#waste to a cool woodworking project.

[pets12pets]

Mastering Advanced Woodworking Techniques

Woodworking is an art form that has been practiced for centuries, with its roots dating back to ancient civilizations. From building shelters to creating intricate furniture pieces, woodworking has evolved into a fine craft that requires skill, patience, and precision. While many enthusiasts may have some experience with basic woodworking techniques, mastering advanced techniques is crucial for those looking to take their craftsmanship to the next level. In this article, we will delve into the world of advanced woodworking techniques, exploring the various methods and skills that can elevate one's woodworking skills to a professional level. Whether you are a seasoned woodworker or just starting out, this guide will provide valuable insights and tips on how to master advanced woodworking techniques and create stunning, one-of-a-kind pieces that will stand the test of time. So, let's sharpen our tools, roll up our sleeves, and dive into the world of advanced woodworking techniques.

Precision cuts: achieving flawless edges

Achieving precise, flawless edges is a crucial aspect of mastering advanced woodworking techniques. It requires a combination of skill, patience, and the right tools to achieve the desired results. Whether you are working with wood, metal, or other materials, the ability to make precise cuts is essential for creating high-quality, professional-level pieces. In this article, we will delve into the importance of precision cuts and offer tips and tricks to help you achieve flawless edges in your woodworking projects. By mastering this fundamental aspect of woodworking, you will be able to take your craft to the next level and create truly exceptional pieces.

Joinery mastery: perfecting complex connections

In addition to achieving precise edges, mastering complex connections is another essential skill for advanced woodworkers. These connections, such as dovetail joints and mortise and tenon joints, require a high level of precision and attention to detail. One small mistake can affect the overall stability and strength of the piece. By perfecting these complex connections, woodworkers can elevate their craftsmanship and create truly impressive and durable pieces. In this article, we will discuss techniques and strategies for mastering these advanced woodworking techniques and taking your skills to the next level.

Advanced shaping techniques: sculpting intricately

Another crucial aspect of advanced woodworking is mastering the art of intricate sculpting. This involves using different tools and techniques to create intricate and detailed designs on wood surfaces. It requires a high level of precision and control, as well as a deep understanding of how different types of wood respond to various shaping methods. By mastering intricate sculpting, woodworkers can take their pieces to the next level and add unique, personalized touches that truly showcase their skill and creativity. This skill can also open up new opportunities for creating custom pieces and fulfilling more challenging and rewarding projects. With practice and patience, advanced woodworkers can become experts in sculpting and elevate their woodworking abilities to new heights.

Veneering secrets: creating stunning finishes

One of the key components of advanced woodworking is the art of veneering. Veneering allows woodworkers to create stunning finishes by applying thin layers of wood to a base material. This technique not only adds a beautiful aesthetic to the piece, but it also adds strength and durability. To achieve the best results with veneering, it's important to understand the different types of veneer, the proper techniques for applying and cutting veneer, and how to properly seal and finish the final product. With these veneering secrets in your repertoire, you can take your woodworking to the next level and create truly stunning pieces.

Mastering inlay and marquetry: Elevating craftsmanship

Another advanced woodworking technique that can take your craft to the next level is mastering inlay and marquetry. These techniques involve using small pieces of contrasting wood, metal, or other materials to create intricate designs on the surface of a piece. With precise cutting and fitting skills, as well as an eye for design, woodworkers can add a touch of elegance and sophistication to their pieces through inlay and marquetry. These techniques require patience and attention to detail, but the end result is a stunning piece that showcases advanced craftsmanship. By incorporating inlay and marquetry into your woodworking, you can elevate your skills and create truly unique and beautiful pieces.

Advanced router techniques: Enhancing versatility

Another advanced router technique that can greatly enhance the versatility of your woodworking skills is edge banding. This involves applying a thin strip of material, such as wood veneer or PVC, to the exposed edges of a piece of furniture, giving it a clean and finished look. This technique allows woodworkers to use less expensive materials for the main structure of a piece while still achieving a high-end appearance. It also opens up the possibility of incorporating different materials and textures into a design, giving the finished piece a more dynamic and visually interesting look. By mastering edge banding, woodworkers can take their creations to the next level and truly showcase their skills and creativity.

Fine furniture finishing: achieving showroom-quality

Achieving a showroom-quality finish on your fine furniture is the ultimate goal for any woodworker. It not only enhances the overall appearance of the piece, but it also adds value and longevity. To achieve this level of perfection, it is important to pay attention to every detail of the finishing process. From selecting the right materials to mastering the techniques, every step is crucial to creating a flawless finish. In addition to edge banding, other advanced techniques such as hand-rubbed finishes and French polishing can also elevate the look of your furniture to a professional level. With patience, practice, and attention to detail, you can achieve a showroom-quality finish that will make your furniture stand out as a masterpiece.

Carving mastery: creating intricate designs

Another important aspect of mastering advanced woodworking techniques is the ability to create intricate designs through carving. This skill requires patience, precision, and a steady hand to achieve the desired results. Whether it's adding decorative motifs to furniture pieces or creating stand-alone wood carvings, mastering this technique can elevate the overall aesthetic and value of your work. It takes practice and dedication, but with the right tools and techniques, you can achieve carving mastery and take your woodworking skills to the next level.

Advanced sanding techniques: achieving smoothness

Achieving a smooth finish on wood surfaces is a crucial aspect of advanced woodworking techniques. While sanding may seem like a simple task, there are specific techniques and tools that can help you achieve a flawless finish. The key is to start with a lower-grit sandpaper and gradually work your way up to a higher-grit sandpaper, as this will smooth out imperfections and create a polished surface. Additionally, using a sanding block or a power sander can help provide even pressure and prevent uneven sanding. Remember to always sand with the grain of the wood to avoid creating scratches or marks. With these advanced sanding techniques, you can achieve a professional level of smoothness on your woodworking projects.

Woodturning wizardry: sculpting exquisite forms

Another advanced woodworking technique to master is woodturning. Woodturning is the process of shaping and sculpting wood by rotating it on a lathe while using specialized tools. It requires precision, control, and a deep understanding of the wood's grain and characteristics. With woodturning, woodworkers can create intricate and unique forms, from bowls and vases to decorative objects and furniture components. By honing their woodturning skills, woodworkers can elevate their craft and produce truly exquisite pieces.

In summary, mastering advanced woodworking techniques requires dedication, patience, and a willingness to learn. By continually pushing yourself to try new techniques, you can expand your skills and become a true master in the art of woodworking. With the right tools and knowledge, you can create beautiful and intricate pieces that will stand the test of time. Keep practicing and honing your skills, and soon you will be able to take on any woodworking project with confidence and precision.

FAQ

What are some advanced woodworking techniques that can be used to create intricate designs and patterns in wood?

Some advanced woodworking techniques that can be used to create intricate designs and patterns in wood include marquetry, inlay, carving, and woodturning. Marquetry involves using thin pieces of wood veneer to create detailed and decorative designs on the surface of a larger piece of wood. An inlay refers to the process of cutting out a recess in the wood and fitting it with contrasting materials, such as metal or another type of wood, to create patterns and designs. Carving involves removing wood to create intricate shapes and designs, while woodturning involves shaping wood on a lathe to create symmetrical and detailed patterns.

How can one achieve a seamless and invisible joint when working with different types of wood?

Achieving a seamless and invisible joint when working with different types of wood requires careful planning and precise execution. One key aspect is to select woods with similar grain patterns and colors to ensure a harmonious blend. Proper measurement and cutting techniques, such as using a sharp blade and making accurate cuts, are essential. Additionally, ensuring a tight fit by using clamps or other joining methods, along with using appropriate adhesives, can help create a strong and invisible joint. Sanding and finishing the joint afterward will help to further conceal any visible seams and create a seamless appearance.

What are some effective methods for creating complex curved or angled shapes in wood?

Some effective methods for creating complex curved or angled shapes in wood include using a bandsaw or jigsaw to cut along the desired curve or angle, using a router with a template or jig to shape the wood, using a scroll saw for intricate cuts, and employing steam bending techniques to bend the wood to the desired shape. Additionally, using a combination of hand tools such as chisels, rasps, and files can help refine and shape the wood further.

What are some advanced finishing techniques that can be used to enhance the natural beauty of wood?

Some advanced finishing techniques that can enhance the natural beauty of wood include sanding to a finer grit, using wood dyes or stains to deepen or alter the color, applying multiple coats of clear finish to create depth and shine, using techniques like glazing or distressing to add visual interest, and applying a final coat of wax or polish to enhance the wood's natural luster. These techniques can bring out the grain patterns, highlight the natural color variations, and give the wood a smooth and polished appearance.

How can one master the art of wood carving and create intricate and detailed sculptures from a single piece of wood?

To master the art of wood carving and create intricate sculptures, one must first acquire the necessary tools and materials. Next, it is essential to practice and develop a good understanding of the different carving techniques, such as relief carving and chip carving. Learning from experienced woodcarvers through workshops or online tutorials can be immensely helpful. Patience, attention to detail, and a steady hand are crucial in achieving intricate and detailed sculptures. Beginning with simpler designs and gradually progressing to more complex ones can also aid in honing skills. Regular practice, experimentation, and a genuine passion for the craft are key to becoming a master woodcarver.

[rat-butch]

impera ghouls' fav art medium, from an art school dropout

found this in my notes app, i previously sent them to @gravehags but i'm posting it here because why the fuck not.

mountain's kinda obvious, but he really likes working with natural materials. enjoys woodworking and land art. despite his size, has very deft hands and is extremely delicate. makes a trip to the farm each season to get some beautiful fresh and golden hay to weave it into ornaments and jewelry. and let me tell you that's a testimony to his skill cause i literally cried over hay last october and I had to soak it in water to be able to bend it. the texture was disgusting and i got destroyed at the critique anyway lol

i've already said it before, but cumulus is totally into stamp carving and linocuts. 11/10, very calming, probably has rough hands since you have to use lots of white spirit to get the ink of off the lino, and you gotta use a special rough scrub to get ink out of your skin. puts her creations everywhere, gives you and the ghouls little cards and patches she printed herself :)

cirrus and sunshine probably share the screenprinting workshop. it's a very delicate craft, especially when you go for traditional paper stencils. but worry not, ghoul claws are sharper and more precise than your average cutter. though, a intricate multi-colored stencil implies there's a lot of drying time involved, especially on fabric. they always have some kind of brunch during that time, with tea and snacks and such. invite you to join them if you happen to pass by. (it's them printing the merch i know it)

aether makes very cool metal sculptures. he's got both the strength and the patience for it. you know those adorable little bird-shaped garden ornaments made from scrap metal ? yeah he did some because the local old ladies are always commissioning him to make them. also the workshop's babysitter, has to keep an eye on swiss and dew when they start beefing with a circular saw in their hands.

rain is very skilled in needlework. originally considered himself a better painter, since he's got a sharp eye and is good at color theory, but discovered all the ways you can use embroidery and sewing with an artistic approach during a workshop in his first year. sewed a costume made out of dried orange peels and called it 'orange leather' once. also interested in book binding. will get snappy if the others call him a little grandma while he's embroidering.

phantom is a photographer, and a pretty good graphist as well. he's too shy to admit it, but he really does know how to present his work. has the cleanest portfolio around, and is probably a huge perfectionist. i mean, perfectionism is kind of a must in art school but bug is an anxious wreck (give him a hug). very gentle, handles the lenses and lights with lots of care. mainly photographs landscapes and nature mortes, but enjoys taking portraits as well. makes a lot of self-portraits and will very shyly ask you to pose for him.

aurora makes little pop-up zines. it's a prefect way for her to give way to both her gentleness and chaotic nature. while pop-ups may look tedious to make, it's actually lots of fun, and you can get pretty chaotic with it too. has a whole collection of patterned and textured papers, she made most of them. probably has a 'cool paper stash' she hasn't touched because she doesn't want to 'waste them' and said paper is like christmas wrapping paper from 2016 (it's me i'm guilty).

dewdrop is more interest in contemporary art, especially sculpture. little guy has no patience and likes to break stuff, i see it as a match made in heaven. uses his fire ghoul abilities to burn different matters and experiment with them. kinda see him as my friend who burnt a humongous quantity of human hair for a project. was pissed no one cuddled him for two days because of the smell.

swiss is totally a performance artist. i mean, technically, all of the ghouls have a huge affinity with it, but swiss especially. a big fan of contemporary composers like john cage and karlheinz stockhausen, as well as bauhaus performance art. he likes to let loose, have fun exploring his body's and voice's capicities in an artistic light. probably submitted some kind of sextape as a project, but it's okay because the professor likes provocative stuff.

bonus : all of them probably were nude models for the evening classes at some point. i haven't included anatomical study in the hcs because no one in their right mind would enjoy sitting on a stool and drawing greek statues for 8 hours straight, but none of them would mind being the models. although they'll probably ask you for a massage afterwards because of how tiring it is to stay in the same position for so long.

[godstaff]

It's a kind of magic...

This is a topic I touched some time ago, but it's still happening and is still bothering me: Everything human heroes do is perfectly natural. Everything metahumans do need to be explained scientifically.

Batso, like Cyrano, can beat 100 opponents at once because he practice a shit ton of martial arts. No questions asked. This is so. Period.

Green Arrow can place an arrow in the asshole of a cockroach a 100 yards away. Okay, he's an artist with the bow. He was alone on a desert island an practiced a lot. Cool.

Superman flies. How the hell can Superman fly???? Well, he manipulates gravity forces and such...yeah. But how can he change directions so fast? He manipulates gravity very fast, even in deep space, where gravity is so thin, you must go near a solar system to feel some. But...how???

Bullets bounce out of his chest. His body is as hard as steel. Better yet: he projects an energy field about one inch around his body which deflects the bullets, that's why his clothes are unharm...or his clothes are indestructible...or something...

How??

How??

But...how???

It never ends. It's a kind of magic.

For humans doing the impossible is like breakfast: happens every day. It just is.

For Supers it's like going to the Moon: there has to be an explanation, a reason why this is so.

Iron man has metal shrapnels inserted milimeters from his hart. He parties, drinks, fights, has sex. No problem. Business as usual. Batso has his entire body scarred and sewed together like a map. It only bothers him when he laughs. No biggy. Nothing too severe.

Superman catches a tiny fragment of Kryptonite in his torso, every human around him must carry his fainted body to the nearest meta medical emergency facility before he dies.

I know it is to celebrate the immense resilience of the human condition...but, how about extend the same courtesy to the metas and aliens?

In the end, all explanations reach a loop. A neverending circle where How and Why are repeating incesantly ad infinitum, like Pi. Then writers, exhausted their meager imagination, conclude shouting "It just is!" in annoyance. Then why didn't you say that earlier, instead of the scavenger hunt for explanations, one more idiotic than the other. (it must be said that scientists stil have supercomputers working 24/7 on Pi, it must be the same sentiment).

DC went so far as to post a book, supposedly written by Batso, called "Anatomy of a Metehuman", which offers little or none answers to the big "how" and "why". It just complicates matters. For a price.

Basically, don't look for answers there. It's a waste of your hard earned money and your precious time.

Interesting thing is: in spite considering Superman a different species than us all together, he still has sex and reproduces with a human...sort of.

Like in the fifties Sci Fi movies, where aliens abducted women to procreate.

No so different after all.

Guys...

Just admit it's a kind of magic and everybody happy. Stop digging for plausible explanations that don't exist.

Remember in the "Golden Age" of comics when couples got married and children magically appeared from the woodwork? No questions asked.

Let's leave it at that. The better answer is always the simpler one. Specially in literature.

[gravehags]

impera ghouls' fav art medium bc I just dropped out of art school lmao I hope I didn't forget anyone (I kinda went overboard so it's a long one sorryyyy)

- Mountain's kinda obvious, but he really likes working with natural materials. Enjoys woodworking and land art. Despite his size, has very deft hands and is extremely delicate. Makes a trip to the farm each season to get some beautiful fresh and golden hay to weave it into ornaments and jewelry. And let me tell you that's a testimony to his skill cause I literally cried over hay last October and I had to soak it in water to be able to bend it. The texture was disgusting and I got destroyed at the critique anyway lol

- I've already said it before, but Cumulus is totally into stamp carving and linocuts. 11/10, very calming, probably has rough hands since you have to use lots of white spirit to get the ink of off the lino, and you gotta use a special rough scrub to get ink out of your skin. Puts her creations everywhere, gives you and the ghouls little cards and patches she printed herself :)

- Cirrus and Sunshine probably share the serigraphy workshop. It's a very delicate craft, especially when you go for traditional paper stencils. But worry not, ghoul claws are sharper and more precise than your average cutter. Though, a intricate multi-colored stencil implies there's a lot of drying time involved, especially on fabric. They always have some kind of brunch during that time, with tea and snacks and such. Invite you to join them if you happen to pass by. (it's them who print the merch I know it)

- Aether makes very cool metal sculptures. He's got both the strength and the patience for it. You know those adorable little bird-shaped garden ornaments made from scrap metal ? Yeah he did some because the local old ladies are always commissioning him to make them. Also the workshop's babysitter, has to keep on eye on Swiss and Dew when they start beefing with a circular saw on their hands.

- Rain is very skilled in needlework. Originally considered himself a better painter, since he's got a sharp eye and is good at color theory, but discovered all the ways you can use embroidery and sewing with an artistic approach during a workshop in his first year. Sewed a costume made out of dried orange peels and called it 'orange leather' once. Also interested in book binding. Will get snappy if the others call him a little grandma while he's embroidering.

- Phantom is a photographer, and a pretty good graphist as well. He's too shy to admit it, but he really does know how to present his work. Has the cleanest portfolio around, and is probably a huge perfectionist. I mean, perfectionism is kind of a must in art school but bug is an anxious wreck (give him a hug). Very gentle, handles the lenses and lights with lots of care. Mainly photographs landscapes and nature mortes, but enjoys taking portraits as well. Takes a lot of self-portraits and will very shyly ask you to pose for him. (I photographed myself as Judith in Klimt's Lilith II : Judith and Holofernes for an assignment and ngl would love to hold bug's head with my tits out on camera)

- Aurora makes little pop-up zines. It's a prefect way for her to give way to both her gentleness and chaotic nature. While pop-ups may look tedious to make, it's actually lots of fun, and you can get pretty chaotic with it too. Has a whole collection of patterned and textured papers, she made most of them. Probably has a 'cool paper stash' she hasn't touched because she doesn't want to 'waste them' and said paper is like Christmas wrapping paper from 2016 (it's me I'm guilty).

- Dew is more interest in contemporary art, especially sculpture. Little guy has no patience and likes to break stuff, I see it as a match made in heaven. Uses his fire ghoul abilities to burn different matters and experiment with them. Kinda see him as my friend who burnt a humongous quantity of human hair for a project. Was pissed no one cuddled him for two days because of the smell.

- Swiss is totally a performance artist. I mean, technically, all of the ghouls have a huge affinity with it, but Swiss especially. A big fan of contemporary composers like John Cage and Karlheinz Stockhausen, as well as Bahaus performance art. He likes to let loose, have fun exploring his body's and voice's capicities in an artistic light. Probably submitted some kind of sextape as a project, but it's okay because the professor likes provocative stuff.

- BONUS : all of them probably were nude models for the evening classes at some point. I haven't included anatomical study in the hcs because no one in their right mind would enjoy sitting on a stool and drawing Greek statues for 8 hrs straight, but none of them would mind being the models for the 2 hrs 6pm classes. Although they'll probably ask you for a massage afterwards because of how tiring it is to stay in the same position for so long.

-unhinged family anon

These are GORGEOUS omg thank you so much for sharing these they’re all so on point!! 🩵

[lathegod]

7 tips to turning a platter with wet wood

When turning a wet wood platter, choose a uniform piece with no blanks, secure it on the lathe, and use sharp tools. Turn the blanks slightly thicker than the final size for even drying. Seal with wax or oil and allow to dry slowly in a cool, dry place before final finishing.

Different types of Wet Wood

Why Woodturning Platters with Wet Wood?

Unique Characteristics Wet wood is different from dry wood. It's softer and easier to shape. This makes it ideal for woodturning. When turning a platter, the moisture in wet wood allows for smoother cuts. The tools, like a bowl gouge, glide through more easily. I've found that using wet wood can reduce the chances of cracking during the drying process. As it dries slowly after shaping, the platter tends to warp uniquely. This can result in one-of-a-kind pieces that are highly sought after. Turning Process The steps to turning a platter begin with selecting your piece of wet wood carefully. You must ensure it is free from defects that could cause issues while turning. Once selected, you mount it on the lathe and start shaping it with your tools, such as a bowl gouge. I always make sure my tools are sharp; dull ones can tear at wet wood rather than cut cleanly. You'll gradually form the rough shape of your platter before refining its surface and edges for a smooth finish.

The Allure of Using Wet Wood for Platters

Aesthetic Appeal Turning a platter with wet wood offers unique aesthetic benefits. Each piece has its own character and grain patterns that stand out more when the wood is moist. I find that the grain in wet wood seems to pop, giving life to each platter I turn on my lathe. This makes every finished fruit platter not just a functional item but also a work of art. Wet wood can warp as it dries, adding to its uniqueness. No two pieces are ever identical, which appeals to those who cherish originality in their home decor or kitchenware. Turning Process The moisture content in wet wood significantly influences how it's turned into platters. It requires different techniques than dry wood turning. For instance, sharp tools like gouges and scrapers must be used carefully to avoid tearing the fibers of the softer, wet surface. In my experience, turning wet wood demands patience and skill since you're shaping something that will change over time as it dries out. However, this process allows me to connect with the material more deeply because I have to respond intuitively as it evolves under my hands. Environmental Benefits Using reclaimed or salvaged wet woods for turning bowls and platters also comes with environmental advantages. By repurposing fallen trees or offcuts from other projects, we reduce waste and give new life to materials that might otherwise end up discarded. I always feel good knowing that by choosing such materials for my woodworking projects, I am contributing positively towards sustainability efforts while creating beautiful objects at the same time.

Grain pattern of a forest wood

Selecting the Right Wet Wood for Turning

Wood Characteristics When choosing wet wood for turning, several factors are crucial. The species of wood affects its workability and final appearance. Hardwoods like maple or cherry offer beautiful grain patterns but can be challenging to turn when wet. Softwoods may be easier but might not provide the same detail in the grain. The grain pattern also plays a significant role. Woods with straight grains are generally more stable, while those with irregular or interlocked grains may result in unique, albeit unpredictable, results once turned. I've found that woods like walnut or ash often give me both an interesting pattern and a manageable turning experience. Moisture Content Assessing moisture content is essential before turning wet wood into a platter. If there is too much moisture, your piece could warp significantly as it dries; if it is too little, you might miss out on some of the benefits of turning green wood, such as ease of cutting. I always use a moisture meter to check my wood before starting any project because this helps me avoid surprises later on. Remember, even within the same species, moisture levels can vary widely depending on how recently the tree was felled and stored conditions. Risks and Drawbacks Turning wet wood comes with potential risks that turners should consider carefully. Some types of wet woods have high tendencies to crack or split during drying—a nightmare after investing hours into a project! Softwoods can be especially prone to tear-out when making light cuts due to their fibrous nature, which requires sharp tools and gentle handling during turning. As someone who has dealt with this issue firsthand, I recommend taking extra care when working with these materials. https://www.youtube.com/watch?v=n3aQEeskMGY&pp=ygUgUHJlcGFyaW5nIFdldCBXb29kIGZvciB0aGUgTGF0aGU

Preparing Wet Wood for the Lathe

Safety First Before beginning, safety is crucial. Wear protective gear like goggles and gloves. Ensure your workspace is clear of debris. To prevent accidents, I always check my tools before starting. Wet wood can be unpredictable on a lathe. It's heavier and may have loose bark or branches that could detach. So, keep others at a safe distance when you're working. Tool Selection Choose the right tools for prepping wet wood. You'll need a sharp chainsaw or bandsaw to cut it down to size. A sturdy workbench helps secure the wood while cutting. I find that using sharp tools reduces strain and improves precision. Dull blades can cause unnecessary force on the lathe, leading to mistakes or injuries. Initial Shaping Begin by creating a rough shape with your chosen sawing tool. The goal isn't perfection but rather making the piece manageable for mounting on the lathe. Remove excess debris from the surface with a brush or air blower after shaping it roughly — this will help avoid any interference during turning later on. Mounting Techniques Mounting wet wood onto your lathe requires care to ensure balance and stability during rotation. - Find the center of each end of your blank. - Use an appropriate-sized drill bit to make pilot holes where centers are marked. - Securely fasten between centers on your lathe, checking alignment carefully before proceeding. As someone who has worked with various types of wood in my projects, I've learned that taking time here prevents issues once you begin turning. https://www.youtube.com/watch?v=p1m-Fh3pLLY&pp=ygUwU3RlcC1ieS1TdGVwIEd1aWRlIHRvIFR1cm5pbmcgYSBXZXQgV29vZCBQbGF0dGVy  

Step-by-Step Guide to Turning a Wet Wood Platter

Initial Shaping After mounting the wet wood on the lathe, it's time for initial shaping. I start by rounding off the blank with gentle cuts. It's crucial to avoid aggressive techniques that can cause tear-outs or splits in the soft wood. For beginners, remember to keep your tools sharp and move slowly. Rough turning is next. Here, you define the platter's basic form without finalizing dimensions. The goal is not perfection but rather approaching your desired shape while leaving extra material for later refinements as the wood dries. Smooth Surfacing Once shaped, achieving a smooth surface becomes my focus. I use finer tools like skew chisels and gouges for this stage of turning a wet wood platter. Light passes over the wood to remove small amounts of material, helping prevent tool marks. Maintaining even thickness across your platter is key for balance and aesthetics. Use calipers frequently to measure and ensure consistent depth as you work towards your final thickness. Avoiding Mistakes Turning wet wood has its pitfalls – one common mistake is rushing through drying times between sessions on the lathe, which can lead to warping or cracking of your piece; patience here pays off greatly in quality results. Another tip from my experience: always turn at an appropriate speed for wet wood—too fast can cause excessive heat buildup, leading to cracks; too slow may result in uneven cuts.

Overcoming Challenges in Wet Wood Turning

Warping Prevention Wet wood is prone to warping. This can ruin the platter's shape. To prevent this, turn the wood evenly. Remove the same amount of material from all sides. I've found keeping a consistent tool angle helps maintain even thickness. This reduces stress on the wood fibers and minimizes warping risks.

Finishing Techniques for Wet Wood Platters

Selecting Finishes Choosing the right finish is crucial. Oil and wax are popular options. They seep into the wood, protecting it from within. Oil finishes bring out the grain beautifully. I often use linseed or tung oil on my platters. These oils harden inside the wood fibers, enhancing durability and appearance. Wax provides a softer surface and requires more frequent reapplication, but it gives a lovely sheen that many appreciate. Application Steps Applying finish to wet wood needs care. Start by evenly applying your chosen product with a clean cloth or brush. I apply thin coats of oil to avoid buildup that can turn sticky or uneven as it dries. After each coat, I allow ample drying time before lightly sanding with fine-grit paper for smoothness. This process may take several days but ensures an even, durable finish that showcases the natural beauty of the platter. Usage Considerations Consider how you'll use your platter when choosing a finish. For decorative pieces, most finishes work well. However, if I plan to serve food on my platter, I choose food-safe finishes like mineral oil or beeswax blends specifically designed for kitchenware—safety first! Remember also that wet wood continues to move as it dries, so select flexible finishes that can accommodate this movement without cracking.

Caring for Your Wet Wood-Turned Platter

Cleaning Guidelines After applying finishing techniques, proper cleaning is crucial. Use a soft cloth and mild soap to clean your platter gently. Avoid harsh chemicals or abrasive scrubbers, as they can damage the wood's surface. Rinse with water and dry immediately with a towel. I have found that regular maintenance keeps my own wet wood platters looking their best. It's best to clean them right after use to prevent stains from setting in. Damage Control Wooden platters may sustain minor damages over time. For light scratches, I often use fine-grit sandpaper to smooth out the area before reapplying the finish if needed. For deeper cuts or cracks, you might need wood filler or epoxy. Always follow product instructions carefully and match the color of your platter. Storage Tips Proper storage ensures longevity for your turned items. Store them in a cool, dry place away from direct sunlight, which could cause warping or fading. Do not stack heavy items on top of wooden platters, as this can lead to cracking. In my experience, wrapping each piece in cloth before storing it has protected my collection from moisture and dust effectively.

Expanding Your Skills with Advanced Techniques

Complex Shaping Once you've mastered the basics of turning wet wood, it's time to explore complex shaping. This involves using a variety of tools to create intricate designs on your platters. For instance, adding waves or grooves can transform a simple piece into an artistic creation. By adjusting the angle and pressure, I've discovered that each cut can add depth and texture. It's important to maintain control as the outside edge becomes more detailed. The rim profile is particularly crucial; it frames your work and catches the eye first. Artistic Elements Incorporating artistic elements requires both imagination and precision. You might carve patterns or experiment with different rim profiles for visual appeal. Some turners even burn designs onto their platters for added effect. I find that browsing platforms like Etsy inspire my own creativity, showing me what's possible in terms of design expansion mode. When cutting into wet wood, remember that its malleability allows for bold choices but also demands careful handling—especially near the outside diameter where breakage risk is higher. Skill Development Woodturning is an art form where there's always room for growth. Seeking out new techniques not only improves your craft but also keeps you engaged with it. There are countless resources available—from books to online tutorials—that can help elevate your skills further.

Conclusion

Throughout this article, I've delved into the nuances of turning platters with wet wood, emphasizing the importance of selecting the right material and mastering specific techniques. My experience has taught me that while this craft may present unique challenges, the satisfaction of creating a beautiful, organic piece is unparalleled. From preparation to finishing, each step requires precision and patience. I've shared my insights on how to overcome common obstacles and provided guidance on caring for these unique creations. Now, it's your turn to put these skills into practice. Grab your tools, find that perfect piece of wet wood, and start turning. Remember, every platter you craft is not just a functional item but a piece of art that tells its own story. Share your experiences and finished pieces with the community; let's inspire each other as we continue to explore the rich potential of wet woodturning.

Frequently Asked Questions

Why is wet wood used for turning platters? Wet wood is easier to turn on a lathe, allowing for smoother cuts and less dust. It also offers unique warping and grain patterns once dried. How do you select the right wet wood for turning? Choose uniform, defect-free wet wood with straight grain. Avoid woods with cracks or loose knots that could cause issues during turning. What are the steps to prepare wet wood before turning it into a platter? Trim the wood to size, seal any ends prone to cracking, balance it roughly by removing excess material, and mount it securely on your lathe. Can you provide a brief guide to turning a wet wood platter? Mount the blank on the lathe, rough out the shape at low speed, and refine the bottom and sides, gradually increasing speed until the desired thickness is achieved. What challenges might I face when turning wet wood? Expect movement in the material as it dries. You may encounter difficulties with tool control due to varying densities in moisture content throughout the piece. How should I finish my turned wet wood platter? Apply gentle sanding while still mounted on your lathe, followed by sealing with an appropriate food-safe finish if necessary. What's essential for caring for my turned wet wood platter after use? Keep your platter clean by wiping it down after use; avoid soaking it in water. Allow complete drying between uses and periodically reapply finish if needed. Read the full article

[homeandliving]

The Hidden Oasis: Unveiling the Benefits of a Garden Shed

In the hustle and bustle of modern life, finding moments of tranquility and solace can seem like a luxury. However, a hidden gem in your backyard offers more than just storage space – the humble garden shed. Often overlooked or underestimated, a garden shed is a sanctuary waiting to be discovered, offering many benefits that extend far beyond its practical purpose.

A Retreat from the Everyday

Imagine stepping into your garden shed and leaving behind the day's stresses. Whether it's a cozy corner for reading, a space for yoga and meditation, or simply a place to sit and enjoy the beauty of nature, your garden shed can serve as a retreat from the chaos of everyday life. Its proximity to the outdoors provides a sense of connection to nature that is essential for relaxation and rejuvenation.

A Hub of Creativity

For those passionate about DIY projects or artistic pursuits, a garden shed can be transformed into a creative haven. With ample space for tools, supplies, and inspiration, it becomes a workshop where ideas come to life. Whether you're woodworking, painting, or crafting, having a dedicated space away from the distractions of the house allows your creativity to flourish.

Organized Living

One of the most practical benefits of a garden shed is its ability to keep your outdoor space organized and clutter-free. With designated storage areas for gardening tools, lawn equipment, and seasonal items, you can say goodbye to the days of rummaging through a crowded garage or basement. A well-organized shed not only streamlines your outdoor activities but also enhances the overall aesthetics of your garden.

Maximizing Gardening Potential

For avid gardeners, a garden shed is an indispensable asset. It provides a centralized location for storing pots, planters, seeds, and other gardening essentials, making it easier to maintain and cultivate your garden. With shelves, hooks, and workbenches at your disposal, you can easily pot plants, repot seedlings, and tend to your garden. Plus, having everything in one place saves time and energy, allowing you to focus on what you love most – nurturing your green oasis.

Extending Outdoor Living

As outdoor living spaces continue to gain popularity, garden sheds are evolving into more than just storage units. They're becoming extensions of the home, complete with amenities like electricity, lighting, and even heating or cooling systems. This transformation allows for year-round enjoyment, whether hosting gatherings with friends and family, setting up a home office, or simply relaxing in your private sanctuary.

Environmental Benefits

In addition to its advantages, a garden shed offers environmental benefits that contribute to a more sustainable lifestyle. By keeping gardening supplies organized and easily accessible, it reduces the need for duplicate purchases and minimizes waste. Furthermore, incorporating eco-friendly materials and practices into the construction and maintenance of your shed can help reduce your carbon footprint and promote environmental stewardship.

The garden shed is more than just a storage space – it's a hidden oasis waiting to be discovered. Whether seeking refuge from everyday life's stresses, unleashing your creativity, or maximizing your gardening potential, a well-equipped shed can enhance your outdoor living experience in countless ways. So why wait? Unlock the benefits of your garden shed today and create your haven amid nature's beauty.

[solar-sunnyside-up]

Not to mention proper urban design is just more fun?? Like we lived in a landscape of such hostile architecture that it can be hard to imagine sometimes but like.. proper city design is meant to be lived in, to be relaxed in, to bring comfort and feed everyone it interacts with!!

This is more cool then any attempts to making spaces hostile to skateboarders and poor people ever could dream of being!! Like colorful streets, comfy places to hang out with drinks, spaces to sleep outside, food to pick on the way there, swings and other full sized equipment at bus stops with books to hang out at while you wait!!

Like this design was made by kids to be near their school,, during the school year they walk along these colorful streets (the fruit stands they wanted to add arent seen here) and in the summer instead of being horrible asphalt heat sink it becomes a water park!! And like yeah this seems to be an idealistic dreamers vision of what public space could be but like... No actually. Its just not profitable and its public over private. Its more efficient to have these spaces where we might be doing profit based projects (like parking lots) Having your street lights be darksky friendly lights is generally cheaper and more energy efficient. Lining the streets with fruit trees and berry bushes and fruit collection stands actually puts less stress on our food systems. Giving ppl just access to equipment for trades like weaving, sewing, woodworking, glassmaking, etc... they will use it and not even keep it for themselves necessarily!! Decentralizing our needs such as power, food, waste management, water collection/disruption only has positives!! It burdens the whole system less but thats not the focus of urban deisgn atm and it SUCKS but none of these are projects you can do on large scale with private land bc it would end up as a horrible patchwork of different methods competing for profits meaning they have to sell the space you use instead of you using the space how you like.

I really want to talk about how important it is for us as a people to start making proper city design a priority. I also want to talk about how the privatization of land is the first major barrier to having proper city design.

A lot of seemingly complex issues and tasks can be simplified or made easier to deal with by organizing our cities: Food distribution, commute times, housing, neighborhood safety, public transportation, business/practice regulation, emergency preparedness, general accessibility, mental health, access to medical services, public health, and probably a ton of other things I can't think of right now.

All of that and more could be made much easier if we organized our cities with things like mixed-use-development, the standardization of public transport over personal vehicles, a grid structure, prioritizing walkability on surfaces safe for the disabled (sidewalks over cobblestone), designating districts for certain kinds of services, mandating better minimum (and maximum) size requirements for homes, requiring a certain percentage of greenery or some form of nature for every square footage, and other tactics that I'm probably not even aware of since I'm no city planner.

All of this gets shit on when land can be privately owned, though. Businesses, rich folks, the greedy, and the ignorant buy land without any planning in mind for their community which leads to disorganized, unoptimized, and community-unfriendly cities/towns. Our efforts should always generally lead to the betterment of our community over the selfish betterment of our private circumstances.

[loki-and-his-wife]

Garage LED Lights for a Well-Lit Space

Having proper lighting in your garage is essential for a well-lit and functional space. Whether you use your garage for parking your vehicles, working on diy projects, or simply as a storage area, investing in garage LED lights can make a significant difference. LED lights are energy-efficient, long-lasting, and provide bright and even illumination, ensuring optimal visibility and safety in your garage. In this guide, we will explore the benefits of garage LED lights and provide valuable insights to help you create a well-lit space that meets your specific needs.

The Importance of Adequate Lighting in Your Garage

Having adequate lighting in your garage is crucial for various reasons. A well-lit garage enhances safety by providing clear visibility, reducing the risk of accidents or injuries. It also improves functionality, allowing you to easily locate tools, equipment, and stored items. Moreover, proper lighting in your garage creates a more inviting and comfortable space for working on projects or hobbies. Whether you use your garage for automotive repairs, woodworking, or general storage, investing in quality lighting is essential for creating a functional and safe environment.

Understanding the Benefits of LED Lights for Garage Spaces

LED lights offer numerous benefits for garage spaces. They provide bright and even illumination, ensuring optimal visibility throughout the area. LED lights are energy-efficient, consuming less electricity and reducing your energy costs in the long run. They also have a longer lifespan compared to traditional lighting options, minimizing the need for frequent replacements. LED lights are available in various color temperatures, allowing you to customize the lighting atmosphere in your garage to suit your preferences.

Factors to Consider When Choosing Garage LED Lights

When selecting LED lights for your garage, consider factors such as brightness, color temperature, and beam angle. Determine the lumens required based on the size and purpose of your garage. Opt for a suitable color temperature that suits your needs, whether you prefer a cool white light for a more vibrant and productive atmosphere or a warm white light for a cozier ambiance. Additionally, consider the beam angle to ensure that the light is evenly distributed across the space.

Different Types of LED Lighting Options for Garages

There are various types of LED lighting options available for garages. Linear LED fixtures, such as LED shop lights or strip lights, offer uniform illumination and can be easily installed overhead or mounted on walls. LED light bulbs provide a versatile option for existing light fixtures, allowing you to upgrade to energy-efficient lighting without replacing the entire fixture. Additionally, LED motion-sensor lights provide convenience and security by automatically turning on when motion is detected in the garage.

Installation Tips and Considerations for Garage LED Lights

Proper installation is essential for maximizing the benefits of LED lights in your garage. Ensure that the fixtures are securely mounted and positioned to provide optimal coverage. Consider the wiring requirements and safety precautions when installing new fixtures or retrofitting existing ones. If you're unsure about electrical work, it's recommended to consult a professional electrician for safe and efficient installation.

Maximizing Energy Efficiency with LED Lights in Your Garage

LED lights are renowned for their energy efficiency, helping you reduce your energy consumption and costs. To further maximize energy efficiency, consider implementing additional features such as motion sensors or timers to automatically turn off the lights when the garage is unoccupied. This ensures that the lights are only on when needed, minimizing energy waste. Additionally, regularly clean the fixtures and remove any dust or debris that can obstruct the light output and reduce efficiency.

Maintenance and Longevity of Garage LED Lights

LED lights require minimal maintenance compared to traditional lighting options. However, there are a few tips to ensure their optimal performance and longevity. Keep the fixtures clean to prevent dust buildup, which can affect light output. Check for any loose connections or signs of damage regularly. If any LED bulbs or fixtures malfunction, promptly replace them to maintain consistent illumination. By following these maintenance practices, you can enjoy the long lifespan and reliable performance of LED lights in your garage.

Conclusion

In conclusion, garage LED lights are a game-changer when it comes to creating a well-lit space that is functional, safe, and visually appealing. With their energy efficiency, long lifespan, and bright illumination, LED lights offer numerous benefits for garage lighting. By choosing the right LED light fixtures and strategically placing them in your garage, you can achieve even and sufficient lighting coverage. Whether you need to improve visibility for parking, enhance task lighting for projects, or simply want a well-lit storage space, investing in garage LED lights will transform your garage into a well-lit and functional area. Enjoy the benefits of energy-efficient lighting while creating a space that is both practical and aesthetically pleasing.

[al-muna-tools]

Safety Tips for Using a Blade: Protect Yourself and Your Tools

Blades are versatile cutting tools commonly used in metalworking, woodworking, and other DIY projects. While they can be highly effective, they can also be dangerous if not used properly. It's essential to take necessary safety precautions when using a blade to protect yourself and your tools. In this article, we will discuss some safety tips for using a blade.

Safety Tips for Using a Blade

Wear protective gear When using a blade, it's crucial to wear protective gear, including eye protection, gloves, and long-sleeved shirts. This gear can help protect you from flying debris and prevent accidental cuts.

Use the right blade: Using the right blade for the job is essential for both safety and efficiency. Blades come in different sizes and tooth counts, designed for specific materials. Make sure to select the right blade for the material you're cutting to prevent the blade from breaking or bending.

Inspect the blade: Before using a blade, inspect it for damage or signs of wear and tear. If the blade is damaged or worn, it can break while in use, causing serious injury. Always replace a damaged or worn blade before using it.

Secure the material: When using a blade, it's essential to secure the material you're cutting in a clamp or vise. This will prevent the material from slipping or moving during the cutting process, reducing the risk of accidents.

Keep your hands clear: When cutting with a blade, keep your hands clear of the blade and the cutting path. Keep your fingers and thumbs behind the blade, and never hold the material you're cutting in your hand.

Use proper technique: Using a proper cutting technique is essential for both safety and efficiency. Hold the saw handle with both hands and use a smooth back-and-forth motion to cut the material. Don't force the blade or use excessive pressure, as this can cause the blade to bend or break.

Cut slowly: Cutting slowly and steadily is essential for preventing accidents and ensuring a clean cut. Rushing through the cutting process can cause the blade to jump or bind, increasing the risk of accidents.

Dispose of used blades safely: When a blade becomes dull or worn, it's essential to dispose of it properly. Wrap the blade in paper or tape and dispose of it in a designated sharp object disposal container. Never throw a used blade in the trash or recycling bin, as it can be dangerous to those handling the waste.

Store your tools properly Proper storage of your blade and other cutting tools can help prevent accidents and prolong their lifespan. Keep your tools in a dry, cool place, and always store them in a secure, designated area where they won't be knocked over or damaged.

Hacksaw Blades vs. Other Cutting Tools: Which is the Best Option?

When it comes to cutting tools, there are a variety of options available, each with its unique advantages and disadvantages. Hacksaw blade are a popular choice for DIY projects and metalworking, but they are not the only option available. In this article, we will compare hacksaw blade to other cutting tools and explore the advantages and disadvantages of each.

Advantages of Hacksaw Blade:

Versatile and can cut a variety of materials.

Relatively inexpensive compared to other cutting tools.

Portable and easy to use, making them an ideal choice for DIY projects and small jobs.

Disadvantages of Hacksaw Blade:

Precise as other cutting tools and can leave rough edges.

Requires physical effort to use and can be tiring after extended use.

Can be dangerous if not used properly and can cause injury.

Circular Saws Circular saws are power tools that use a circular blade to cut through various materials, including wood, metal, and plastic. Circular saws are commonly used in construction and woodworking.

Advantages of Circular Saws:

Circular saws are fast and efficient and can cut through materials quickly and easily.

Circular saws are precise and can make clean, accurate cuts.

Circular saws can be adjusted to cut at different angles, making them versatile for different projects.

Disadvantages of Circular Saws:

Circular saws are expensive compared to hacksaw blade and other cutting tools.

Circular saws require a power source, limiting their portability and flexibility.

Circular saws can be dangerous if not used properly and can cause serious injury.

Jigsaws are handheld power tools that use a reciprocating blade to cut through various materials, including wood, metal, and plastic. Jigsaws are commonly used in woodworking and DIY projects.

Advantages of Jigsaws:

Jigsaws are versatile and can cut a variety of materials.

Jigsaws are portable and easy to use, making them ideal for DIY projects and small jobs.

Jigsaws can make intricate and detailed cuts, making them ideal for woodworking.

Disadvantages of Jigsaws:

Jigsaws are not as precise as circular saws and other cutting tools and can leave rough edges.

Jigsaws require physical effort to use and can be tiring after extended use.

Jigsaws can be dangerous if not used properly and can cause injury.

Conclusion

Using a blade can be safe and effective with the proper precautions and technique. Wearing protective gear, using the right blade, inspecting the blade, securing the material, keeping your hands clean, using proper technique, cutting slowly, disposing of used blades safely, and storing your tools properly are all essential safety tips for using a blade. By following these tips, you can protect yourself and your tools while achieving efficient and accurate cuts.

[woodworking-hacks]

WOODWORKING PROJECT IDEAS | Best DIY Guide   #asmr #shorts #easy #learn

To more on project click on the link

[curatoroffiction]

Ramshackle's New Student

Summary:

Yuu/The Main Character of the Twisted Wonderland series gains a new student while setting the groundwork for some major renovations on the Ramshackle Dorm. Based on a great concept written by fairytaleliving over on Tumblr. I was so inspired I had to write it. Sunny, the new student, is their concept, I just took it and ran with it.

Notes:

For @fairytaleliving

Inspired by "au where yuu gets a freshman" by fairytaleliving.

---

This was one of the first pieces I’d written in a really long time. It actually revitalized my passion for writing! This is just to explain that this is one of my older pieces, so the writing might be a little different than my usual stuff. I recently re-vamped it and am starting to add more chapters. It’ll come out a lot slower than my other stuff, because I wanna base it off of the series, and I’m an English player. As of posting this, the series has only released up to Book 4.

---

Warnings: Spoilers for Twisted Wonderland series Tags: Reader-Insert, Ungendered MC, OC Characters, Overblot, Twisted Wonderland, Ramshackle

Chapter 1 of ?: Rough First Day

"Hey, ___, You've been disappearing after classes lately. What's been up with that?" Ace asks as you and Grim come to sit down with your food at the table.

"___'s been working hard on our dorm!" Grim pipes up excitedly. This piques the interest of the lunch table.

"Working on your dorm? What does that mean?" Cater asks, curious.

"Oh yeah, I've got a system worked out with Crowley. I took over the expense reports and expenses for the Ramshackle dorms, he gives me a stipend every month to do so, and any money I can save from the month's budget will become mine. It also means I can save money for larger projects that I can't do myself, which would be a headache and a half for Crowley to oversee, which means the dorm property gets faster upgrades, so, it's a win all around."

Deuce's eyes sparkle at the idea. "So wait, you've been working on the property yourself?? How?"

"Oh, I used to do woodworking back in my own world. Re-upholstering isn't actually all that hard to learn, it's just the working with wood part that's a fancier problem. Even then, I'm pretty well trained in it."

"Can we come and see? That sounds really cool."

"Sure, but I warn you; The front yard's a bit of a warzone. I've started a personal fight with the chairs and couches of the dorm. They need some TLC. I'm gonna have to figure out a way to handle the waste from the projects, but that's a small price to pay to be able to have some pocket change in the near future." Nearby, a certain fiscal Hyena's ears perk up.

"How much is the budget anywho?" Trey asks, curious himself. The school has always typically managed these types of matters, so this is new information to him.

"Oh man, it's like 5000 Thaumarks. It's an insane budget. I figured the school was used to paying cost AND labor, but I didn't realize labor was such a high markup around here. Makes me wonder if they actually know how things cost when you take the time to take care of it yourself."

"Oh wow. How much are you saving on the budget?"

"Well, Instead of blowing the whole month's budget on replacing only a fraction of the chairs in the dorm, I've spent about... $500 Thaumarks on getting myself some necessary tools, and $500 more Thaumarks on tangible supplies for refurbishing the existing furniture. I estimate on that, I can get about half the chairs done on that alone, and the only stuff I'll really need to replenish is the wood and fabric for the next round of furniture. So, I'm using about 1/5th, maybe 1/4th of a month's budget to achieve what would have taken multiple month's budgets to achieve. I'm saving up the rest for the floors, which severely need to be replaced. It's gonna be a tall order, and I've still gotta shop around to see how much it'll take to replace the wooden floors we've already got."

Trey looks earnestly surprised. You're taking on quite a lot of responsibility for this project, but you've never looked more in your element than this moment. Everyone at the table is a little in awe of how readily you've taken to the management of the dorm's expenses. Nearby, a certain Hyena can't stop listening in on your conversation. At his table, Leona raises an eyebrow, glancing to him.

"Yo, Ruggie. I still need that drink."

"Gimme a sec, I've just tuned into a very interesting station." Leona looks around. Interesting? Well, he doesn't often butt his head into other folks' business, so he can't seem to make out what's so interesting that his drink has to wait. He watches the flicker of Ruggie's ears as he listens in on your conversation, and uses that to pinpoint that he's listening in on your conversation specifically.

"Oh wow! So you're gonna be making bank pretty soon, eh?" Ace grins widely.

"Tuna! We'll be able to buy tuna!" Grim dances in his spot at the table. You laugh, gently petting his head, lightly scritching behind his ears.

"It'll take a bit of time, but I estimate I'll be in the green sometime around... 5 months from now? After that point, it'll mostly be small-fry projects that the monthly budget will be more than enough to cover, and the bulk of the budget will just be saved up on the side for if there's an emergency. Like if a certain small monster chooses to set something ablaze. And if I spend a chunk of the budget on nicer tools, I can get even more done on the property. The externals are last, though the walkway's gonna need some serious repairs or replacement before then. I estimate I'll have to do some stonework if I really wanna make the property shine." You scratch your chin thinking on that last part. "If that ends up being the case, then I'll probably see some bigger expenditures after the bulk of the dorm is in good shape, just because landscaping isn't really one of my strongsuits either."

"Wow, where did you learn how to do all of this?"

"Eh, it's just stuff I picked up in my old world. My dad was a carpenter, so woodworkin' was easy to learn. The rest I learned to make money here and there. People would pay through the nose for the pretty kinds of things. Luxury has a cost, and I could be it's source."

Deuce grins excitedly. You've got a goal in mind and you won't settle for anything less than achieving it. It's admirable. "I'm excited to come take a look at it. Maybe today after our classes?"

"Yeah, that sounds like a good plan." The conversation shifts to talking more about school projects, and Ruggie tunes out. Leona sighs, having already laid his head on the table to nap. Ruggie stands up, grinning to himself with his newfound little nugget of info. It's never a bad thing to know who has skills, and who has money coming in on the horizon. He pockets this information and goes to grab Leona his drink.

---

"Oh wow!" Cater's eyes widen as he sees the before and after of the furniture. "This is amazing! This would be so perfect to capture for magicam. People love DIY nowadays! May I?"

You laugh. "Sure. Thank you for the compliment."

"No but seriously, this chair looks like brand new." Ace looks it up and down. "And it looked like THIS before??" He points to the one next to it. It's a dingy old piece. The cloth has been worn through, sun-bleached, and the wood has lost its luster.

"Yeah. You just yoink out the seat, re-upholster it, and then tend to the wood frame of the chair. The chair legs have been the biggest hurdle, since some of them have gotten broken. Some of the chairs have a weave in the back that's also taken a rough beating, so I have to manually re-weave the strips of wood or re-make a chair leg from scratch, which is where most of the time on this project gets eaten up. But after that, I just sand down the old stain, re-stain the whole piece and let it sit in the sun while I'm working, and take turns wiping and reapplying until I get the desired color. Let it sit for a day, and then I can go over it with a lacquer to keep it scratch-safe. Then I just plug the cushion back in, and BAM- Good as new." You're proud of your work. It's hard not to gush about everything you've been doing.

The guys don't mind though. They're earnestly infatuated with your work. "It's like the work of a master craftsman." Trey comments, touching the finished product. "Well, you have my respect. This is amazing work you're doing."

You smile warmly, grinning sheepishly as you lightly scratch the back of your head. "Ahh, you're very kind. I appreciate it."

"No seriously, this is top-tier. I couldn't do this even in my dreams." Ace grins, moving to sit in the completed chair. "It's even comfy to sit in!"

"Y'know, we've been looking to get some personalized chairs for the Heartslabyul dorm.." Trey grins.

You laugh and shake your head. "Maybe we can figure out an order once my dorm's in good shape. Who knows how long I'll be here."

---

It's been a few months since you started working on the dorm house. Most of the furniture has been repaired in all the main rooms, and you've even been able to start repairing and refurbishing the bedrooms. Even if you don't live in them, it'd be weird to leave them in the sorry state they were in before.

Tonight is the first New Student ceremony since you got here. It's hard to think it's been a year. A lot has happened in that time, even amidst your dorm repairs. You were told by Crowley that as a Dorm Prefect, you'll need to attend the ceremony, even if it's only for ceremony's sake. He even sent you some robes for the occasion. You feel strange in the robes, considering that you weren't really keen on the pomp and circumstance of it all. What if they had another 'fluke' like you? Someone ripped from their world with nowhere to go? You've never believed in flukes. If anything, you almost expect it. Something's up with that mirror. You couldn't have been the only one. Still, arriving in the Hall of Mirrors, you find yourself a little shy.

There's a spot for all of the prefects to sit in, and everyone's already seated. Well, everyone except Leona.

As you move to your seat, you hear Riddle murmur to you "Prefects should always be 15 minutes early to the start of any occasion."

You glance to the empty seat next to yours with five minutes left to the time when students are meant to be piling in.

You raise an eyebrow and Riddle sighs, his eyebrow twitching. "Leona isn't someone to model yourself after."

You laugh quietly, sitting down.

The event seemed pretty normal. Everyone was getting sorted into their dorms, it seemed pretty evenly split amongst them. No new students for your dorm, which was expected, you suppose. It's not like your dorm was a real one anyway. You didn't have one of the great seven associated with your dorm, your halls were filled with ghosts, and the only active students who lived there were a monster and a magic-less human.

That is... Until the mirror calls out the unexpected, causing the entire room to quiet down. "Ah yes... You have the spirit of Ramshackle inside of you." Everyone in the room is quiet. So quiet, your new student turns around cautiously. No one else had been added to Ramshackle. Was.. Was it dangerous? Scary? Bad? Even Crowley is surprised. It even takes the headmage a moment to compose himself.

Your new student finds himself intimidated by this.

"Please continue to your seat, so others may be sorted." Ever the face of the school, Crowley doesn't want to let the student body realize he's just been shaken. No one's been sorted into Ramshackle in about ninety years. He knows this has to be because of the work you've been doing, but you have no magic. What have you been doing?

The other prefects are looking at you, but as Crowley tries to gloss over this strange occurrence, they begin to compose themselves as well, looking back to the mirror. The bewildered look on your face was already soaked in by all of the other dorm leaders though.

A student? Are you a real prefect now?

---

As the other students pile away after their dorm leaders, people keep giving you looks. You haven't moved from your spot. You're waiting until everyone's gone. Your lone student sits in their chair, looking around at all of the other students as they pass. Once the room is cleared out, you stand up and walk over. Crowley accompanies you.

"Ah.. hello. You're the Ramshackle student, right?" You ask, looking to him. He seems almost relieved that someone actually came to retrieve him. Though, looking you over, you seem so... Ordinary. One of the other prefects had horns. He was so sure that a dorm as exclusive as this one would be something wild and scary, but you seem so... normal.

"Yes. Are you my dorm prefect...?" He looks between you and Crowley.

You look to Crowley. "Am I?"

He muses, scratching his chin lightly. "Hmm.. I suppose you are."

You look back to your new student. "I suppose I am."

"Why.. why is it only me?" He asks, looking between you two. Isn't that the headmage? What's he doing weighing in on this matter?

"Honestly? We didn't expect my dorm to get any new students." You say, scratching the side of your head.

"Huh? Why's that?"

"See, we're not really a dorm. I mean, I suppose we are on paper.. But.. ahh.. Hmm."

Crowley sets a hand on your shoulder, pausing your explanation. "Ramshackle is a unique dorm. You're the first student who has been sorted into it for about ninety years." The student's eyes widen in surprise.

He points to you. "Then.. How does it have a Prefect..?"

"Well, your amazing prefect ___ has taken up residence in the Ramshackle dorms due to reasons that the universe has yet to enlighten us on. Even the mirror didn't know where to sort them."

You grin sheepishly. "I.. ah.. I'm not a typical student. I have no magic, and I didn't really come here of my own volition. I was scooped up from my world and taken here. I've been trying to get back ever since. That's why it's a surprise to have you, a student, now living in my dorm."

No magic? The student before you's eyes widen with more than just surprise now. "Wait, you don't have magic? And you're from another world? You can't even go back..?"

Crowley weighs in. "No, the world that ___ came from appears to be missing from even the mirror's eyes, which does beg the question of how it was able to collect them in the first place... But I assure you, ___ is more than capable to handle everything this school has to throw at you. You're quite lucky to be in their hands."

The compliments surprise you, though, it's probably just fluff to make the new kid feel more comfortable. You decide to speak your mind.

"Look, I know it's.. Not the most desirable arrangement. The other dorms probably still have room if you wanted to transfer. That mirror is all kinds of wonky as far as I'm concerned. You don't have to be trapped in this if you'd like to change dorms."

Your student furrows their brow. Everything they'd known about the mirror and this school tells them that if they were sent to your dorm, then that's where they're supposed to be. Just because it's strange doesn't mean it's wrong.. "Well, the mirror chooses the dorm that would best benefit our journey in learning, yeah?"

Crowley nods. "Yes, it listens to the heart of your magic and what dorm would best be tuned to helping you to succeed."

"Then, I guess I belong to Ramshackle. I'd like to at least give it a chance before I go throwing myself into something else."

Crowley grins. "Wonderful! Yes! Ramshackle has officially flourished under your tutilage, ___. Breathe in the rewards of your labor!"

You laugh quietly, shaking your head. Yeah, okay. "Alright then, come on. Let's head on over to our dorm. I'll show you the way." Your student looks around at all of the mirrors around. Which one could be yours? You motion for him to follow you out the door of the building. "C'mon. We don't have a mirror yet."

---

"When we get there, you're gonna meet everyone else who lives there."

"I thought it was just the two of us though."

You sigh with a chuckle, shaking your head. "Far from it. Grim is a monster that is a fellow student." A monster? Wait. As a student?? "Also, there's a few ghosts that live on the premises." Ghosts?? "Don't worry about them though. Everyone's pretty chill. Grim's a handful, but he's pretty relaxed if you get him some tuna or pet his belly. The ghosts just like to play tricks, but if it ever bothers you, lemme know." Just what exactly did he just get himself into, accepting this dorm as his own..?

As you reach the gate at the foot of the hill leading up to your dorm, he peers up at the abandoned looking building. "Oh god, please tell me you're hazing me."

"I promise, it looks a lot nicer on the inside." You laugh, opening the gate leading up. He follows after you, looking around. Cobwebs, dead plants, overgrown foliage as far as the eye can see. There appears to be a.. workshop..? Set up outside?

"What's that area right there?"

"Well, when I got here, it was a decrepit old shack of a building. I've been breathing life into it by using the dorm's upkeep budget to fix it up. Made a little arrangement with Crowley to be able to control the upkeep budget. I finally got to replacing the floors this last month, so things are lookin' real nice if I do say so myself."

When you go to open the door, your student is shocked to see how beautiful the interior is compared to the outside. "Wait... You did this? All of this? All on your own?? With no magic??" He stares at you, then back to the floors. To the furniture. If the nearby wall didn't have visible tears in the wallpaper, he'd almost not believe it. The majority of the room looks pretty brand new. The floors even sparkle from fresh oiling.

"Yeah. I mean, Grim helped a little here and there, and so did the ghosts, but they can only do so much. Their help was mostly just grabbing me tools and stuff from inside the house while I was outside because I couldn't be assed to clamber all the way inside to grab a screwdriver. I'm the one with woodworking training and the knowhow of shopping for contractors."

Your student is immediately enthralled by your handiwork, admiring the furniture. "You didn't buy this?"

"Nah. Just cleaned up and refurbished the furniture that existed here beforehand. Wanna see what they looked like before I got my hands on 'em?" You grin.

"Yeah!"

You tug out your phone, pulling up a picture of the couch that sits in the main hall. "Check it. That used to be this." Your student looks bewilderedly between your phone and the couch.

There's no way you did that.

"You're like an artificer!!"

"Hmn?"

"A craftsman of magic artifacts!"

"Oh yeah, I've heard of those. I've been looking into that kinda stuff recently, actually. Turns out, you can perform a lot of magic through crafting objects. Magestones are the magic-less person's magic craft. You just gotta charge the stones correctly and know how to build something out to allow it to best use the magestone's magic. It's a lot easier to research crafting magical objects, and I've been wondering if the path home is through crafting my own mirror to go home. I do have objects from my home that could act as a catalyst.." You get lost in your own thoughts, which your student can't really follow. But he can't argue with the results. Your work is amazing.

He's beginning to get the idea of why he was put into your dorm.

---

"This room here is mine and Grim's. All the other rooms on this floor have been cleaned out. The floors on this floor haven't been replaced yet, but we're working up to it. The ones downstairs have been replaced, but they're also pretty barren since I had to move all the furniture out. At some point this month, we'll probably have to move downstairs for a week while some guys come in and replace this floor's floors. So don't get too attached to how things are right now. Lots of changing in the works."

"Why do the floors have to be replaced?" He asks, looking around. Sure, the floors aren't new and pretty like the ones downstairs, but some TLC would probably do them some good. You kick the long hallway carpet aside to show him a massive hole in the floor where a chandlier was dropped by the ghosts when you first got here.

"We uh, don't go past this point in the hallway all that often. I'd like for new students to be able to walk anywhere in the building without worrying about their safety. The floors are pretty old anyway. I'm pretty sure they were old a few centuries ago. They're pretty overdo for replacement."

Sunny blinks. It looks like an impact. Did something happen here? Actually, now that he thinks about it, why is this dorm practically abandoned and filled with ghosts? Is there a story here they haven't told him yet..?

---

"Sunny, huh? My name's ___. It's good to have you around." You had to fill Sunny in on so much when he got here, that you've only JUST gotten to a formal introduction. He doesn't mind the informality though. You've definitely got a lot on your plate already with the renovations of the dorm. Though, it surprises him when you get up early enough to make him some breakfast the next morning. He shyly sits at the breakfast table, not really sure what to do. You give him a glance over as you start putting some food on his plate.

Setting the pan aside on a potholder, you reach over and fix up his tie. "We've only got three students who go on campus, so we've gotta try to be presentable. Let me know if you've got any problems adjusting. I know it can be pretty hard." Pretty hard is an understatement. You've probably gone through hell as a non-magical student. Sunny has been in awe of you since he saw the foyer. "Wash your dishes by hand and leave them to dry on the rack. We don't have a working dishwasher." You motion to a rack on the counter by the sink with a towel underneath it. You don't even bother to sit down, you scarf down your food while standing by the stove. Grim happily munches away at his tuna in a seat nearby Sunny as he looks around, beginning to eat his own food. It's all still pretty new to him, so you're not surprised he's taking a minute to adjust.

Still, you can't slow down much to help him. "I'm going to be solving a problem at the library today, so if you need me, I'll be there."

"Wait, what kind of problem?"

"Ahh, I think they have an infestation in one of the back rooms. Whatever the cause, Crowley was insistent that it was 'too much for him to handle' so he dropped it on my plate."

"You address the headmage so informally..?"

You laugh for a second, pausing for the first time since you got up. "Oh, yeah, dude, our dorm's unofficial name is 'Crowley's Bitches'. Every time he has a problem, he'll show up at our door and tell us to solve it. Grim, we've gotta go soon if we wanna get there in time to get to our classes afterwards."

"Our dorm acts as the Headmage's personal assistant??" Sunny's eyes widen again. That's a lot of responsibility.

"Yeah. Though, that's more of a me problem. It's because I'm staying here on his dime while I'm trapped in this world. You don't get things for free here, so, while my life incurs expenses, I pay them off by doing odd jobs. You don't have to worry about that. I mean, unless you'd like to help. I'll never say no to help."

Sunny wonders on that. With how much praise the headmage gave you upon his arrival here, being in his good graces would definitely be a positive. And, if you've got your thumb on all kinds of things in this school, he could push himself ahead by involving himself too. And no greater way to do it than to learn under someone so experienced. "Yeah, actually, I think I'd like to help out. Just consider me part of the team." He grins, flexing one arm and grabbing it with his other hand.

---

Upon arriving at the library, the librarian knows you and opens the doors, locking them shortly after you and your entourage come in. Sunny looks over the vast library in awe. It's his first time seeing it.

"Alright, so where's this.. infestation? That Crowley mentioned?" You ask, looking to the librarian getting straight to business.

"Follow me." He sighs, motioning for you three to follow him into the back. Grim glances around as you're led behind the desk. You keep your eye on him, but now you've got another person to watch. You don't know how Sunny will handle the pressure of these odd jobs, but it's nice to have someone willing to try. Did the mirror fuck up again? Or is he planning something? You catch yourself wondering on Sunny's motives, and you quietly laugh to yourself. It's funny. With how long you've lived here, you really have become accustomed to the way this world operates. Whatever the case, you're in charge, so you're sure you'll figure it out if something goes awry.

The librarian opens one of the doors in the back and you're greeted by a prompt book being jettisoned from it. You quickly dodge the projectile, seeing the dent it leaves on the wall behind you. Everyone looks to the Librarian, who stands off to the side of the room, avoiding looking in. Glancing inside, you see the disfigured face of.. A ghost. Suddenly, the headmage's request for you to get involved makes a lot more sense. The ghost screams and dives into the storage stacks of the room. You look over to Sunny to see he's frozen. Yeah, that tracks. Stepping forward, you start to walk into the room and Sunny grabs you by your sleeve. "Wait- You've got no magic-"

"Magic can only do so much anywho. C'mon. Unless... you're scared?" You give him a small, challenging grin. He's shocked. You're so relaxed. Whatever's in there is aggressive and doesn't want to be bothered, and will likely lash out at anyone that tries to get it to leave. Ghosts are one thing, but angry ghosts are another thing entirely. He's studied on them before, fascinated by the ghosts of the school. This is a bit more... exciting than he anticipated though.

You see the look in his eyes and you sigh, gently patting his shoulder. "Hey, just stay here, alright? No hard feelings if you can't go in there. Just watch." You look to Grim and he grins to you, putting on a  fierce expression as you two step into the room. "Remember, no fire Grim."

"I know!!"

"I really mean it. These books are priceless."

"I'm not gonna burn anything!" The librarian watches from the doorway next to Sunny, and Sunny finds himself.. fascinated by the expression on the librarian's face. He almost looks... guilty. Books fly at you as you step into the room. Trinkets you can only presume are valuable for studying are tossed against the walls and shattered. The floor itself begins to move as the wallpaper of the room begins to tear. The ghost splatters ink against the wall that screams the word "LEAVE" in the dripping stain.

You prepare yourself for the violence, batting away books with the bat you brought as you call out to the ghost; "Look!! You're a person! So let's talk person to person, eh!?" The ghost screams audibly as it flitters through the bookshelves. One of them begins to tumble towards you off of the wall and you scoop up Grim, jumping back. "You weren't always like this, right?!" You shout amidst the chaos. "Something happened, so talk to me!"

As you speak, the librarian seems to be fiddling with something in his pocket, his eyes glued to the scene in front of him. Sunny, however, can't seem to take his eyes off of the librarian. Sunny knows when someone's hiding something, and this guy's definitely holding back some vital information. It's when the ghost begins to scream again that it clicks to Sunny's mind. Every scream is accompanied by movement in the librarian's pocket. Almost as though he's got his hand on something that's causing the ghost to lash out. Without even thinking about it, Sunny snatches at the librarian's pocket, causing the librarian to jump back.

"What do you think you're doi-" The librarian snaps, interrupted by Sunny.

"What're you doing that's pissing off the ghost?" He calls out, garnering your attention. You glance over to see the librarian yank his hand away, the glint of something shiny in his hand unmistakable.

You call out to Sunny; "Grab the artifact in his hand!" And he jumps into action without even thinking about it. "Grim, help him." Grim, glad to escape the wrath of the pissed off ghost, rushes to Sunny's side to help him. After a tussle with the librarian that takes them out of your line of sight, Sunny and Grim manage to get an artifact out of his hands, and the ghost begins to calm down. The room falls silent, telling you that Sunny's hunch was right on the nose. The question is, though.. Why? After talking it out with the ghost, you learn that the ghost is one of the ones that helps in the library sometimes, but 'help' is the key word there. He wanted to leave, and the librarian tried to tether him to the library as a permanent captive.

Out in the main area of the library, the librarian begins lashing out at Sunny and Grim. His body begins changing in a familiar way, and Sunny can't believe his eyes. You can already tell from the ghost's story where this is going.

"Holdup, I'll be right back. Please, don't cause anymore damage while I'm gone."

"I just want to go home..."

"I'll need your testimony for the headmage so that the librarian is brought to justice." The ghost is sad, but resigns to it. Maybe after this, he can finally go home. You run out to the main area of the library, where Sunny and Grim went with the librarian, and you see the librarian finish his transformation. Overblot. That certainly seems to be a reoccurring problem in this school.

You immediately begin to bark orders. "Sunny, go get help. Grim and I will keep the librarian busy. This is WAY over your head." He can't help but be amazed by how quickly you step up to the plate, unfazed by things that he was sure would haunt him in his nightmares.

The librarian begins to scream about how he has too much work on his shoulders. How it all falls to him. How he can't handle it anymore. He lashes out, sending a blast of cutting air in your direction.

Grim is about to burst into action when you grab him and hoist Sunny out of the way of the blast. "GRIM. NO FIRE."

"HE'S GONNA KILL US, ___!"

"THE BOOKS STILL MATTER, AND I'M NOT INCURRING DEBT TO THIS SCHOOL BECAUSE YOU BURNED THEM ALL." Even in the midst of this chaos, you're aware enough of your surroundings to see your effect on the world around you.

Sunny stands slowly, stepping between you and the librarian's overblotted form. "Maybe my magic is better suited for this." He says, hovering his hands outward, pen in hand. You don't even take the time to ask if that's true or not, you just switch tracks. If the kid is willing to fight, and he's not about to set the library on fire, you say let him fight.

"Change of plans then. Grim! Get help! We'll handle this as best as we can!"

"No need to tell me twice!" Grim rushes for the door. The librarian lashes out at you three with another blast of air, to which you kick over a heavy table as a barricade to give Grim a cover to escape from.

Behind your makeshift barricade, you look to Sunny. "Okay. What type of magic can you perform?" You ask, glancing over the edge of the tipped table to keep an eye on the librarian between blasts of cutting air.

"Uh.. Mm.." He raises his pen, "You're alone, and you are scared, but the banquet's all prepared- Be Our Guest!" Books and debris around you begin to dance, moving around. The table itself begins to move, surprising you. You reflexively bark orders to the table to hold its place, and it.. Salutes.. you..? But it stands firm in its position, even moving its own legs to better leverage against the blasts.

You look to Sunny in earnest surprise. This is a powerful spell.

You can't help but let a large grin spread across your lips as an "Oh hell yeah" escapes your lips. "I can work with this."

Using guerrilla tactics and dancing book ends and library ladders, you two are able to lure the overblotted librarian deeper into the stacks, catching him offgaurd from multiple angles as you take control of the field. Finally, he gets so fed up that he just begins using his personal magic to try to hurt everything that comes near him. You couldn't catch the spell, but it looked like sand is engulfing everything. Where did the sand even come from..? Is this what higher level magic looks like..?

It isn't until Grim returns with Ace, Deuce and.. Rook? That the tide of the fight shifts.

Everyone working together, you're able to wear down the librarian enough that he's burnt out his emotions before his magic has been burnt out.

He passes out and you look around at the massive mess. Ace and Deuce are high-fiving and laughing as Rook is commenting on how dastardly the beast you just hunted was, and how beautiful and impeccable your teamwork was. Sunny is exhausted. He's spent more magic in just this morning than he has in most of the exercises he's ever had before this school.

You look to his pen and can see the cloudiness in it, and you rest a hand on his shoulder. "Stand down, Sunny. You did great. Relax and rest. I'll handle the rest." He watches you in awe as.. even though you've already spent so much energy running around in warfare amidst the bookshelves, you stand tall to thank the help that came along. Deuce and Ace both grin and demand you buy them lunch and you happily agree. Rook on the other hand is now more interested than ever in your prowess in the field, and keeps suggesting you'd make a great hunt. Sunny isn't sure what that means, but it doesn't seem to be a favor you're keen on giving him.

Grim cries out that he worked hard and deserves tuna, and you agree as you start moving tables back to where they belong. Sunny is exhausted, but he knows his spell would help a lot with the cleanup. Still.. he finds himself drifting off to sleep before he can swing his pen in any way to help.

---

Sunny eventually wakes up, this time in the infirmary. You're sitting next to him. Crowley is standing nearby as well. He can tell you both were talking about something before he stirred awake. Crowley cries out in joyous lament from the state of Sunny's awakening, saddened that such a student fell so exhausted and was put in such danger under his watch. You figure he's putting on a show to try to make Sunny feel responsible for getting involved in one of your little 'odd jobs'.

"How're you doing, Kid?" You ask him, nudging his shoulder.

Sunny tiredly looks to you, then to Crowley, rubbing his eye. "Nngh.. I'm beat.."

"It was really kind of you to help out with that odd job, but, the headmage here says it'd probably be best if you didn't help on those in the future." You grin sheepishly, but are startled as Sunny shoots up, gripping your forearm.

"But, I wanted to help!"

This surprises Crowley too. He figured you had pressured Sunny into it, but it seems he was a bit more boisterous than you BOTH expected. "I.. I liked being able to be useful. I learned a lot, and, and.." Sunny tries to explain himself and Crowley smiles. From your story, this kid is the primary reason that the school even still HAS a library. Maybe the mirror seems to know what it's doing afterall.

"Alright. Okay. I involved myself because I was worried that your first day was a little TOO rough, but it sounds like you're more tenacious than I expected. Your teachers have been made aware of the situation, so please, Sunny, take the rest of the day off." Crowley's less concerned about the backlash of the kid's parents, and more concerned about the darkness clouding his magestone. He doesn't really know how to hold himself back. He's a little too eager, and that concerns him. "Your magestone is quite clouded, so you need to rest more than anything."

You immediately step up to the plate, giving Crowley a silent confirmation that you'll help your student recover from this incident; "I'll go by all your classes to get the classwork for you, so, just consider today your day off. We'll start again tomorrow, fresh as a daisy." You grin, patting Sunny's shoulder. He tiredly nods, resting back in the bed. You get up. "If you feel ready, let the nurse know, and I'll come return to walk you back to the dorm. Alright?"

Today it was just exhaustion, but, you make a note in your mind that Sunny doesn't really know how to stop himself from pushing himself too hard. You'll have to keep an eye on that.

---

"What ever happened with the librarian?" It's been a few days, and the library's been inaccessible due to repairs. Sunny asks the question over breakfast.

"Ah.. yeah, Crowley was not psyched to find out what he'd been doing to the ghost that was helping in the stacks, but he also felt responsible for all of the problems that'd fallen on the librarian's shoulders. Still, given the level of damage he did, and the fact that he endangered multiple students, it's not likely we'll see that librarian again for a while, if ever. They're probably gonna get a new one, and give them more help than they did the last one. Can't have a teacher who overblots like that instead of communicating to the headmage about their struggles."

"You seemed.. so used to it. Like nothing about any of that surprised you. Is that.. Is it common for you to deal with that kind of stuff?" Sunny's voice is slow, almost not sure how to phrase the question.

You laugh. "Yeah, you could say that. A lot of people have overblotted at the school, and I keep landing in the center of those fights. It's never my fault, it just seems that a good chunk of the things Crowley doesn't have time for are things that need the most tending to."

Sunny blinks. "The more I learn about this headmage, the more I'm surprised he's allowed to run a school. He seems incredibly irresponsible."

"Hey now, Crowley bankrolls that breakfast you're eating, so you gotta play nice. But.. I getcha. It's exhausting. I figure he's doing the best he can, but it is awfully suspicious that he is always conveniently gone when overblotting starts happening. I've had my thoughts on the matter, but, eh, I've got enough to worry about. 'Sides, it's in the job description."

"Job description?"

You grin. "Y'know. Crowley's Bitches." Sunny laughs. He gets it now. ——– Chapter End. ——– You can read the rest of this series, and other works, here!: 

https://archiveofourown.org/works/37540159/chapters/93698119

[architectnews]

"Taking credit for trees planted elsewhere is a whole lot of embodied irony"

Architecture firm Perkins&Will has gone too far with claims that a luxury timber home on a Canadian mountain removes more atmospheric carbon than it emits, argues Fred A Bernstein.

For much of last winter, Perkins&Will, an architecture firm with 25 offices from San Francisco to Singapore to Sao Paulo, used a photo of a wooden house in British Columbia as one of the "hero images" on its website.

The house, which sits alone on a mountaintop overlooking the Soo Valley 90 miles north of Vancouver, is certainly beautiful, but the firm had other reasons for splashing it across its homepage. The 321-square-metre dwelling, known as the SoLo House, is meant to be a model of sustainability.

Entirely off the grid, it is designed to operate with power from 103 solar panels on its south facade, a 96-kilowatt-hour battery pack to store electricity for nights and cloudy days (both of which are frequent in British Columbia), and a hydrogen fuel cell for winter.

With all that equipment, the house may well be able to function without utility hook-ups. But Perkins&Will has made a far more surprising and audacious claim: that the building's structure is "beyond carbon neutral," meaning that it will remove more carbon from the atmosphere than it emitted in the first place.

It seemed to be giving its clients permission to build willy-nilly at a time of climate crisis

In a slickly produced video on the firm's website, Perkins&Will architect Alysia Baldwin says the house "proves that buildings can counteract their negative consequences and act as a source of repair."

People listen to Perkins&Will, a firm that has positioned itself as a leader in green building. "For nearly a quarter of a century, we've been at the vanguard of the sustainability movement," its website declares. Journalists have tended to repeat its claims.

But this time it had gone too far. By constructing a showplace of a house on an otherwise pristine mountaintop, and claiming it had helped the environment by doing so, it seemed to be giving its clients permission to build willy-nilly at a time of climate crisis.

Looking at SoLo House, with its cathedral ceilings, its comfortable sectional sofas and its giant picture windows, then listening to Perkins&Will claim that its structure reduces atmospheric carbon, I'm reminded of the old punchline: "Who are you going to believe – me, or your lying eyes?"

Reducing a building's contribution to atmospheric carbon means making it small, keeping it simple, building it near existing infrastructure, avoiding the need for heavy equipment such as batteries and fuel cells and using the lowest-embodied-energy building materials.

Reducing a building's contribution to atmospheric carbon means making it small

Perkins&Will, normally an excellent firm, has done those things on other projects. But with SoLo House, it seems not to have even tried.

According to experts, 40 per cent of atmospheric greenhouse gases come from buildings. Some emissions are attributable to running appliances and systems – so-called operational energy. The rest comes from the power needed to produce the building in the first place, known as embodied energy.

Incredibly, Perkins&Will is claiming there is "no embodied energy" in the house's structure (by which it means the elements that keep the building standing). To its credit, the firm answered requests for information promptly, providing facts, figures and charts prepared by Baldwin and her colleague Cillian Collins, a senior architect.

Here's how Baldwin and Collins arrived at their no-embodied-energy claim: First they estimated the amount of structural wood, steel and concrete in SoLo House. And then they turned to Athena Impact Estimator for Buildings, an app that approximates the amount of energy needed to produce given amounts of each building material and the amount of carbon released into the atmosphere as a result of that energy use.

Athena told them that producing the steel and concrete, harvesting the wood and so on in SoLo House released 122 tonnes of CO2 (sometimes called CO2e, for CO2 and its equivalents) into the atmosphere.

That should have been the beginning – not the end – of the process of calculating the building's embodied energy. There are hundreds of other items that needed to be counted. Start with the roof. The walls. The windows (a massive item, given the need for triple glazing). The solar panels, the batteries, the hydrogen fuel cells. The furniture. The appliances. The plumbing. The heating and cooling systems. Lots and lots of insulation.

The list goes on. Each of those items has significant embodied energy. Transporting all of those materials to a remote mountaintop site adds more.

Perkins&Will failed to account for those sources of embodied energy. Baldwin was clear, in a letter to me, that the calculations were limited to the structure. But why would anyone stop there? According to Baldwin, it's because structure "represents the largest contribution to a typical building's embodied carbon impacts."

It may also be because Athena only applies to structure. (Athena is meant primarily for comparing how the choice of a structural material affects a building's embodied energy. An architect might enter plans for the same building, once with a concrete frame and once with a steel frame, and see how the embodied carbon figures differ.)

Of course, there are other ways to estimate the house's total embodied energy; one method is to use an online tool called Tally, which provides information on the embodied energy of numerous building components. Counting everything isn't easy, but other firms have done it.

Perkins&Will had a way of making it vanish, if not from the atmosphere then from the balance sheet

Even so, according to Athena, the house emitted 122 tonnes of carbon into the atmosphere. That sounds like a lot of carbon, but Perkins&Will had a way of making it vanish, if not from the atmosphere then from the balance sheet.

Much of SoLo House is made of wood. Wood, like all plants, is produced by photosynthesis from ingredients that include carbon dioxide. Thus trees are said to store (or sequester) carbon. They do, but probably not as much as people think, as I learned by studying the question at length.

Here's Perkins&Will's theory: If you cut down a tree and use the wood as a building material, that carbon sequestered in that tree becomes part of the building. Then, if you plant a new tree in place of the one you cut down, the new tree will sequester additional carbon as it grows. Thus the process (cutting down one tree, planting another) results, net-net, in carbon being removed from the atmosphere.

There are so many problems with that theory it's hard to know where to begin. To name a few:

1) You have to be sure a new tree will be planted in place of the one you cut down; will get to be as big as the one you cut down; and will live a long, healthy life. (If a tree burns, or decomposes, as billions of trees do every year, its embodied carbon is released right into the atmosphere.)

2) You can't waste any of the wood. That's a problem because converting a tree into lumber usually turns half the wood into sawdust or chips, which could end up being burnt or allowed to decompose. This problem alone suggests carbon sequestration figures should be cut in half.

3) The wood has to stay in or on the building for a very long time. If the building needs repairs, and lumber is removed, it may be recycled, but it may also be burnt or allowed to decompose. And who'll be watching in 20 or 50 years?

4) Let's be honest: You could have planted the new tree somewhere else, and not cut down the first tree to begin with. For that reason, no number of trees excuses a wasteful building.

5) Even if the new trees do sequester carbon, the process will take decades. Scientists who study global warming warn of tipping points and thresholds, some of which could be reached within the next ten years. If new buildings help push atmospheric carbon levels to a point of no return, the sequestration accomplished by newly planted trees will be too little, too late.

6) It's a logical impossibility. If you really believe SoLo House repairs the atmosphere, all you have to do is build enough SoLo Houses and climate change will go away. Now for our next trick ...

No number of trees excuses a wasteful building

No wonder the theory is highly controversial. A whole lot of things have to happen just right for it to become a reality. As Baldwin wrote in an email: "We acknowledge that not all timber sources perform equally in the realm of embodied carbon reduction."

"Much of the embodied carbon reduction achieved by timber is directly attributed to sustainable forestry management practices that ensure forestry operations are carried out in a way that allows forests to remain healthy and viable for future generations," she added. "These practices include conservation and protection, land use planning, regulation of timber harvesting, establishing practices to ensure forest regrow, and continuous monitoring and reporting to government."

She went on to admit that the tool used to determine the building's sequestered carbon, WoodWorks Carbon Calculator, a product of the Washington-based Wood Products Council, considers "much of this storage to be temporary and therefore [does] not give the building a carbon credit for the carbon dioxide that will eventually be released from this wood some time down the road, through decay or incineration."

But that didn't stop the firm from banking on the theory when it performed its embodied energy calculation. Using the Carbon Calculator, it determined that the amount of lumber in the building would result in the removal – through the planting of new trees – of 145 tonnes of carbon from the atmosphere. That's a bit more than the 122 tonnes the firm says the building's timber, concrete, and steel released into the atmosphere.

Converting a tree into lumber usually turns half the wood into sawdust or chips

So in this case, reducing E (embodied carbon) by S (sequestered carbon) produces a negative number – minus 22 tonnes, meaning that building the house decreased the amount of carbon in the atmosphere. (Indeed, the house's owner, Delta Land Development, refers to it as "climate positive.")

Perkins & Will firm produced a chart to make this clear:

As Baldwin puts it, SoLo House "is able to store more carbon in its structure than was released during the production, manufacturing, and construction of the project."

That's a highly suspect statement. Based on everything I've learned, E (embodied energy) may be much greater than Perkins&Will says it is, and S (sequestered carbon) much lower.

In a letter responding to points in this article prior to publication, Perkins&Will wrote the following (the client, Delta Land Development, did not respond to requests for comment):

"Through careful selection of low embodied carbon and locally sourced materials, the project prioritized a mass timber structure. The design team used industry-accepted LCA [life cycle assessment] tools to quantify the carbon sequestration potential of the structure, and the timber structure is modelled to sequester 145 tonnes of CO2e as biogenic carbon."

Reusing/recycling is always the greenest strategy

"Structural elements typically represent the largest embodied carbon profile of [a] project, and as such, the structure was prioritized from an embodied carbon perspective."

"As designers, we rely on reputable industry tools to estimate the impact of projects. We used the Athena Impact Estimator for Buildings to complete this assessment. Athena uses ongoing research by the Athena Institute and complies with ISO 14040 (environmental management, life cycle assessment, and principles and framework) and ISO 14044 (environmental management, life cycle assessment, and requirements and guidelines)."

"Per our previous correspondence, we shared the Athena Institute's definition of biogenic sequestered carbon, which considers the whole life cycle of the material, including extraction, manufacturing, forms of transportation, installation, repair and maintenance, and end of life (assuming reuse of the wood)."

However, if Perkins and Will had really wanted to reduce embodied carbon, it would have thought about some of these strategies:

1) Putting the house in an easily accessible location, thus cutting out hundreds or thousands of trips by delivery people and construction workers. (Perkins&Will points out "that the wood was sourced from within British Columbia, and the building panels were manufactured in Pemberton, BC, which is located 30 minutes from the site.")

2) Renovating an existing house. Reusing/recycling is always the greenest strategy. Renovation typically generates 50 to 75 per cent less atmospheric carbon than new construction.

3) Choosing a site where there are no trees to cut down. According to Perkins&Will, "A clearing was required for a driveway, solar access, and fire protection. It required harvesting 180m³ of second-growth hemlock timber. This wood was put into the BC forestry chain, becoming useful lumber." Taking credit for sequestration by trees that may have been planted elsewhere, while cutting down enough trees on site to fill a five-meter by six-meter by six-meter container, is a whole lot of embodied irony.

4) Making the house a lot smaller. When it comes to saving energy, less is definitely more.

5) Choosing versions of steel and concrete with the lowest embodied energy (a lot of research is being done on ways of making those materials less "carbon-intensive").

Perkins&Will appears not to have done these things — the actual work required to reduce carbon emissions. The danger is that people will believe its claims.

Fred A Bernstein studied architecture at Princeton and law at NYU and writes about both subjects. He has published articles about embodied energy – a significant component of the climate crisis – in Oculus (a primer), in Architect Magazine (an admonition to architecture critics) and in the Architect's Newspaper (a warning that efforts to make buildings resilient are often detrimental from an embodied energy standpoint).

Carbon revolution

This article is part of Dezeen's carbon revolution series, which explores how this miracle material could be removed from the atmosphere and put to use on earth. Read all the content at: www.dezeen.com/carbon.

The sky photograph used in the carbon revolution graphic is by Taylor van Riper via Unsplash.

The post "Taking credit for trees planted elsewhere is a whole lot of embodied irony" appeared first on Dezeen.

[thesims4blogger]

The Sims 4 Eco Lifestyle: New Traits and Aspirations

During today’s Sims 4 Eco Lifestyle stream, Gurus confirmed that there will be 4 new traits available for Sims in CAS, along with 2 new Aspirations in Eco Lifestyle.

Create-a-Sim Traits

Maker Trait – These Sims become happy when making things. They become sad when it’s been too long since completing a project on a Fabricator, Candlemaking Station, Juice Fizzer, or Woodworking Table. They do not receive negative effects from crafting or repair failures.

Green Fiend – These Sims are happiest when living on a green street and will continuously work towards making their environment more eco-friendly.

Freegan – These Sims reject consumerism and prefer to reduce wasteful spending by any means. They enjoy finding re-used or thrown away goods and foods. In fact, they have the best luck at finding the highest-quality treasures in Dumpsters! They may become tense or uncomfortable if they spend too much time earning or spending Simoleons.

Recycling Disciple – SimGuruGeorge’s webcam was blocking the UI on the screen, but he stated that these Sims want to be recycling and reusing trash and other items.

Create-a-Sim Aspirations

Eco Innovator (Nature) – This Sim wants to build a better, greener community. During the stream, SimGuruJessica gave some additional details on this aspiration.

“Eco Innovator ties into our Neighbored Action Plan and is the more outward facing civil aspiration. The aspiration involves voting, convincing people to vote, involved selling power via the new power and build system, and it also ties into the Civil Designer Career.

The reward for being a good Eco Innovator is getting some new powerful socials like being able to shun someone or promote someone as a cool person.”

The Maker (Creativity) – This Sim wants to become an expert at Fabrication! During the stream, SimGuruJessica gave some additional details on this aspiration.

“The Maker aspiration ties into making stuff. It ties into pretty much all the new crafting in the game like Candlemaking, the Juice Fizzing, the Fabrication, and Recycling. Completing this aspiration will yield a savings reward so that Sims can save money on material usage to make things more efficiently.”

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[bangwoolofbangtan]

MAX Talks "Colour Vision", "Blueberry Eyes", And Texting With BTS's Suga

Let's start at the beginning — I'm really interested in your first track, “Colour Vision”, both in terms of the title and the tone. It sets the scene for the whole album, and I’m curious whether the song or the title came first, and how important it was for you to have that be the introduction to the album.

MAX: Funny enough, the title came first, and I knew I had to write a song. I wanted to make that intro experience. I wanted it to be the first song of the show, and make sure that you felt you were being immersed in the world we wanted to create. Usually, you go into a writing session, and you don’t know what you’re going to write. You’re like, “What’s happened to you? What’s going on?” and you just dive in. But having the parameters of knowing what exactly we wanted to fill that box with was pretty amazing.

Basically, the rest of the album was done. So writing the intro was kind of amazing, because how do you want this to be introduced? I really wanted that lyric to showcase the reawakening and the rebirth, and finding that control in your life again. You have the control of your own destiny, even if people make you feel like you don’t, and that’s what I wanted that song to make you feel like. Your dreams can become a reality. You just have to dive outside of them and create that colour vision.

I always like to listen to an album from first song to last song. How important is that to you, and how do you decide which track goes where? Can it be listened to on shuffle, or do you want people to listen to it in order?

MAX: If people do listen to it on shuffle, that’s totally cool. Every song stands on its own. But I did make it a very poignant point to have each story kind of roll into the next. It was important to have “Colour Vision” roll into “Working for the Weekend”, because the whole record is about that you have to love what you’re doing, or else you’re going to want to jump off a cliff. When you’re not doing what you love to do, every second feels like an hour, and I had that before I really committed to doing music, things I was just doing for the money, or because I felt like everybody wanted me to do it.

I really wanted it to sonically feel right, but then storyline-wise also to have an arc — to start with a lot of energy, but then go to a lower place of getting in your feels, and then coming back to more of a visceral and loving place, ending with “There’s a God” and this climax of emotion at the end. So, yeah, in short — every song, I was very clear on wanting them to flow into each other. That was important to me.

You have a lot of collaborators on this album. It’s been a long time since your last project, so was that a conscious decision, or was it just a natural occurrence after meeting these people over the last four years?

MAX: The latter, for sure. I just get obsessed with people and I’m like, “We’ve got to make something together!” It always comes out of that mutual respect and excitement. I’m an only child, and I’m a solo artist, so you just want to involve other people in your world to feel connected with it. That’s probably why I collaborate so much. You find something in the person you’re collaborating with within yourself that you never would have found without really connecting and diving in with them. There’s a spark of magic in every collaboration, and you find you made a song that you never would have done if you were alone in your room.

What kind of lessons did you learn from your collaborators on this one?

MAX: Oh, so much. For example, with bbno$, his process writing-wise is so different from mine. I’m so meticulous and I spend so many hours on each line, whereas there’s such a freedom in his writing. Even for his verse, we spent four hours on a Saturday while I was on a road trip going back and forth about which lines to keep, and I think that freedom definitely teaches me, maybe I’ve got to sometimes be a little more experimental.

Of course, with Suga… Having language not be a hindrance, because you’re coming from the same emotive place. Going to Korea — that whole trip changed my life. It made me realise which songs people connect with, not necessarily because of the specific lyrics, but because of what’s behind it. That transcends language. That collaboration taught me so much, and that was so special.

You previously collaborated with Suga on “Burn It”. You said you were supposed to be releasing the albums on the same day, so were you working on that and “Blueberry Eyes” at the same time? They’re so different from each other — what was that like?

MAX: We were! It was cool. I think it worked out, because his stuff for “Burn It” was pretty much done, and it was mostly me going back and forth, nailing what he wanted. It actually started in a way lower key, so he had to re-cut his parts based on what key he wanted my voice to be in for that song.

It was kind of great that we were both working on each other’s projects at the same time, because there was such a camaraderie of, you know, “Thank you for doing this for me, and I’m so happy I’m doing this for you.” It was just such a delightful process. I’ve never really done especially multi-country collaborations, not being in person, but it was so seamless. We were very specific about what each of us wanted, which really helped us be creatively free but also be understanding of how to keep the message of a full project cohesive with each other’s collaborations.

So do you have the idea for the song first, and then discuss those ideas before writing lyrics? I’m very curious about the process of a Korean artist writing Korean lyrics for a majority-English song.

MAX: I just sent him the whole album. I basically said, “Here’s all the songs, you tell me what you want to be on, and I’ll make it work. I’m grateful to have you on any song.” And he liked “Blueberry Eyes”. I’d already written the song, so I think that probably helped the message, because it was very clear that there was a sweet, loving, dream world to it.

Actually, funny enough, I asked if he’d jump on “New Life”. I just thought that that would be the one, and he said, “You know, it’s not my style. I like the song a lot, but I just don’t know that I would fit on it.” So that’s when I sent him the whole album. I was just like, “You choose what song. You do your thing. I don’t care.”

I was actually surprised. I just didn’t think he would choose ["Blueberry Eyes"], but I can’t hear it without him now, especially because I’ve learned all the Korean with Emily for the video. It was cool, because the first thing you hear on “Blueberry Eyes” is the first thing he sent me. I didn’t give him any notes. I was just like, this is it. It was so cool to have another language and see the translation and be like, this is so romantic and beautiful and something different than I hear from him in most of his music. It was a new moment, and it was really special to have him do that on this song.

“Burn It”, similarly — sometimes I do features that are very dark, but that was way darker of a world than I usually do. So it was cool that we were both out of our comfort zones and our creative boxes.

Obviously, collaborating with a member of BTS comes hand in hand with a large and dedicated family. What has the response from ARMY been like since “Burn It” and now with “Blueberry Eyes”?

MAX: ARMY’s been amazing. I think at first — and I am ARMY, so I know [laughs] — there is this distrust in anybody who gives love to [BTS], because you don’t know what their reasons are. Oftentimes, people come out of the woodwork and they put a tweet out just because they think it’ll blow up because they mention them, and It’s less about the appreciation of them or the music or the diligence or the focus.

I mean, I always had so much love and respect for the group. I think people knew what’s up, and it was pretty clear that it had been a few years in the making, this collaboration. But once I met Suga, it went so deeper realm for me. They had just shot a music video for the last few days, but he wanted to see this basketball game. He was so kind, and so warm, but he was taking a nap in between plays because they work so hard. I think that element isn’t seen by so many people who just want it for clout. When you don’t really understand the human element, and you just see people as numbers or artists that aren’t human... It’s that human element that makes people want to protect them. And they should, because so many people are in it for the wrong reasons.

That’s what I was hit with at first — when I put the song out, I got some people who totally got that it was authentic and that I had so much love, and there were people who were a little sceptical. But for the most part, I really was blown away by how positive the whole fanbase welcomed me. It’s been amazing. They hate that I teased so much, but I do that with every song. [laughs] I’m so bad at keeping secrets, so I always feel like I have to share just a little bit.

You mentioned the "Blueberry Eyes" music video earlier, and you've been teasing it on Twitter and Instagram for a couple of weeks now. What can you tell me about it?

MAX: The video is basically like Disney meets Wes Anderson. It’s all in one quarantined house that you see in the “Love Me Less” video, and it’s “Blueberry Eyes”, so we’ve got all these blueberries. We used the blueberries afterward! Everyone thinks we were wasting food, but we made “Blueberry Eyes” shirts with the tie-dye from the blueberries. We had, like, thousands of blueberries and we were bathing in them, so we didn’t want to eat them, but we had to do something with them.

We learned the entire Korean [verse], and those were our vows in our quarantine wedding. Of course, we threw a little cat in there to make it feel like Yoongi was part of it, because unfortunately he couldn’t be in the video — we wanted every bit of his spirit to be there, even though he wasn’t there — but now I know a bit of Korean, which is awesome. I’m going to keep diving in. I literally texted him right after saying, “I just learned your whole verse in Korean, now I hope we can have more conversations in Korean, because it was so hard to learn.”

And it's just you texting lyrics that he wrote. [laughs]

MAX: Our conversations are so short and cute, it’s always like, “Go Max! Go 'Blueberry Eyes'!” and then I’m like, “Go 'Dynamite'! Go Yoongi!” It’s just right to the point.

As for the rest of the album — do you have a personal favourite song on the tracklist?

MAX: I’d say it’s between the intro, “Colour Vision”, and the last song, “There Is A God”. There’s a certain moment where you write a song as an artist, and you know that it’ll stick with you in a different way. With “There Is A God”, it was right before Emily got pregnant, and it was this moment of knowing that [our family] had to be my number one forever. As much as I love music, this person and our family and our love and our life, that’s what I’ll always be most grateful for, and what I’ll always have the most faith because of. When you have something so deep to lose, you have so much to believe in. So that song meant something on a grander scale than most songs usually do, and every time I listen to it, I get a little emotional.

And to wrap up — the world has been through a difficult few months. I’m wondering if the timing of this release was intentional, and what you want listeners to get from this album during hard times?

MAX: I always feel like my favourite albums or my favourite movies, they give me that little spark of magic that I’ve been waiting for. The worst times in your life, you watch that one movie, and you just feel a little more will to live and excitement, and you have a little more inspiration that there’s a real happiness out there, and you’ve felt it before, and this piece reminds you of that.

For me, people kept being like, “It’s the wrong time to release anything right now. Just keep pushing.” But I just hope people find that little spark. I hope it gives them something that is an escape, that also makes them realise maybe there are certain joys in their life that they can dive into even more. Being that vessel for anyone, in the same way that I feel about certain movies and albums, is an honour. So I hope that’s what this means to people. That’s why I want it now because, more than ever, we all need a little reality, and also we need to believe in our dreams. That’s what this album is about.

© BuzzFeed.com

[zechsdiyworkshop]

Hi, I'm Zechariah. My channel publishes videos that focus on DIY Workshop, Teaching DIY beginners woodworking, and how to start a woodworking business. If that sounds like it could be helpful for you, please join me!

A woodworking channel where I strive to educate and inspire others through awesome projects. DIY Projects are a great way to pass the time and also do something useful or nice for your home. We have a bunch of cool DIY projects lined up just for you so take your pick and have fun creating something special. When it comes to DIYs—People take on huge projects too early and they end up failing or hiring a professional to do it instead.

Non-reliable sources may be at fault when they provide “beginner projects” that are actually not beginner-friendly. We don’t want to waste your time and money on something like that, so we’ve done the hard part for you and compiled the best woodworking projects for beginners.

Turn simple things into unique! We'll be uploading new videos soon, so subscribe to our channel to stay up to date.

[lathegod]

7 tips to turning a platter with wet wood

When turning a wet wood platter, choose a uniform piece with no blanks, secure it on the lathe, and use sharp tools. Turn the blanks slightly thicker than the final size for even drying. Seal with wax or oil and allow to dry slowly in a cool, dry place before final finishing.

Different types of Wet Wood

Why Woodturning Platters with Wet Wood?

Unique Characteristics Wet wood is different from dry wood. It's softer and easier to shape. This makes it ideal for woodturning. When turning a platter, the moisture in wet wood allows for smoother cuts. The tools, like a bowl gouge, glide through more easily. I've found that using wet wood can reduce the chances of cracking during the drying process. As it dries slowly after shaping, the platter tends to warp uniquely. This can result in one-of-a-kind pieces that are highly sought after. Turning Process The steps to turning a platter begin with selecting your piece of wet wood carefully. You must ensure it is free from defects that could cause issues while turning. Once selected, you mount it on the lathe and start shaping it with your tools, such as a bowl gouge. I always make sure my tools are sharp; dull ones can tear at wet wood rather than cut cleanly. You'll gradually form the rough shape of your platter before refining its surface and edges for a smooth finish.

The Allure of Using Wet Wood for Platters

Aesthetic Appeal Turning a platter with wet wood offers unique aesthetic benefits. Each piece has its own character and grain patterns that stand out more when the wood is moist. I find that the grain in wet wood seems to pop, giving life to each platter I turn on my lathe. This makes every finished fruit platter not just a functional item but also a work of art. Wet wood can warp as it dries, adding to its uniqueness. No two pieces are ever identical, which appeals to those who cherish originality in their home decor or kitchenware. Turning Process The moisture content in wet wood significantly influences how it's turned into platters. It requires different techniques than dry wood turning. For instance, sharp tools like gouges and scrapers must be used carefully to avoid tearing the fibers of the softer, wet surface. In my experience, turning wet wood demands patience and skill since you're shaping something that will change over time as it dries out. However, this process allows me to connect with the material more deeply because I have to respond intuitively as it evolves under my hands. Environmental Benefits Using reclaimed or salvaged wet woods for turning bowls and platters also comes with environmental advantages. By repurposing fallen trees or offcuts from other projects, we reduce waste and give new life to materials that might otherwise end up discarded. I always feel good knowing that by choosing such materials for my woodworking projects, I am contributing positively towards sustainability efforts while creating beautiful objects at the same time.

Grain pattern of a forest wood

Selecting the Right Wet Wood for Turning

Wood Characteristics When choosing wet wood for turning, several factors are crucial. The species of wood affects its workability and final appearance. Hardwoods like maple or cherry offer beautiful grain patterns but can be challenging to turn when wet. Softwoods may be easier but might not provide the same detail in the grain. The grain pattern also plays a significant role. Woods with straight grains are generally more stable, while those with irregular or interlocked grains may result in unique, albeit unpredictable, results once turned. I've found that woods like walnut or ash often give me both an interesting pattern and a manageable turning experience. Moisture Content Assessing moisture content is essential before turning wet wood into a platter. If there is too much moisture, your piece could warp significantly as it dries; if it is too little, you might miss out on some of the benefits of turning green wood, such as ease of cutting. I always use a moisture meter to check my wood before starting any project because this helps me avoid surprises later on. Remember, even within the same species, moisture levels can vary widely depending on how recently the tree was felled and stored conditions. Risks and Drawbacks Turning wet wood comes with potential risks that turners should consider carefully. Some types of wet woods have high tendencies to crack or split during drying—a nightmare after investing hours into a project! Softwoods can be especially prone to tear-out when making light cuts due to their fibrous nature, which requires sharp tools and gentle handling during turning. As someone who has dealt with this issue firsthand, I recommend taking extra care when working with these materials. https://www.youtube.com/watch?v=n3aQEeskMGY&pp=ygUgUHJlcGFyaW5nIFdldCBXb29kIGZvciB0aGUgTGF0aGU

Preparing Wet Wood for the Lathe

Safety First Before beginning, safety is crucial. Wear protective gear like goggles and gloves. Ensure your workspace is clear of debris. To prevent accidents, I always check my tools before starting. Wet wood can be unpredictable on a lathe. It's heavier and may have loose bark or branches that could detach. So, keep others at a safe distance when you're working. Tool Selection Choose the right tools for prepping wet wood. You'll need a sharp chainsaw or bandsaw to cut it down to size. A sturdy workbench helps secure the wood while cutting. I find that using sharp tools reduces strain and improves precision. Dull blades can cause unnecessary force on the lathe, leading to mistakes or injuries. Initial Shaping Begin by creating a rough shape with your chosen sawing tool. The goal isn't perfection but rather making the piece manageable for mounting on the lathe. Remove excess debris from the surface with a brush or air blower after shaping it roughly — this will help avoid any interference during turning later on. Mounting Techniques Mounting wet wood onto your lathe requires care to ensure balance and stability during rotation. - Find the center of each end of your blank. - Use an appropriate-sized drill bit to make pilot holes where centers are marked. - Securely fasten between centers on your lathe, checking alignment carefully before proceeding. As someone who has worked with various types of wood in my projects, I've learned that taking time here prevents issues once you begin turning. https://www.youtube.com/watch?v=p1m-Fh3pLLY&pp=ygUwU3RlcC1ieS1TdGVwIEd1aWRlIHRvIFR1cm5pbmcgYSBXZXQgV29vZCBQbGF0dGVy  

Step-by-Step Guide to Turning a Wet Wood Platter

Initial Shaping After mounting the wet wood on the lathe, it's time for initial shaping. I start by rounding off the blank with gentle cuts. It's crucial to avoid aggressive techniques that can cause tear-outs or splits in the soft wood. For beginners, remember to keep your tools sharp and move slowly. Rough turning is next. Here, you define the platter's basic form without finalizing dimensions. The goal is not perfection but rather approaching your desired shape while leaving extra material for later refinements as the wood dries. Smooth Surfacing Once shaped, achieving a smooth surface becomes my focus. I use finer tools like skew chisels and gouges for this stage of turning a wet wood platter. Light passes over the wood to remove small amounts of material, helping prevent tool marks. Maintaining even thickness across your platter is key for balance and aesthetics. Use calipers frequently to measure and ensure consistent depth as you work towards your final thickness. Avoiding Mistakes Turning wet wood has its pitfalls – one common mistake is rushing through drying times between sessions on the lathe, which can lead to warping or cracking of your piece; patience here pays off greatly in quality results. Another tip from my experience: always turn at an appropriate speed for wet wood—too fast can cause excessive heat buildup, leading to cracks; too slow may result in uneven cuts.

Overcoming Challenges in Wet Wood Turning

Warping Prevention Wet wood is prone to warping. This can ruin the platter's shape. To prevent this, turn the wood evenly. Remove the same amount of material from all sides. I've found keeping a consistent tool angle helps maintain even thickness. This reduces stress on the wood fibers and minimizes warping risks.

Finishing Techniques for Wet Wood Platters

Selecting Finishes Choosing the right finish is crucial. Oil and wax are popular options. They seep into the wood, protecting it from within. Oil finishes bring out the grain beautifully. I often use linseed or tung oil on my platters. These oils harden inside the wood fibers, enhancing durability and appearance. Wax provides a softer surface and requires more frequent reapplication, but it gives a lovely sheen that many appreciate. Application Steps Applying finish to wet wood needs care. Start by evenly applying your chosen product with a clean cloth or brush. I apply thin coats of oil to avoid buildup that can turn sticky or uneven as it dries. After each coat, I allow ample drying time before lightly sanding with fine-grit paper for smoothness. This process may take several days but ensures an even, durable finish that showcases the natural beauty of the platter. Usage Considerations Consider how you'll use your platter when choosing a finish. For decorative pieces, most finishes work well. However, if I plan to serve food on my platter, I choose food-safe finishes like mineral oil or beeswax blends specifically designed for kitchenware—safety first! Remember also that wet wood continues to move as it dries, so select flexible finishes that can accommodate this movement without cracking.

Caring for Your Wet Wood-Turned Platter

Cleaning Guidelines After applying finishing techniques, proper cleaning is crucial. Use a soft cloth and mild soap to clean your platter gently. Avoid harsh chemicals or abrasive scrubbers, as they can damage the wood's surface. Rinse with water and dry immediately with a towel. I have found that regular maintenance keeps my own wet wood platters looking their best. It's best to clean them right after use to prevent stains from setting in. Damage Control Wooden platters may sustain minor damages over time. For light scratches, I often use fine-grit sandpaper to smooth out the area before reapplying the finish if needed. For deeper cuts or cracks, you might need wood filler or epoxy. Always follow product instructions carefully and match the color of your platter. Storage Tips Proper storage ensures longevity for your turned items. Store them in a cool, dry place away from direct sunlight, which could cause warping or fading. Do not stack heavy items on top of wooden platters, as this can lead to cracking. In my experience, wrapping each piece in cloth before storing it has protected my collection from moisture and dust effectively.

Expanding Your Skills with Advanced Techniques

Complex Shaping Once you've mastered the basics of turning wet wood, it's time to explore complex shaping. This involves using a variety of tools to create intricate designs on your platters. For instance, adding waves or grooves can transform a simple piece into an artistic creation. By adjusting the angle and pressure, I've discovered that each cut can add depth and texture. It's important to maintain control as the outside edge becomes more detailed. The rim profile is particularly crucial; it frames your work and catches the eye first. Artistic Elements Incorporating artistic elements requires both imagination and precision. You might carve patterns or experiment with different rim profiles for visual appeal. Some turners even burn designs onto their platters for added effect. I find that browsing platforms like Etsy inspire my own creativity, showing me what's possible in terms of design expansion mode. When cutting into wet wood, remember that its malleability allows for bold choices but also demands careful handling—especially near the outside diameter where breakage risk is higher. Skill Development Woodturning is an art form where there's always room for growth. Seeking out new techniques not only improves your craft but also keeps you engaged with it. There are countless resources available—from books to online tutorials—that can help elevate your skills further.

Conclusion

Throughout this article, I've delved into the nuances of turning platters with wet wood, emphasizing the importance of selecting the right material and mastering specific techniques. My experience has taught me that while this craft may present unique challenges, the satisfaction of creating a beautiful, organic piece is unparalleled. From preparation to finishing, each step requires precision and patience. I've shared my insights on how to overcome common obstacles and provided guidance on caring for these unique creations. Now, it's your turn to put these skills into practice. Grab your tools, find that perfect piece of wet wood, and start turning. Remember, every platter you craft is not just a functional item but a piece of art that tells its own story. Share your experiences and finished pieces with the community; let's inspire each other as we continue to explore the rich potential of wet woodturning.

Frequently Asked Questions

Why is wet wood used for turning platters? Wet wood is easier to turn on a lathe, allowing for smoother cuts and less dust. It also offers unique warping and grain patterns once dried. How do you select the right wet wood for turning? Choose uniform, defect-free wet wood with straight grain. Avoid woods with cracks or loose knots that could cause issues during turning. What are the steps to prepare wet wood before turning it into a platter? Trim the wood to size, seal any ends prone to cracking, balance it roughly by removing excess material, and mount it securely on your lathe. Can you provide a brief guide to turning a wet wood platter? Mount the blank on the lathe, rough out the shape at low speed, and refine the bottom and sides, gradually increasing speed until the desired thickness is achieved. What challenges might I face when turning wet wood? Expect movement in the material as it dries. You may encounter difficulties with tool control due to varying densities in moisture content throughout the piece. How should I finish my turned wet wood platter? Apply gentle sanding while still mounted on your lathe, followed by sealing with an appropriate food-safe finish if necessary. What's essential for caring for my turned wet wood platter after use? Keep your platter clean by wiping it down after use; avoid soaking it in water. Allow complete drying between uses and periodically reapply finish if needed. Read the full article