The Shed Issue 79, July/August 2018

In The Shed Issue 79, July/August 2018, we head to Wellington to document Shea Stackhouse making a small knife from Damascus steel, fondly known as a Puukka (that’s Finnish for small knife). While we are there we hang around to meet some knife fans who receive knife making advice from Shea at one of his regular knifemaking classes.



In The Shed Issue 79, July/August 2018, we head to Wellington to document Shea Stackhouse making a small knife from Damascus steel, fondly known as a Puukka (that’s Finnish for small knife). While we are there we hang around to meet some knife fans who receive knife making advice from Shea at one of his regular knifemaking classes.
Whanganui is where we meet master birdhouse builder, Steven Price. Steven went from building practical houses for people to building amazing houses for birds before Enrico Miglino introduces us to an Arduino-type board, BBC micro-bit. In this issue, we build a houseplant moisture monitor.
Raf Nathan shows us how to build some simple iPhone speakers from native timber that make great gifts and we discover the world of spectacular glass artist, Carmen Simmonds. Carmen makes her own glass, creates pieces from it as well as giving tuition to those eager to learn this fine craft. Lachie Jones follows the install of a flat-pack kitchen by Gary Hatfield and gets some solid tips and advice for us sheddies and, if you enjoy the art of clockmaking, you will be blown away by the work of Aucklander, David Curry. Not only does David make skeleton clocks from scratch, he makes the tools to manufacture the parts! As well as stationary engines electronic ignition systems and more.
Landlocked Piopio is where we find Max Laver Marine making unique boats and canoes from Macrocarpa, David Blackwell discusses the essentials and beauty of a good square and Geoff Merryweather forges a set of sturdy loads skates for moving heavy pieces of machinery around your shed.
Jude Woodside completes his strong and sturdy-as lathe bench by making and fitting steel drawers and Mark Beckett warns us of the dangers of cheap USB chargers. Part 5 of our series on 3D printing sees Enrico explore the features of the 3D software, Tinkercad, that make it perfect for newbies and we go on a journey with Ritchie Wilson, to save money, get some history on and learn all there is to know about sharpening stones and sharpening tools.

 

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Creative duet

For Dave Pauling, making guitars is the natural fusion of two passions – music and wood.
Dave, who has been playing the guitar since he was 13, also knew the pleasure of pottering in sheds from a young age. His father is a “sheddie” from way back who, among other things, still spends many hours restoring vintage vehicles.
“I grew up helping him with his Model Ts, making bows and arrows, or working on a model railway we had in the loft,” he says.
While Dave himself has spent a fair few hours restoring a 1965 Mustang imported from San Francisco, he prefers working with wood. There’s something about the malleability and smell of wood, as well as its provenance, he says. Wood, especially the recycled timber he uses to construct his guitars, has had a previous life. “Every guitar I make comes with a pre-history.”

Rust, me and CRC Evapo-Rust

My tools and machinery were housed in an unlined shed for a few years, resulting in plenty of surface rust.
I tried removing it with abrasive products, but that involves an awful lot of manual labour and doesn’t always work well, not to mention the scratches it leaves on the tool’s surface. So I looked for a decent rust killer. CRC Evapo-Rust had a reputation, so I gave it a go.
Most of my affected tools were small enough to be immersed in the liquid. I had a container that I filled with Evapo-Rust, and an overnight immersion generally cleaned them up. The beauty of Evapo-Rust is that it’s reusable, so that container will last for the foreseeable future, probably a year for me.

A butterfly takes wing

This simple butterfly pendant or brooch (depending on the back fittings) is a very good exercise in several basic goldsmithing techniques. It also can be decorated in several different ways to produce strikingly different finished pieces of jewellery.
I drew this design more than 25 years ago for a company that then made paua-shell jewellery. They stamped out their products, so I often made the master patterns in copper and from these patterns they spark-eroded the dies.
If this design was being made in an art school, it would be stuck to a sheet of silver and the basic shapes cut from there. If a design was made this way in, say, 18-carat gold and the wing outlines (as here) made from 2.5 mm thick metal, the outlay and waste material would be considerable from a 2.5 mm-thick sheet of 18-carat gold plate. But we will make it like a professional craftsman who has to live in the real world where costs matter.