formariz 11,849]

5 hours ago, JimSraj said:

Stunning!

Is it ash?

Yes , it is made out of ash. It’s the traditional wood for them although availability of such a wide plank is scarce causing  other speciesto be used.

[formariz 11,849]

One of the last things to do is drilling top edge for the horse hair tufts. 
 

Layout is done with dividers

 

Hair goes into it about 7/8”

 

 

 

 

 

[John2189 407]

Very nice.   That is an interesting bit stop. I assume it is a vintage piece. 

[oliver2-44 8,852]

Beautiful!  It clearly shows Your craftsmanship comes from the heart and is beyond description. 

[formariz 11,849]

3 hours ago, John2189 said:

Very nice.   That is an interesting bit stop. I assume it is a vintage piece. 

Thank you. It is a Stanley No.49 auger bit stop. They were made from 1905 through 1961.

Edited December 28, 2022 by formariz

[formariz 11,849]

Put off the finish for a bit while I think about it. This one may just be bees wax leaving the natural ash color . Installed the horse hair tuffs . Hair colors are typically black and white but I have always been partial to brown and silver gray. 

 

 

 

Started  work on arches.Typically they are bent

from saplings of the right girth , but i have decided to now laminate them. They are stronger this way and will have more consistent predictable results. Started off with a big chunk of ash. This thing is real heavy. It will be resawn into thin strips that will be glued together. 
 

Dressing one edge to use as reference while resawing. 

One really bad high spot on one end gets quickly knocked down with adze. 

 

[formariz 11,849]

This is the time that I must break the cardinal rule for the first time. Power tools must be used. I will use a bandsaw and a planer to prepare strips. 
 

First plank is ripped in about half it’s width in order to avoid the pith.

 

Then strips about 3/16” thick are ripped from it.

 

 

These will be dressed to a uniform thicknesses of just about under 1/8”.

 

[formariz 11,849]

At best these arches are always a rather ambitious project wether steam bending or laminating . Bottom curve is extremely tight and has to be fully supported 100% of time while bending. This is a dry run prior to glue. One has to make sure nothing will crack prior to application of glue. I use my jigs almost vertical so pieces being bent do not interfere with anything around them. Also when laminating if glue runs a bit it will not be out of sides but rather downwards piece length where is needed. It also makes it easier to see if everything is tight without leaning over all clamps.

 Assembly quickness without any drama is essential since glue does not wait too long. 

 

[formariz 11,849]

The bending process. During the trial runs I keep time on it to make sure it is confortably under the glue’s open time. If not chaos and disaster is inevitable.

 

 Initial bend . Side cleats hold it in place. Considerable effort is needed to get it in this position.

 

 

 

 

 

Temporary clamps on side to allow bottom piece placement. Always listening to any cracking sounds.

 

Bottom clamp in. It will be tightened slowly to support wood fibers in main bend.

 

Clamping from bottom up to allow laminations to slide past each other. Upper temporary clamps reduce pressure.

 

Bottom section fully in place 

next critical bend clamped. Considerable pressure needed here also.

 

Final clamping of top section. Pieces are marked on the center at bottom. Important to keep those points aligned exactly so top ends with two equal legs. 

[SylvanLakeWH 24,155]

Wow!

 

[formariz 11,849]

First one is now glued. It’s never a pretty process. As far as clamps go my philosophy is that if there is space for one don’t leave it empty. A gap between laminations is always a rather unsightly, and annoying thing. One also has to be careful not to starve joints of glue so pressure has to be carefully applied. It will stay clamped for 48 hours or so to ensure it’s fully cured. 
 

[oliver2-44 8,852]

6 hours ago, formariz said:

First one is now glued. It’s never a pretty process. As far as clamps go my philosophy is that if there is space for one don’t leave it empty. A gap between laminations is always a rather unsightly, and annoying thing. One also has to be careful not to starve joints of glue so pressure has to be carefully applied. It will stay clamped for 48 hours or so to ensure it’s fully cured. 
 

@formariz Do you use anything like wax paper, oil or wax on your form blocks to keep them from sticking?

[formariz 11,849]

Main form is waxed. The bottom board is plastic laminate so nothing really sticks to it. The small blocks have sandpaper glued on them so they don’t slip on the turns. I did forget this time to put masking tape on bottom block. Shouldn’t be a problem . Not much if any glue spills to where surfaces meet, only on edges a bit.