Larry M writes.....

 "Can you show your bandsaw set up that allows you to resaw to a 1/32"?

Thanks for the question, Larry.  I'll try.

But first a couple photos of Annie's completed "tiled" floor.

Beautiful

Bandsaw.  Before we get to that, we must have the dimension of the kerf of the blade.  This is how I do that and to give credit, I got this method from John when he owned BridgeCity Tools.

Make a cut with the blade in question and stop after a bit.

Cut off with the saw of your choice where the blue line is

Glue that piece back onto the larger piece.

Now using the method of your choice, measure the difference of the step.  Here I'm using an analogue gauge. The arrow is pointing to the vernier scale showing it to be .048".  That is the kerf of this particular blade.

Onto the saw.  I'm using right now a carbide 1" blade from Laguna Tools on an Italian made 5 horsepower saw, the important two items being the side table extension that's bolted to the saw and the incremental fence on that.  Normally there would also be an outfeed table but at the moment, Annie's kiln is there.

The incremental fence uses a 32 inch pitch screw that allows the fence to move in exact and repeatable 1/32" steps.  Additionally, the fence uses a half nut with that wheel to be able to move the fence in precise (or is it accurate) dimensions.

So rather than setting the fence let's say 1/32" away from the blade and trying to cut by trapping that 1/32" between the blade and fence, I reverse that. The major portion of the wood is against the fence and the 1/32" is free to come off the blade.

After each cut, you move the fence toward the blade the width of the kerf plus let's say, 1/32".  So in my case with this blade each time I advance the fence by 5/64" or .078".   The incremental fence is the key to that.

I can resaw 16" with this bandsaw so I have a tall fence that moves with the incremental and then gets bolted down to the bandsaw.  It can not be too rigid.  Not shown here but I also use support pieces of wood at the top of the fence that are triangulated back down to the table and clamped there so there's no movement at the top of the fence.

And then on the other side I have a tall set of wheels with springs that push the wood against the fence

There's another set of wheels for the outcut that are far enough away from the blade as to not impact the cut but insures the wood remains against the fence.

I have another shorter version of this for cuts less than maximum.  I didn't show it with the clamps that's used to keep it in position.

  

And that's that.  Incremental fence to the right of the blade, accurate knowledge of the kerf and a rigid system of keeping the wood going through the blade without wavering.

Thanks Larry M for the question!

Bonus pics with warm colors!  Early morning light on the studio, on the horn from the Faroe Islands and hanging light reflections in copper.

A Light 1100 gram Light

Reflected light coming off the kiln.

 And a WIP.

Ok, ok. People nowdays have short attention spans. I'm going to trace that back to where MTV started to do that fucking trend of super short cuts, images flashing by like that scene in ClockWork Orange.

So last talk about hanging lamps until late December.

What do you want first?  Got it.  The WIP.

Annie's Kitchen Floor 

First of many laydowns

She paints with her fingerbrush.  Correction burnishes with her fingerbrush.

The first thing they teach you at the first day of art school is negative space.  Then after coffee break they tell you how important diagonals are.  How diagonals convey emotions and forward movement and stuff like that.  Seeing how important they are, I would incorporate that into this light.

   

As an aside, why is color theory is still a theory?  You'd think by now it could have been proven.

Onto the build.  The structure is made from 24 of these.  15 degree angle, 5.5" long, quarter inch slot in the end.

Starting to wrap the diagonal pieces of Doug Fir.  I've gotten my process dialed in that I can consistently shave off another ten thous off of each resaw.  Real close to .034".

And just for shits and giggles I pull out the Bridge City JMP to cut the pieces for my signature bottoms.

I decide to put an Islamic pattern on the bottom of the light and thought I would try to curve it.

Glued up four pieces and slept on it and decided to make it flat instead.  By the way, if you're looking for anything about Islamic design, any stuff by Eric Broug is highly recommended.

Looking at things while still on the bench.

The rest are from it's temporary hanging spot in the studio until it's given away, like all art should be. 

Wait a minute, you're demanding more bonus pics!

Woven wood, fall roses, and sawdust on cymbals