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Showing content with the highest reputation since 04/17/2014 in Posts

  1. 9 points
    I guess I like to make things look old and tired (like me). This truck was scratch-built from plans found on the internet. Most of the truck body is fabricated from basswood. The wheels,radiator surround, bumpers, were formed in brass and then nickle plated. Headlights and taillight were spun from pewter. The tires are made from a wooden master and then cast in an RTV mold of flexible urethane. The lug bolts are 0-80 hex head brass machine screws and nuts. The scale is 1:10. The truck photos have been posted on another forum, so you may have seen these already. Sorry. Cheers, Guy
  2. 9 points
    Architects’ Office circa 1900 When Wm. R. Robertson built his Architects’ Classroom for the Toy & Miniature Museum in the 1990's, he created this smaller version for himself. The Architects’ Classroom has become an iconic miniature, having been featured on covers of magazines around the world. This piece, created by the artist to enjoy in his home, effectively evokes the same spirit by including a selection of choice items and details. The artist has lent it out for temporary exhibitions at the Musée de la Civilisation, Quebec, Canada and the Staatliche Kunst-gewerbemuseum, Dresden, Germany. The furnishings are copied from period examples. The table bases are cast in white bronze and machined. A gear mechanism raises the large table; the smaller table's tilt feature tightens with a cam lock. The stools raise, lower, turn, and roll on casters. The arm chair was made by Paul Runyon, a mentor from whom Robertson learned so much. Instrument chests have working latches, real paints, brushes, rolling and ebony parallels, pear wood curves. etc. The ivory rules and nickel silver protractors are individually engraved. Tee squares include an adjustable example and one patterned after Starrett's with a cast head. Triangles have edges lined in rosewood. Other tools include working dividers, pencil sharpeners, slop dishes, ink pens, ink stands, etc. The glazed and framed prints cover the wall. The floor lamp has a spun and enameled metal shade and is adjustable for height. The steel wire waste basket has 1020 solder joints.
  3. 8 points
    I haven't done much sculpting with polymer clay. Partly because I hate how soft it is. I am very glad to hear that there is a new clay coming out soon with much better working qualities. These are two resent pieces I made in 1: 12 scale. The goose is flocked with pure silk embroidery floss I cut into dust. The feathers are white turkey. The rabbits coat is Alpaca.
  4. 8 points
    My friend and fellow poster on the forum, Althea, had a project in mind that required some lathe work. She is a knitter, not one that normally uses machine tools or works to tolerances of a thousandth of inch. But like many skilled artists she took to this like a duck to water...... She wanted to do sort of face plate type turning so I set her up with a lathe I made based on a classic Japanese design with the spindle facing the operator. I used a Taig headstock and a jewelers 6 jaw bezel chuck.... It is a sweet little lathe for this kind of work..... And to start off, I feel you have to get a lesson in the basic proportion of turnings, and the best place to start is with Plumier's book from 1701, it was the first book ever written solely about the lathe and I happen to have a rare first edition..... So her she is studying a 313 year book...... And turning...... And success!
  5. 8 points
    Found these in an envelope in some of my mom's keep sakes. We moved to Oregon in 1945 and lived about fifteen miles from town up in the woods. I was about 14 then. We did not have much money for frills and I needed to keep my hands busy so I tore an old radio coil apart and made these little swords from bobby pins and the wire. Kind of crude but I sold them at school and church to the girls to pin in their sweaters. They used to have copper foil shields hanging from the chain but they are gone. I got 25 cents apiece. Might have made a couple of dollars in total (was a lot of money then). I filed some tweezer tips round to make the chain. I filed bobby pins to the shape of the blades (about an inch long).
  6. 8 points
    I mistakenly posted photos of this house on the introduction forum, now deleted. It is an ancient German house built from plans from an 1876 German magazine. There is no scale called out but guessing at the height of doors it is about 1:20. I don't know if this was modeled after an actual house or just a collection of architectural cliches. Cheers, Gadois
  7. 8 points
    Forming the spout.
Cut you spout out using a pattern and lay the flat spout along the mold. Press the mandrel down into the metal, forming it to the mold. Bend the rest of the spout over the mandrel and tap it down on the mandrel forming the joint. Remove the spout and coat it with flux and tin the whole thing. Wiring.
To strengthen and finish off tin ware the edges are wired. That is you will see that the top edge of a bucket is rounded off. This is done by wrapping the edge around a wire. That is nearly impossible in miniature. I use wire, just plain brass beading wire. I tin the wire, wrap it a couple times around a smaller dowel to form a ring and then solder the ring on the top edge of the bucket. It is that simple. Well not quite! Using a couple of feet of 26 gauge brass beading wire clamp one end in a vise, grab the other end with pliers and pull on it, stretching the wire a couple of inches. This straightens out the wire and hardens it. Then flux the wire and tin it. Wrap the wire around a smaller dowel than the diameter you need. Make several rings; wrap one ring around the top of the bucket so that the joint mates up with the bucket seam. Tack the wire in place in several places. Lay it top side down on the soldering block or a smooth block of hard wood and run a solder fillet around the bottom side of the wire. When you turn the bucket backup run your iron around the wire and bucket joint. This will draw the solder up. Finish off with a file. Hope this is helpful. Copyright 2014 ~Bill Hudson.~
  8. 7 points
    I haven't posted much lately because I have been busy working in the shop. One of the pieces I have recently finished was a copy of a 17th c. Dutch Strong Box. One way to describe this might be 2 1/4" of insanity. I'll show a few photos of the finished box and then some process shots in the shop. Wouldn't this make a great tool chest? The box has a Bolivian rosewood interior with drawers and secret compartments, the outside is veneered in burl with a pattern similar to oystering with cross banding. About 80% of the exterior is then covered by 13 fancy brasses and edges. The stand was carved in boxwood and gilded by Master miniature carver Lloyd McCaffery' The working lock is double action, locking both the top and drop front.
  9. 7 points
    December in South Africa is also the time when many companies and businesses close down for the summer holidays, with hubby off from work for two weeks and my youngest daughter visiting for ten days...I decided to not work on any orders. In between all the holiday things we did I spend most of my spare time building the bedroom for my Cape Dutch house, I also started with the interior over the last few days. Here you can see the back wall with it's paneling in place, the doorway leads to the entrance hall. The furniture are just there to show you the size of the room, I will only install the beams and ceiling once all the wall decoration is finished, right now the whole house can still come apart, I find it a lot easier to work on the walls when it is lying flat on a table. Instead of trying to get a perfect surface on the wooden walls which would have taken a lot of work I decided to paper the walls with a fairly thick paper from an art shop, it gives the walls the feeling that they have been plastered which is historically correct for my house. On top of that I glued 1mm thick cardboard for the panels and then painted everything with a nice paint that has a matt chalky finish. I then glued onto the panels paper that is actually gift wrap of 18th century chinoiserie designs, this one dates from 1780. I still need to add molding around the panels. The wall with the window openings is part of the front of the house, I love the size of it, this is where the sash windows will go in. And here you can see a bit of the hollow construction of the walls of the house. This is the bed that I plan on making for the bedroom, I saw the real bed earlier this year in the museum which is located and part of the Groot Constantia wine Estate in Cape Town. http://www.grootconstantia.co.za/resources/gallery/?id=52
  10. 7 points
    Some work just completed. Had some fun times and some frustrating times with these!!
  11. 7 points
    The Mini Time Machine Museum in Tucson is planning an exhibit of IGMA Artisans and Fellows of the Southwest. Here is one of the submissions I sent in yesterday. Sue from Mesa
  12. 7 points
    This really should be titled how not to make something almost completely by hand........ I did 32 pairs of these........ they are 1930's vintage roller skates in 1/12th scale....... made of nickel silver, brass, steel and leather........ all the parts were cut out with a jeweler's saw........ some of the spec. for the project are there are over 4600 little holes.... 512 of them at .0125" (without breaking a single bit I might add.... that was the best part!!!!)...... 8 holes on the back of each wheel (made a fixture that did each wheel in 35 to 40 seconds including loading the part, remember this was with manual machines) ......10 holes on each skate were cut out to a rectangular shape...... and 8 were taped .80 mm...... the toe adjusting screw is 1.0 mm left hand and the other end .80 mm right hand.... and they work as does the length adjustment......... this was the first project that I have ever done where I can see that CNC stuff would have been better or at least I think so because doing it all by hand could not have been the best way......
  13. 7 points
    I came across this very interesting pembroke table that does double duty as both a writing and dressing table, unfortunately they didn't have any close ups of the drawer insides. I think this would be both a fun and challenging piece to make in miniature.
  14. 6 points
    One of the most famous tool chests in the world is the Studley Tool Chest that is if a tool chest can be famous? When this first showed up on the back cover of Fine Woodworking magazine my phone rang off the hook all day with friends asking if I had seen it. As time passed I started a file on it that includes a lot of unpublished material. I even had the chance to help unpack it when it arrived at the Smithsonian. In thinking about this over the years 1/12 th scale is simply too small to get the full WOW factor out of this. In places there are 3 levels deep full of tools on each side. I understand a book on it is in the works due out next year. Ah.... Dreams of this spinning in head.
  15. 6 points
    Hello here are some of my furniture pieces. Thank you for your time Mario
  16. 6 points
    Assembly, notice details like the 12 lobbed screw heads and hundreds of brass nails, they are .012" Even though almost no one will see this, the back is done too with all the detail of the original.
  17. 6 points
    Furniture pieces like this one was the biggest reason for my desire to take brass turning classes, you simply can not buy hardware like this. I used South African black stinkwood and South African yellowwood to make this little piece, it is destined for my Cape Dutch house and these two woods were the ones mostly used for making fine furniture in the Cape in the 17th and 18th centuries. It was quite a challenging piece to build as I wanted my wood as thin as possible so as not to look out of scale. All the brass knobs are threaded and just screws into the wood. I plan on building a chest of drawers for it to stand on in the future.
  18. 6 points
    Today I needed to cut rabbets on some drawer pieces and thought I would show you how to do that. My wood is 1mm thick and I wanted to cut rabbets 1mm in from the edge of the wood and 0.5mm deep. To make life easier since I often cut rabbets this size I made a little jig as I actually use a 2mm end mill for this. In the photo you will also see a drawer piece with the rabbet already cut, the base of the drawer will fit into the rabbets. The sides of the drawer is fitting into the back of the drawer so I also cut rabbets on the sides of the drawer back pieces. And in the last photo you can more or less see how the drawer is going to go together, I haven't cut the bases yet, so that is just a scrap piece of wood for now.
  19. 6 points
    I am presently stitching a medieval tapestry ( it is a commission) but as soon as it is finished, I have a great project where what I learnt with Ann High at school will be very useful. It is a German timber house that I already made a few years ago but the next one will be an exact copy of the real one in Idstein (Germany ). I did the first one just from a picture on a calendar. For the next one, I have planned a trip to the beautiful town where it is located and I will take measurements, probably get inside and study it closer. And this is in two weeks time.
  20. 6 points
    This is a little fairer shop I made many years ago. The fairer shop led to a series of vignettes of farm blacksmith shops. Most all had a lighted forge and some also had a red hot (lighted) horseshoe on the anvil. These were really fun to make.
  21. 6 points
    I finished the little raccoon. I had posted in the challenge thread a picture of my work table while working on him and I said I'd post him finished here in this thread. He is hand carved, painted then the fur is painstakingly applied.
  22. 6 points
    Well done, Catherine. I saw a finished one by a French friend on the train taking us to Holland two or three weeks ago, different colors but beautiful. Here is the tapestry but don't put the picture any where else on the web, I want it to be a surprise for my client ( I don't think he comes on this forum)
  23. 6 points
    Elga asked for a picture of the very large blue and gold carpet that I had in my roombox. It took me awhile to find a picture and actually this one is from before it was stitched finished on the edge. This is a chart by Joseph Boria and its biggest claim to fame is that it is huge. It measures 11 by 14 inches when stitched on 40 ct silk gauze - that is 246,400 stitches. It took me 14 months to complete. I was a novice at the time and I guess I had no idea what I was getting into having only stitched a handful of things prior to this. That was probably good as otherwise I never would have done this. Enjoy, Lisa
  24. 6 points
    I joined up with Elga in Copenhagen after Tune....... We have been on a non stop whirlwind tour of this city from its main sights to back allies, all by bicycle! I sure we'll have more pictures when we get them downloaded. But now for a small world story..... Last night we were sitting out on the street at a little restaurant on sort of a back street..... And here you do sit out in the street. Anyway a constant stream of people walk by as you sit enjoying perfect weather, food and company. I look up and see a woman walking by alone and think, wow she really does look like someone I have talked to many times at miniature shows, mainly Chicago..... And I think no, it couldn't be..... Maybe she only looks 90% like her..... Well an hour or so later she walked by again with her husband and this time we made eye contact...... Yes it was her. Kathy from Chicago, just strolling the streets of Copenhagen on the way to dinner running into other miniaturists from the US and South Africa....... I guess this miniature thing is a small word after all?
  25. 6 points
    This little summer house can turn 360 degrees, Josje and I thought it was probably intended for invalids with tuberculosis etc, this way you could get as much sun on you as you wanted/needed! I found the roof construction of this farm house very interesting as it looks exactly like the roof construction of the Cape Dutch houses. Josje spotted my surname on a grave stone that forms part of the church floor in the museum :-)
  26. 6 points
    Guild School starts June 7-13. Hard to believe, but we just had 3 new students sign-up this week. It's never too late! There are still great classes open. Check it out! www.igma.org
  27. 5 points
    Hello to everybody, I have open this new topic in order to talk about the importance of light in our miniature houses and structures. I'm not going to talk about sophisticated setups which try to reproduce optical illusions in our scenes. This is quite common in dioramas and the techniques that we use are closer to theatrical scenery rather than architecture. What I want to show you is how we can change a room only playing with light as if it was a real one, that is, with natural light that goes through a window and artifical light of our lamps. I use modern lights. the modern light's designer is not only worried about the shape of the lamp, or the materials he use, but also for the kind of light he want to show: direct, indirect, diffuse, intense, its colour, warmer or colder light, and this give us many possibilities. I have boxed the room that will serve to explain what I mean. the first photo shows the room lighted by the sunlight that goes through the window. the second one, the same sunlight but filtering through the blinds the next one is dark and the light enters through another room the fourth is lighted by a "cubrik" lamp (Antoni Arola in 2005, for Santa e Cole) the fifth, by a "twiggy" ( Marc Sadler in 2006 for Foscarini) the sixth, "TMC", a very famous design made by Miguel Milà in 1961 the seventh, both "twiggy" and "TMC" finally all lights togethe http://www.artmajeur.com/miniarquitect
  28. 5 points
    Hello This time I want to show you some bathrooms which I have made for different miniature houses. As you know I build houses with an aesthetic of the beginning of XX century but with a contemporary feeling, this is the reason because of I use accesories and lights that, in some case, have been designed one hundred years after. So, in these bathrooms I try to reproduce the atmosphere of these rooms, I keep the ancient cast iron bathtube and the bath sink, which in many cases was made in England, as I can do in a real restoration of a flat. But the toilet and the bidet are new ones. The toilet because the original ones have high cistern and this is quite inconvenient, and also because this piece was usually separated, so you have to put a new one in the bathroom. The bidet, because was not very common. So toilet and bidet are from the same collection while bathtube and sink are the original ones. I also keep the same tiles, quite worn and no so shining, and up to a hight of 1,60 m, and I paint the rest of the wall. Although, as you can see in one of the toilets, all the wall is painted but has a varnish protection of 1,60 m also. lights, as usually, are modern. And floors, as described in one of my topics.
  29. 5 points
    Hi these are 12th scale miniatures I made in 1997, all made from antique mahogany. The small table was made by Michael Walton.
  30. 5 points
    Most of the drawers that I make in miniature has blind dovetails in the drawer fronts and up to now I have used inverted cone burrs for cutting the dovetails, but I have always felt that the angles are not steep enough to give a good result in 1/12 scale. So yesterday I tried my hand at making my own from oil hardening drill rod. I first turned them to size and shape on my lathe and the cut the teeth on my mill. Next came hardening and tempering them and then of course sharpening the teeth. I am pretty happy with the results off my first two cutters, you can see that the angle are steeper than the cut I made with the burr on the right. My cutters aren't pretty at all (be gentle, this is the first time I tried anything like this) and I guess time will tell how long they are going to last. I think next time I might try just two teeth that are a bit thicker.
  31. 5 points
    Hello everyone, I am Esther and I live in India. I must be one of the very few people in my country fascinated with miniatures, so it's a little difficult to find the correct materials and people to appreciate my work. Anyhow, I wanted to share with you my miniature Venetian masks. Each mask is about 5/8th of an inch wide and 3/4th of an inch high. These dimensions are excluding the mask stick and head gear and refer to the face portion of each mask only. You can see how tiny these are by looking at the picture of the mask in my hand. Like it's original full sized counterpart, each mask is made from papier mache and then painstakingly decorated. The back is hollowed out just like a traditional mask so it can fit over a face.
  32. 5 points
    These are the compartments for papers, note the tiny sliding latch. Here are screws driven by a crank that mount the chest to the base or the floor when traveling. Even the blackwood crank handle turns of a screwed in steel stud. I think the thread is about 0.5 mm. Rolling the hinge pins. The parts so far.
  33. 5 points
    Here is some of the veneering being glued to lid, all joints are dovetailed or splined. Here is the front panel, after veneering the center, the edge was turned round, then edge banded and turned again. The brasses are first engraved on brass on a Deckel GO from larger plastic patterns, Then these are sawn out by hand with a jewelers saw. The edges are made from brass angle with end caps gold soldered in place. Then using gravers and fine files the edges are beveled by hand and polished, this took nearly a entire week.
  34. 5 points
    Chris, I think the Proxxon only comes in metric, a pity since as Tamra pointed out the Microlux mill is double the price. Funny that you should mention the tilting head Tamra as I made a V block just yesterday to mill 45 degree slots in tiny little doors for the hinges. I found this video that shows you how to make the V block, although he didn't measure before the time I had to as I don't have a full size table saw and the depth of my cut was limited by the size of my blade. Your comment made me think a bit further as I am starting work on two Chippendale chairs this week and need to mill 10 degree mortises and tenons in the side pieces of the chair rails, three years ago I just used a piece of scrap wood to lift the wood a bit at an angle but it wasn't ideal. After a bit of thinking and working out the dimensions I made a 10 degree jig as you can see in the photos, it is a bit too short to support my wood all the way, I will probably glue a piece of 2mm thick plywood on top to make it a bit wider, with a full size table saw it will be possible to make a wider jig. With this method one can make any degree jig you need...a great solution for those of us who don't have a mill with a tilting head. For the second cut I put a scrap piece of wood the same thickness of the blade in the first slot to support the wood while cutting the second slot. Milling the 10 degree mortise in the chair rail. My brother bought me this great lamp at Ikea in Stavanger, they were a lot cheaper in Norway than here...and this one is long enough to swing to whichever tool I am using as well as to the other side of my desk where all the assembling happens...good lighting is essential when you are working with your power tools.
  35. 5 points
    After my friend Janne from Norway saw the tilt and turn table that I finished earlier this year http://www.fineminiaturesforum.com/index.php?/topic/627-tilt-and-turn-18th-century-table/ she asked me to come and teach it in Norway for a group of miniaturists from Stavanger. Well of course their tables will need latches too. Having just recently received the indexing tool that Bill Robertson made for his 2015 class at Castine I decided to see if I could use the tool to make the round table latches typical of the era. Here is the antique latch that inspired my miniature latch. After I had turned the basic shape on the lathe with a shallow center hole of 0.5mm I transferred the latch to the indexing tool to drill the hole for the bolt. The wood is keeping the latch at a certain distance from the collet as I needed to built a jig to help me line up the latches each time correctly when I changed steps, I needed the whole process to be repeatable. Next I moved the part of the tool that holds the work 90 degrees, used the 1.2mm brass rod that will be the bolt part of the latch to center it in the collet with the wooden jig I built for this purpose and then drilled into the brass rod through the hole that was drilled while the part was still on the lathe. Next I milled the slot into the top of the first latch. Before I could carry on with the rest of the latches I had to check if the slot was long enough to move the bolt in and out, I was keen to keep the knob in the center of the latch when the bolt is engaged in the table...I think it will work... Using the brass rod again to line it all up I drilled the back screw holes into all the latches. I then removed the wooden jig and used the drill bit to line the latches up with the back hole and turned the indexing tool 120 degrees twice to drill the next two holes. Using the same principle I used a bigger drill bit to remove most of the waste brass in between my three screw holes. After a lot of filing and polishing...here are the three parts that make up the latch together with a regular sewing pin. With the bolt sticking out. And the bolt flush with the body of the latch. This was loads of fun to make and I love my new indexing tool, it has opened up a world of new possibilities
  36. 5 points
    The new metal former works well and is repeatable. I have made eight bodies today and all are very close in measurements. These have not been cleaned up yet.
  37. 5 points
    The Vyne Floor- history, technic and miniature tile floor The original tiles on the floor of the chapel ‘The Vyne` in Hampshire, England, probably were made 1520 in Antwerp (Belgium). The floor is a typical example for a floor design of that time. By using the Maiolica technic, portraits and animals as well as Persian pelmets and other floral designs were painted on hexagonal and square tiles. They are very close in design to those laying on the Vaselli Chapel in Italy. Hence it is not surprising that Andries, a potter who probably made the tiles learned the Maiolica technic in Venice (Italy) before we went to Antwerp. Maicolica means that the tiles were made and glazed first before the painting was applied on the unfired glaze surface. By doing so the paint soaks into the glaze immediately. This technic needs a secure hand as no correction can be made. We love the designs as well as the lively ancient look and decided to make a miniature floor accordingly. In order to achieve the medieval look a crème to yellow glaze with spots as base for the hand painted single tiles and a lively red-brown mat glaze were developed. During the third firing the hand painted designs were fixed on the glaze before the final picture could be formed by gluing all tiles in place. We are very happy with the result, now the medieval dancing event with knights and ladies can take place!
  38. 5 points
    For some reason I always seem to be working on more than one piece at a time, here are some pieces I am busy with at the moment. A Federal dining room set consisting of two tables and four chairs, the tables are just about done, basically just need to make the hinges for the drop leaves and put the finish on, the shield back chairs still need quite a bit of work. And a Queen Anne table, the drawer has cockbeading, the top which corners still need to be rounded and milled out so that the hardwood edge is only 1mm wide will receive a needlepointed insert.
  39. 5 points
    Hello to everybody, I want to share with you one of my latest work of miniature architecture in 1/12 scale. It is something very different, because it is inspired by Barcelona's streets, its sidewalks, its art-nouveau façades. So it is not only a room-box, it is a piece of city. I like to take photos of my miniatures outside, as they were real buildings, It is funny to watch how sun plays with the façade while draws deep shadows, or to see the effect of the miniature bulbs at night. It is my first façade made of stone, artificial stone of course, but it keeps the texture, colour and shine of the real one! I wish you enjoy
  40. 5 points
    I'm now doing small runs of photoetching, since I'm comfortable with Photoshop and pretty good at detail/fussy jobs. (As a weaver I know to pay attention.) You can contact me here, or by private message. Shown is the brass I've etched for Bill Studebaker's Spinet class, which he's teaching at the Guild Study Program in Williamsburg, VA this coming January. Bill gives me a pen or pencil drawing 4X the finished size and I work from that.
  41. 5 points
    Smaller yet: http://www.scalehardware.com If you can not thread screws maybe threaded rod will work -same people- http://www.scalehardware.com/threaded-rod-c-26 followed by miniature tap- http://www.scalehardware.com/miniature-taps-c-12
  42. 5 points
    Well I can see this thread going off in another direction so I will keep posting more tin stuff. With cold weather coming on I will be taking break to change over from garage work space (the little heaters can't keep me warm enough) to inside studio so it will be a while. Thank you all for your encouragement's.
  43. 5 points
    Many of the older cars and trucks stiffened some of the metal panels by rolling a bead onto the surface. This process added torsional strength as well as a decorative element. When I built the '29 Ford truck I could have used a bead roller but one of a small size was not available. The scale model truck I am now fabricating (the oldest pickup) has clamshell fenders which do have the fender beads. Any how I decided to build a miniature beader (overall length is 6 inches). It is constucted of aluminum and cold rolled steel. I couldn't leave the body alone so I engine-turned it. My wife said "to pretty it up". Maybe that is the case but it is certainly not a manly description! The third photo show applications of two of the dies I have made. One is the bead on a fender and the other is an offset lap joint used in soldering two pieces together with no visible seam showing (on the back side in the photo). The fourth photo shows how the dies shape the metal although the metal has already been shaped. Cheers, Gadois
  44. 5 points
    In additiion to the bead roller I had a need to fabricate louvers sized for a 1:16 scale model. Using an arbor press, a Sherline vise and rotating vise base, I ground several dies of different sizes and machined an adapter to hold the dies and fit onto the arbor press. Louver spacing can be adjusted and pressed at any angle. The louver width shown on the press is .375 inches. One of the brass sheets shows a double row of .125 inches. Cheers, Gadois
  45. 5 points
    My father did not own either farm. In Indio, Calif. my dad took care of the back 90 acres for my mom's brother. My dad, myself and my mom also worked there. Mother and I did not get pay that is why my mom got a job in town. Both my sisters were too young to work, they just kept the three room house sort of clean. And I had to go to school and work after classes. We worked hay at night because of the heat, usually 100-102F days. If the alfalfa was cut during the day it would dry out too quickly and loose the leaves. In Oregon my dad worked for another uncle who was supposed to have the land and old house that was on a part of the property (Daddy rebuilt and we lived in) deeded to us. The farm was not supporting both families and things were tough so my dad took work in town at the shingle mill, supporting both families (8 people). A couple years after we moved to Oregon, my uncle sold the farm and our house and land out from under us. We had to quickly salvage a fallen down log cabin my dad bought from one of his brothers to move in. See: http://smallstuff-digest.com/an_oregon_cabin.htm If you are finding no acceptance in your community you just have to find it in your own self. If you wait for other people you will have a long lime to wait. I remember going to a miniature show in Southern Oregon, very heavy with loggers and farmers. I was in a store with several of the ladies looking at lace and fabrics for future carriages. I got some strange looks while standing at the register with lace in my hands, but it did not bother me. I have a job to do and if it takes me into a ladies garment and undies department to find materials, that is where I go.
  46. 5 points
    This was used at a miniature knitting seminar a number of years ago. It won't be quite as useful when one can't actually feel the samples, but perhaps it will be helpful. There are two needlework shops mentioned by name, both of which are in the Denver area. Now that I'm in AZ, I have access to the marvelous needlework shop, The Attic, which will do mail order. They carry some of these items. I would encourage any beginning mini knitter to experiment with many different fibers. You may want to begin with something that doesn't really look in scale and then work your way down to finer fibers. Sue from Mesa
  47. 5 points
    I'm on the historic knitting group in Yahoo and someone recently posted an amazing find...I have attached the pictures. I would go crazy if I found something so wonderful!!! And look--mini gloves!!!
  48. 5 points
    From tho point on I am adding to the original tutorial as I go along on a project. While rumaging through some drawers I came across my old beading tool. Years ago I wanted to add some beading to some of my watering cans. Using scrap metal I came up with a punch and die method. It was just to be a make do and I fully intended to make a forming roll set. That has not happened yet, in the last 23 years. The punch had a raised center with the top rounded off. The die was just a piece of old steel with a groove cut in it with a hack saw. It was all done free hand. Later I converted a little arbor press to hold the punch. I bored out the ram with an 1/8"hole the whole length and then bored a 1/4" bore at the bottom. I also drilled and tapped a hole in the side of the ram to hold a set screw to hold the punch in place. A couple hours on my Sherline lathe and mill I made several improvements. I milled a groove in a piece of scrap brass and mounted it to the old steel plate. I turned a new punch head (old one was missing) and added an adjustable stop for sspacing of the beading. All for no cost but time. You can see the resuts on the test pieces in the last photo.
  49. 5 points
    another example of this imaginary city: an art-nouveau cafe that could have been existed.
  50. 5 points
    Ofcourse, i'll gladly show you what I use to carve with. Here's the major bulk I use; First are my major cutters, no x-acto knives but scalpels. I love the mounting system which is sturdy yet very quick and simple, and you can get most blades in bulk, no matter what country are. And razor sharp From top to bottom; # 23. Very common blade, readily available and I find the curve is perfect for taking of slithers. # 11, straight blade with an angle at the tip, making it relatively stronger then the one below, # 10A. That one has a tip that continues passed the bevel making it weaker but more precise. And at the bottom is just one of the few dental scrapers i've got, this one's 1.5 mm wide and sharpened at 3 sides. Then come the Pfeill gouges. I prefer these above the ones from Dokyard, mostly cos of the handle, which fits perfectly in the palm of my hand. It gives me great steering control. Can't compare the durability with other brands, but I'm very happy with them. Below is just one of a few various shaped bits that i've made from broken tool bits. Chucked in a hand vice they are very versatile. I've found that making these is very simple and I don't worry too much about getting the perfect shape. Although i do focus on shape of course, I've found that the major aim is to get them razor sharp. Then they'll work a treat. This one is a gouge Bill Robertson showed us how to make in class. In 2013 he taught an 'introduction to Rococo carving' class which I attended and totally enjoyed. The bonus side steps he always takes to give us students extra info on how to do things at home are just wonderful! It's a rod that's drilled out and then shaped and sharpened accordingly. Next is one out of a set I got when I attended a class given by David Hurley. If I remember correct they are made up of masonry nails (?). The sides are taken down till you get a strip. And then the bottom of one side of the strip is gradually grind down to a straight edge. And then you've got a miniature chisel. Making a set of three of these, in various wideness let's you get in all nooks and crannies. And from that same set of David is this gouge or shallow scoop. These are most of the cutters I've got. I do have a bunch of other machine bits, but work those more as scrapers. I use some more then others, depending on the jobs at hand, but for sure any one else might prefer others. One thing that's for sure; no tool or brand is more superior than a sharp tool. A dull edge will tear the fibres and increase shoot outs. Carving is like putting your feet on the peddle, giving gas, and at the same time stepping on the break. You give direction and force, but at the same time you have to make sure you rest some of your hand to be able to stop when you want to. Only a really sharp tool will cut smooth and predictable, increasing your controle as you give gas and step the break. So i have this honing compound at hand all the time. It's a stick and can be rubbed onto paper that's on a hard surface and you've instantly got yourself a honing surface. Hone often and it will keep you from getting blunt tools and the need to sharpen too often. Hope this is of any use??? In answer to your Q Bill; sometimes the Pfeill gouges are too long. When doing a hollow shape for instance. But then almost any tool/cutter will be hard to use. You can if you go across the grain/cut across the shape but when making miniatures you quickly run into 'space issues' anyway )
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