Woodworking Hands Quotes

A streak of green fire blasted out of the back of the shed, passed a foot over the heads of the mob, and burned a charred rosette in the woodwork over the door. Then came a voice that was a honeyed purr of sheer deadly menance. "This is Lord Mountjoy Quickfang Winterforth IV, the hottest dragon in the city. It could burn your head clean off." Captain Vimes limped forward from the shadows. A small and extremely frightened golden dragon was clamped firmly under one arm. His other hand held it by the tail. The rioters watched it, hypnotized. "Now I know what you're thinking," Vimes went on, softly. "You're wondering, after all this excitement, has it got enough flame left? And, y'know, I ain't so sure myself..." He leaned forward, sighting between the dragon's ears, and his voice buzzed like a knife blade: "What you've got to ask yourself is: Am I feeling lucky?

Basically, the only profession you can or should date is a woodworker, or a guy who makes boats. Like Kevin Costner in Message in a Bottle. Someone who is brooding but carves wood all day, making something gorgeous with his hands while he ruminates on lost love, and finding new love, and stormy seas.

Picking had ruined his hands for delicate woodwork.

You ought to be looking where you're going." "A gentleman would offer his hand right now." ... "Eadlyn, you've never thought I was a gentleman." "True.

Did you hear about the woodworker who died when he fell into a vat of varnish?” He pauses for dramatic effect, hands off the steering wheel. “It was a terrible end, but a beautiful finish. Da-dun-dah!

If I start doing more things with my hands, whether that's woodworking or gardening or knitting or baking cookies, I might fall into the condition made famous by the psychologist with the impossible name: Mihaly Csikszentmihalyi. That condition is "flow." It means becoming completely involved in an activity not for the sake of the outcome but for the sheer joy of it. It means feeling alive when we are fully in the groove of doing something. According to Csikszentmihalyi, the path to greatest happiness lies not with mindless consuming but with challenging ourselves to experience or produce something new, becoming in the process more engaged, connected and alive.

I said my goodbyes to Madge at the front door and watched her for a few moments as she made her way down the driveway before closing it again. At first I rested my forehead against the woodwork, wondering what I might do next, but as I turned, a hand grabbed me by the neck and threw me across the floor. I hit the wall of the hallway with a scream and felt a body, invisible, rushing towards me. Before it could reach me, however, another presence swept in from my left side and there was a sound like thunder as they collided, one roaring at the other, before both presences disappeared entirely, leaving only one thing, one familiar thing, in their wake. The scent of cinnamon.

She rubbed it onto his hands one day in Year Eleven, feeling the texture of his fingertips, callused by the strings of his guitar, and his palms, rough from woodwork. ("Productive, despite your lazy streak," she had said, inspecting them.)

To this end pitiful woodwork had been used instead of solid masonry; rickety ceilings had been propped up by fragile rafters, and beams that threatened on every stormy night to fall upon the heads of those beneath them; doors whose specialty was never to be shut, yet always to be banging; windows constructed with a peculiar view to letting in the draft when they were shut, and keeping out the air when they were open. The hand of genius had devised this lonely country inn;

year, possibly longer. The Hostetlers had then purchased a little haus for Noah and Hannah. The haus had been built by Englischers and was conveniently adjoining the Millers' property. It was ideal, as it was all on one level and had no stairs, apart from two on the porch, and given the fact that Noah worked in Mr. Miller's woodworking business, he only had a short distance to drive the buggy to work each day. The Miller familye and Amos sat down at the table, put their hands

THE SK8 MAKER VS. GLOBAL INDUSTRIALIZATION This new era of global industrialization is where my personal analogy with the history of the skateboard maker diverges. It’s no longer cost-effective to run a small skateboard company in the U.S., and the handful of startups that pull it off are few and far between. The mega manufacturers who can churn out millions of decks at low cost and record speed each year in Chinese factories employ proprietary equipment and techniques that you and I can barely imagine. Drills that can cut all eight truck holes in a stack of skateboard decks in a single pull. CNC machinery to create CAD-perfect molds used by giant two-sided hydraulic presses that can press dozens of boards in a few hours. Computer-operated cutting bits that can stamp out a deck to within 1⁄64 in. of its specified shape. And industrial grade machines that apply multicolored heat-transfer graphics in minutes. In a way, this factory automation has propelled skateboarding to become a multinational, multi-billion dollar industry. The best skateboarders require this level of precision in each deck. Otherwise, they could end up on their tails after a failed trick. Or much worse. As the commercial deck relies more and more on a process that is out of reach for mere mortals, there is great value in the handmade and one of a kind. Making things from scratch is a dying art on the brink of extinction. It was pushed to the edge when public schools dismissed woodworking classes and turned the school woodshop into a computer lab. And when you separate society from how things are made—even a skateboard—you lose touch with the labor and the materials and processes that contributed to its existence in the first place. It’s not long before you take for granted the value of an object. The result is a world where cheap labor produces cheap goods consumed by careless customers who don’t even value the things they own.

Greetings and welcome to The Keltic Woodshop. Established since November of 2003 in Kansas City, Missouri, The Keltic Woodshop specializes in custom cabinetry, furniture, and unique fine wood products in a personalized old fashioned handcrafted way. We are a small shop that strives towards individual attention and detail in every item produced. The Keltic Woodshop of Kansas City specializes in the following products: Custom Cabinets and Furniture: We use worldwide exotic woods. Our custom cabinets and furniture contains Russian Birch, Brazilian Cherry, African Mahogany, Asian Teak, Knotty Pine, Walnut, Red Oak, White Oak, and Bolivian Rosewood just to name a few. Custom orders are available. Handmade Walking Sticks: Our walking sticks include handcrafted, lightweight, strong, durable, handpainted, handcarved, Handapplied finishes and stains, Alaskan Diamond Willow, Hedgeapple, Red Oak, Memosa, Spalted Birch, and Spalted Ash. Custom Made Exotic Wood Display Cases: These are handmade from hardwoods of Knotty Pine, Asian Teak, African Mahogany, Sycamore, Aniegre, African Mahogany, and Black Cherry. We will do custom orders too. Pagan and Specialty Items: We have Red Oak and White Oak Ritual Wands with gems, Washington Driftwood Healing Wands with amethyst, crystaline, and citrine points, handpainted Red Oak and Hedgeapple Viking Runes for devination. We can make custom wood boxes for your tarot cards. Customer satisfaction is our highest priority. If you are looking for unusual or exotic lumbers, then we are the shop you've been searching for. The Keltic Woodshop stands behind and gurantees each item with an owner lifetime warranty on craftsmanship of the product with a replacement, repair, or moneyback in full, no questions asked, policy. We want you happy and completely satisfied with any product you may purchase. We are not a production shop so you will find joinery of woods containing handcut dovetails, as well as mortise and tenon construction. Finishes and stains are never sprayed on, but are applied personally by hand for that quality individual touch. the-tedswoodworking.com

The row of villas which lines Western Avenue is like a row of pink graves in a field of grey; an architectural image of middle age. Their uniformity is the discipline of growing old, of dying without violence and living without success. They are houses which have got the better of their occupants, whom they change at will, and do not change themselves. Furniture vans glide respectfully among them like hearses, discreetly removing the dead and introducing the living. Now and then some tenant will raise his hand, expending pots of paint on the woodwork or labour on the garden, but his efforts no more alter the house than flowers a hospital ward, and the grass will grow its own way, like grass on a grave.

I know for certain there are a couple of pieces of wood in the barn back at Carnton. Enough for a child’s nativity.” “A child’s nativity? I’m not making a child’s nativity, Captain Winston. I’m building a life-sized booth and manger that will stand in the front yard by the house at Carnton. The children will all take turns playing Mary and Joseph and the shepherds over the course of the auction.” He stared. “You’re making a real nativity?” She nodded. “You are?” He smiled. She didn’t. “My father was a master carpenter, Captain Winston, and he taught me a thing or two about woodworking.” Jake tried to curb his grin but couldn’t. The image of her with a hammer and saw sparked amusement. “But you’re—” He gestured. “A woman?” “Well . . . yes, ma’am. You’re obviously a woman. But you’re also . . .” He stared, not wanting to say it. And definitely making certain he didn’t look down. “With child,” she finally supplied, an eyebrow rising. “Yes, ma’am. With child.” “Which precludes me from being able to build something?” He laughed softly. “Which makes a project that would already be a challenge even more so.” Her eyes narrowed the slightest bit. “For one, it won’t be a challenge. I’ll only need your help toward the end, when it comes to nailing the larger pieces together. And secondly, I’ve already drawn out the plans. I have all the measurements and the list of required supplies.” She pulled a piece of paper from her reticule and handed it to him. He unfolded it, and his smile faded. He looked over at her. “You’re serious.” This time she was the one to laugh, though the action held no humor. “Yes, Captain. I’m serious.

I'm good with my hands. Woodwork, metal work, engines...other things too.

During our march the simoom was fearful, and the heat so intense that it was impossible to draw the guncases out of their leather covers, which it was necessary to cut open. All woodwork was warped; ivory knife-handles were split; paper broke when crunched in the hand, and the very marrow seemed to be dried out of the bones. The extreme dryness of the air induced an extraordinary amount of electricity in the hair and in all woollen materials. A Scotch plaid laid upon a blanket for a few hours adhered to it, and upon being withdrawn at night a sheet of flame was produced, accompanied by tolerably loud reports.

The rifle said more than the man. It was a short-magazine Lee-Enfield, three-oh-three caliber, and its worn brass buttplate and the scars & scratches on its woodwork spoke volumes of the century gone by. They spoke of Mons, 1914, where cries of TEN ROUNDS RAPID! convinced the German soldiers they faced machine-gun fire, and English bowmen from the time of Agincourt-- so legend has it-- appeared in the clouds to cover the retreat. They spoke of Harry and Jack on their way up to Arras, of the morning on the Somme where men of Ulster, Scotland, Wales, and Ireland, all the children of the empire fixed bayonets as long as swords and went to feed the earth. They spoke of Tommies on the beach at Dunkirk, taking hopeful potshots at the Stukas, and of stopping Rommel dead at Alam Halfa. They spoke of Normandy, the sneaking gang-fights in the hedgerows, where a platoon could bleed out faster than its predecessors on the Somme. Finally, they spoke of Afghanistan, the land that swallows armies. Of ancient rifles in the hands of men as hard as mountains, glimpsed on CNN & BBC, anachronisms next to things of tin and plastic. Of weapons taken by the locals from the empire that had fought them, an inheritance of iron and gun-oil out on the Northwest Frontier. They spoke of history. The man was Russian.

My own psychic burden was that I could command a six-figure salary, yet I did not know how to do anything. Whatever I learned to do in my late twenties, I learned from online tutorials: how to remove mold from a windowsill; slow-cook fish; straighten a cowlick; self-administer a breast exam. Whenever I wrenched a piece of self-assembly furniture into place, or reinforced a loose button, I experienced an unfamiliar and antiquated type of satisfaction. I went so far as to buy a sewing machine, like I was looking for ways to shame myself. I wasn’t alone. Half the programmers I knew between the ages of twenty-two and forty, mostly men, were discovering that their fingers were multipurpose. “It feels so good to do something with my hands,” they said, before launching into monologues about woodworking or home-brewing or baking sourdough.

how naive he’d been about the world at first. He learned rather quickly how to stay invisible as well as useful. “But not that bad if you took advantage of the stuff they offered. The worst thing was having too much time on your hands. So I signed up for classes, read lots of books, kept my nose clean.” “What sort of classes?” Tanner asked, and Cole noticed how his long lashes brushed his cheeks in the sunlight. If he had the nerve, he’d lean over and kiss him right then. “I stuck to the ones where I could use my hands. Woodworking, electric, art classes, even some gardening. I left the education and Bible stuff to the others,” Cole mused, and Tanner chuckled. “My mother left when I was sixteen. She was a kid herself when she had me and was hooked on one drug or another. I didn’t know my father, besides hearing his name once or twice. My grandfather took me in; he was the only real parent figure I knew. He was the custodian in our apartment building and always did construction jobs on the side, so I learned a little bit of everything.” He thought about the night he found out about his grandfather’s death and how he’d cried himself to sleep. His ashes had been buried next to his grandmother’s grave—she

There you are,” I told my mother, standing in the hot breeze that had entered along with the rattle of traffic and the voices in the street. “Brooklyn.” My mother turned to Gabe, who was holding her hand. “Show me,” she said again. The strain of this vigil was evident in the shape of his shoulders and the weariness in his eyes. He glanced up at me where I stood by the window and then down at her again. “All right,” he said softly. He got up slowly, pushing back the old dining-room chair. He leaned over the bed, slipping his hands beneath her. I watched in some astonishment as he lifted her, the bedclothes trailing. “Get the door,” he said over his shoulder as he made his way out of the room with our mother in his arms like a child. He turned to his side to fit them both through the passageway, and I overtook them in the living room. We had lined the woodwork here with boric acid, to keep the roaches at bay, and there was something of its pale dust over everything in those days. It sometimes made me recall: sand of Syria and Mount Lebanon. I went ahead to open the door. Gabe slipped through it, our mother in his arms. I followed them down the stairs, astonished, full of objections, but unable to object. I watched him as he gently negotiated the turnings. I wondered briefly if he planned to carry her all the way to the hospital. In the vestibule, the door to the parlor-floor apartment was still patched with plywood. Gabe turned to me and nodded toward the street. My mother’s eyes were closed. In my brother’s arms she seemed as small and light as an infant. I went ahead to pull the first door open, and then slipped around them to get the outer door as well. There was a blast of heat. Gabe carried my mother into the sunlight and down the steps. There were kids on the stoop across the street, there was the tinny music from their transistor radios. They glared, open-mouthed. A pair of dark men passing by looked up as Gabe came down the stairs with my mother in his arms. They walked to the curb, glancing over their shoulders, giving him wide berth. Gabe, too, went to the curb and then turned around to look back up at the house. I rushed to scoop up the sheet and the blanket that was now brushing the sidewalk. “You’re here, Momma,” I heard him say. “Where we’ve always lived.” My mother raised her head. She extricated one thin hand from the winding bedclothes and raised it to her eyes against the sun. She looked down the street and then up at our building, the blue summer light reflecting in the glass of the front door, the bowed parlor window—some plywood there, too—and then up to the fourth floor, where a bit of lace curtain, her handiwork, had been drawn through the opened window. “Not home,” I heard Gabe tell her, reassuring her. “Brooklyn.

Every craftsman starts his or her journey with a basic set of good-quality tools. A woodworker might need rules, gauges, a couple of saws, some good planes, fine chisels, drills and braces, mallets, and clamps. These tools will be lovingly chosen, will be built to last, will perform specific jobs with little overlap with other tools, and, perhaps most importantly, will feel right in the budding woodworker's hands. Then begins a process of learning and adaptation. Each tool will have its own personality and quirks, and will need its own special handling. Each must be sharpened in a unique way, or held just so. Over time, each will wear according to use, until the grip looks like a mold of the woodworker's hands and the cutting surface aligns perfectly with the angle at which the tool is held. At this point, the tools become conduits from the craftsman's brain to the finished product—they have become extensions of his or her hands. Over time, the woodworker will add new tools, such as biscuit cutters, laser-guided miter saws, dovetail jigs—all wonderful pieces of technology. But you can bet that he or she will be happiest with one of those original tools in hand, feeling the plane sing as it slides through the wood.

I slapped my hand over my mouth, stifling a freaked-out laugh. Woodworking? Really? Was that a kink?

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