What are you should look for to find the best belt sander?

best-belt-sander-

Hello, I don’t know if you remember the last post where we share about how to find the or not. However, today I continue with the topic how to find the best belt sander , one of my favorite home tool.

For those who don’t know what is belt sander. It is a power tool that’s designed for shaping and remove the hard surface. Unlike disc sander, the belt sander has lightweight perform to use in hand and hard- reach area but still has the super strong motor to done the sanding job quicker.

So, the question you may consider is what are the important elements  you have to understand to find the best belt sander?

best-belt-sander-

Speed and Belt Size:

The key points in choosing a belt sander are its speed and belt size. The belt sander comes with different speed and size for various projects. Most of the manufacturers provides the size from 3-4 inch. These are 2 common size that can easy to solve almost your problem in sanding stuff. Some specific size such as 1 inch, 6-inch or 10-inch are used for other purposes like sharping/ making blades, curving and sanding big materials.

The second element that affects a lot in your work efficiency is sander speed. Most belt sanders deliver high speed from 500- 3000 ft/min which means you can clear the unnecessary part very fast even through tough stock. However, the bad side is sometimes it can easily ruin your stock or gouging down as fast as it sanding. That why the speed you dial have to suitable for your material. Some models provide various speed control to direct the proper speed in each different kind of surfaces.

Belt tracking and tension:  

Even though the speed and size are very important. You can find a numerous of products that have the same speed and size but different price and quality. So the belt tracking is what  you should look for more to get a suitable one. Some cheap belt sander doesn’t have the enough tension to use in sanding. The belt slips out while you working and make you stock damaged and you will feel very annoyed because you have to fix in line all the time.

Customer reviews:

This is the major factor, but most of buyer don’t care a lot. The customers who actually use the product can give you a reality look of what advantages and disadvantages  feature in the belt sander. Which kind of belt sander is suitable for your job and which not. You can read the users reviews in Amazon, Ebay or specific forum before decide to buy a belt sander.

Final:

Belt sander is really a great supportive tool especially for who care about woodworking. For me, I usually use belt sander to sanding at first, when the stock still very rough and has no shape. Sometimes, I turn the speed lower to finish the surface. But it still has many of usage you can discover. Hope this post will help you in picking the right belt sander. For any question, please contact me follow About menu.

 

 

 

Staining Spool Furniture: the Right Turn

tool

tool

Successful staining means uniform overall color. This is easier said than done, especially on old furniture that has been stripped, leaving he wood dried out and, perhaps, a little lifeless.

Successful staining means uniform overall color. This is easier said than done, especially on old furniture that has been stripped, leaving he wood dried out and, perhaps, a little lifeless.

Stains that are readily available for home refinishing can be likened to very thin paint. They contain just enough pigment and body to bring evenness of color to a surface. But unlike paints, they tend ot intensify wood’s configurations, not hide them.

Provided the wood is uniform and has been prepared well, any flat surface should take stain evenly. Along the edges, however, where the wood is most porous, stain in absorbed too readily and turns the wood noticeably darker.

The problem can be overcome by using a thin sealer that will hinder the penetration of the stain. This is a simple enough job, where only edges are involved, but how does one cope with surfaces that are mostly porous, and where the surface is undulating and awkward?

This situation occurs most often on spool furniture, where bulbous turnings abound. Perhaps the best known of this type of furniture are beds whose head and foot boards are topped with elaborately carved decoration. (A word of caution before investing in a spool bed: make sure it is structurally sound. They were not built to support a box spring and mattress, so seek the advice of a cabinetmaker to find out whether adapting the bed makes sense. Often, just the head and foot board can be used, fitted to a conventional modern frame.) In the 19th century, when spool furniture was being mass produced, softer woods were often chosen for ease of turning. Finished work was painted or stained a dark color, so unevenness would not be a problem, then given a clear finish.

staining spool

Better work was done in maple, which was either left in its natural color or given a rather unnatural color or given a rather unnatural organge look that seemed then to be the popular idea of maple.

Unless spool furniture is made of good hardwood and you have the time and the patience – plus the knack for this sort of task – then the job of removing the often deeply absorbed color and finish should be given to a stripping shop. Professional-strength solvents leave wood perfectly clean and even-looking.

Give some thought of sealing the wood with a clear finish to give it a more natural look and to preserve the surface. Sealing is essential for easy cleaning and dusting, too.

Never use sandpaper to smooth the turnings, or you could end up with a surface uneven in botht exture and color. Instead, use grand 0 steel wool. Protecting your hands in gloves, take a pad in the palm of your hand and go around each turning a couple of times, using hard but comfortable pressure.

When the wood is smooth, seal it, using either shellac or varnish thinned according to the directions. Unless you are an expert with a brush, choose one with bristles no wider than an inch.

Load it lightly with sheliac or varnish, then take the brush around the turnings a couple of strokes, completing one turning at a time Keep the brush on the move, and catch any runs as you go. Refrain from using a wide-bristle brush heavily charged with finish, as well as going across the turnings. This will cause splashes and an uneven flow of liquid difficult to keep in check.

If after the initial coat the wood still looks too raw, go around the spools with fine 000 steel wool, and dust off thoroughly. Then apply another coat of finish, but this time at full strength.

When Paint Looks Like Fiber And Wood Takes Flight (2)

painting wood

canvas

Dr. Stember, who has degrees in fine arts from Columbia, said that her dissertation, “The Modular System,” in which she traced that system to early Christian art and Greek architecture, was the springboard for her geometric-patterned paintings. She starts with unprimed canvas that she tie-dyes. Then the unstretched canvas is painted on a table, or sometimes on the floor in layers. “I work with very diluted paint, almost like washes, building up the background to get depth,” she said. “To get a hard edge for the foreground shape, I use black electrical tape, cut with pinking shears, which is removed after the inside sections are painted. The inside shape remains at a higher level.” Her paintings look three-dimensional and have a collage effect, like real patchwork quilts that today frequently hang on walls. “My paintings are a whimsical response to that,” she said, “in contrast to which I’m making paintings that look and feel like quilts. Ninety-nine percent is painted to look like a collage.

“But very little is actually pasted on,” she said. “The only reason some patterns are pasted is to create an illusion to fool and intrigue the eye. In each painting, not more than a few squares or designs are deliberately painted on and three-dimensional. The rest is painted to look like it is.”

painting wood

Dr. Stember started out painting scenery for plays. “That influenced me to paint large and environmentally,” she said. The patchwork series evolved from using basic solid colors to Marimekko-influenced large-scale contemporary patterns to now calico patterns.”

All of her paintings are large, approximately 5 by 8 feet, mimicking the size of real quilts. “I want people to feel it’s like a quilt even to its scale,” she said. There are contrasts of soft puckered background with rigid hard-edged geometric forms on it. Backgrounds are soft earth colors, browns and blues, while patterns are in bold, crisp colors found in real quilts. Amish Influences

She acknowledges Amish influences but doesn’t feel limited. “I think of my works as paintings, not quilts,” she said. Rickrack edgings that look real are hard-edged paint. One is filled with colorful circular spheres painted to look like they’re coming forward. Another has 20 square shapes, with four actually pasted on, three convex and one concave. There is an illusion of stitching as well. One has pinwheel shapes and still another employs neither squares nor circles but tuftings instead, and what looks like rickrack ribbons scallop across the painting.

“I think the show is timely,” Mrs. Cooney said. “Because of our very technical society, there’s been a resurgence of interest in what is American craft. We know that quilts are one of the few indigenous American crafts. It is said they were made because of thrift. But beautiful quilts reveal they were made of love and talent as well.”

 

When Paint Looks Like Fiber And Wood Takes Flight

wood

fiber

TWO disparate forms, wood vessels and quiltlike paintings, are joined by a geometric thread in “Prisms and Spheres,” an exhibition on view through June 28 at H. Pelham Curtis Gallery in the New Canaan Library.

The eloquent show of just 19 pieces parades wood vessels, some African inspired, on graduated cubes down the center of the gallery, and sets walls ablaze with quiltlike paintings. It’s a marriage of forms that continues the question of where craft ends and art begins.

Peter Petrochko studied architecture but decided to change directions and make esculpturing in wood his work. In 1981, after running a landscape business for eight years to support himself, he left landscaping behind. “I plunged into the craft movement full time,” he said, “working my way into major craft shows, earning an income and a name for myself. The craft scene mushroomed, and with it, some of the boundaries between craft and fine art eroded. In some galleries, it would be hard to tell the difference these days between craft and fine art.”

Today, his vessels, primarily asymmetrical pieces designed for pure esthetics, celebrate sculptural shape and wood grain, particularly when using one wood species. In some, where a variety of natural wood colors are used, the geometry of patterns takes precedence. Band Saw Instead of Lathe

His distinctive style is borne in part by using a band saw (a continuous loop blade about 100 inches long) instead of a lathe. “I developed a ring technique to make a three-dimensional form by stacking concentric tapered rings cut with the band saw,” he said. “You can make an infinite amount of shapes with this technique.”

wood

His colorful, sculptured vessels employ native and exotic woods. “The colors are part of the actual structure of the wall, not embellishment or veneer pressed into the vessel,” he explained. “To accomplish this, there are numerous lamination and sawing techniques. Some of the vessels have up to 600 separate pieces and require 25 different steps. There are segmented vessels employing various woods, sometimes seven or eight species in one piece.

“Colors are limited to the colors of nature,” the sculptor added. “But the variety of color in woods almost spans the whole color spectrum, with woods like purple heart, bloodwood, a bright red, and black ebonies. Still another is bright yellow satinwood.”

Perhaps the most striking piece is a vessel, 16 inches high and 16 inches wide, that is made of Mexican ebony and North American curly maple. About 200 pieces fit together to form the bold geometric patterns within and without.

His smallest piece, 6 inches high and 7 inches wide, in Brazilian kingwood (part of the rosewood family) has undulating walls and deep contrasts in wood shading from pale to darkest tones.

A third vessel, made of North American spalted crimson maple is subtly heart-shaped on top as part of its overall contour.

He refers to himself as a wood nut, a naturalist and a conservationist. “I’m concerned about all the natural resources of the planet, wood being part of it,” he said. “I advocate using exotic woods from sustainable sources, one of the policies of the Woodworkers Alliance for Rain Forest Protection.

When Cathy Cooney, curator of the show at the New Canaan library, discovered Mr. Petrochko’s work at the Westport Craft Show, she said that “Peter’s work stood out as American Craft Museum quality.” Comparing the work of the other artist, Nancy Malkin Stember, Ms. Cooney said, “I saw similarities in their color palettes, recognized both were involved in their craft from the beginning — and knew what was going to happen before it evolved.”

 

Milk Paint, for an Authentic Old Look

milk paint

Many a priceless original milk-paint finish has been lost. Perhaps this was because of the misguided notion that an ”Early American look” consisted of wood with a clear finish. Perhaps it was simply that, compared with modern paints available in every imaginable color, old milk paint must have seemed insipid to many.

Many a priceless original milk-paint finish has been lost. Perhaps this was because of the misguided notion that an ”Early American look” consisted of wood with a clear finish. Perhaps it was simply that, compared with modern paints available in every imaginable color, old milk paint must have seemed insipid to many.

Milk paint is still made today. It continues to contain milk, although the powdered kind is usually used.

The color range of milk paint sold today is rather limited, confined to colors used in the 17th and 18th centuries. Green and red are the two most popular colors. While the design and woods used in the American Windsor chair may differ from its English counterpart, makers on both sides of the Atlantic have shared a penchant for these two colors. These traditional colors are available today, as are black, white, mustard and pumpkin.

In addition to preventing dirt from penetrating the wood, a coat of milk paint adds a realistic touch to suitable candidates, whether they are old pieces whose original coat of color was lost or unfinished reproductions.

All paints work better on raw wood, and milk paint is no exception. If you work with it, make sure the surfaces are not only clean of old finish, but are also given a thorough sanding to remove whatever residue has been left in the stripping process that might hinder the penetration and adhesion of the new paint. Sand in an orderly manner using medium and fine paper. Although milk paint has good hiding power, subsequent wear should never reveal surface scratches that, no matter how slight, are always unsightly.

Milk paint is made in powder form and should be reconstituted as directed. The powder, when kept in a sealed container, has a long shelf life. Once made up, it should be used within four hours. It then begins to break down.

If you have to wait any longer before applying a further coat, then a fresh batch should be made. Before using, strain the paint through a nylon stocking or cheesecloth, and stir constantly while applying to prevent any settling that could leave the surfaces uneven in color.

Run a damp cloth over the surface immediately before applying the paint and the color will go on more evenly. If, when the first coat is dry, some ”whiskers” are raised, knock them off with Grade 0 steel wool. Avoid using sandpaper for this job because unless it is handled delicately, the paper will tend to tear through the color in places.

To develop the color and protect it, seal with a couple of coats of a clear penetrating oil finish. This will darken the color slightly. Adding a touch of black to the green or red paint will produce an aged look. Whatever plans you have for using this paint, experiment beforehand on a scrap of wood, or better still, a small piece of furniture that is suitable for this finish.

After painting, you might want to distress the surface to simulate honest wear; use 0-grade steel wool as the abrasive. Make sure the wear looks realistic and does not appear in places where neither hands nor body could alight.

The worn-down areas should then be given a dab of paste wax and a buffing. Wax, rather than a clear finish, adds a more authentic touch. It more closely resembles the complexion found on a surface that is constantly handled by fingers that, if not exactly sticky, may be slightly dampened by perspiration.

5 Under 200$ Decorate Living Room Furniture I Like Most

table

So this is my first post in my new sharing ideas blog. I was looking for some cheap furniture for my living room and these are top 5 I bought. Hope you will love it.

1. Rose Junior Microfiber Sofa:

sofa

2. Home Craft Half-Round Sofa Table:

table

3. Better Homes and Gardens Rustic Country Coffee Table:

coffee table

4. Better Homes and Gardens Ashwood Road 5-Shelf Bookcase:

bookcase

5. Sumner Corner Media Electric Fireplace for TVs:

tv stand