Today we will take a quick look at the final profile we made. This profile is subtly different than the profile we made yesterday. (Who knows, the original intention may have been for the same profile.)
Snipes bill followed by rabbet.
#4 round followed by #8 round
#2 hollow
Take note the the entire profile is lower than the original surface. This was not the case yesterday.
Additionally, the bead is closer to that back fillet here than yesterday's astragal. (note: Yesterday's bead was technically an astragal because it was raised from the surrounding flat surfaces. We have a sharp quirk on the back side here, not a flat.)
Finally, today's cove is much more elliptical than yesterday's, which was more of a circle segment. How do I know this? When it comes to copying a piece, just hold your planes up to the moulding you're copying (with the iron out). You'll easily be able to see if a cove is cut with an 8, 4 or both, depending upon how the plane matches the profile.
Bill and I did not address the hood's crown along the top because he had not yet decided how he will cut the arch, which was originally carved.
Really enjoying this series (and all your posts.) Makes me see how powerful this set of tools really is. I question how would one know how to select the right moldings without a vintage item to copy completely? I say this because if I were making "a clock" I wouldn't have even thought to make 4+ different moldings. Infinite options could be just as limiting as having only a 1/4" round-over bit if you don't know how to choose.
ReplyDeleteMatt
ReplyDeleteThanks for another great series! I learn a lot from every one of your posts. I am really looking forward to your book.
Herb Kettler
Go to museums and antique shops if you can. Pick up furniture books and get a magnifying glass. Start a conversation with George Walker (http://georgewalkerdesign.wordpress.com/) or Don McConnell.
ReplyDeleteCopying pieces is a good place to start. Drawing is too.
The book that I'm writing will have several profiles in it.