This is the time of year I am busy stacking firewood and preparing balks of wood for future use as cutting boards, and bowls. This fall, I am particularly busy preparing bowl and cutting board stock from a supply of ash that came my way. I precut the balks to my preferred size, measure the moisture content ( most of these are about 14 percent), paint the ends to reduce checking, and carefully store the wood to allow plenty of air circulation. I’ll periodically check the moisture over the following months. I won’t start serious work with them until they are at about seven percent moisture. When the humidity is proper, I’ll resaw the wood meant for cutting boards to about an inch in thickness and let it set for a while, as it loses additional moisture exposed by resawing the wood. After that, I’ll plane it to about 3/4 of an inch, joint straight edges, and glue up blanks for the cutting boards. After the blanks are prepared, I’ll let them proof for a few weeks before carving and finishing. I’ve found that this final proofing reveals weaknesses in the glue-up before it becomes someone’s property. Failure in use is something I work hard to avoid.
Remember, the wood I am using comes to me reasonably green. It’s not kiln-dried stock from the lumber yard.
Bowls are a bit different. I’ll start working them like cutting boards at about seven percent moisture. My first job is to joint the edges straight so I can glue up a wider blank for the bowl. I prepare several blanks at a time and wait several days before I begin rough shaping the contours of the bowl. Next, hollowing gets done with gouges. After rough shaping with the gouges, I’ll gradually reduce the inner bowl to a smooth surface with electric sanders and old-fashioned card scrapers. The final sanding is by hand. Which finish I’ll use varies; mineral oil, tung oil, or a food-safe varnish. Each finish has advantages and issues. And sometimes, the choice comes down to aesthetics, which brings out the beauty of the wood best.
Ash has become an on-again and off-again item in the shop in recent years. The emerald ash borer has destroyed much of the ash in New England, and what I get comes from salvage cuttings. Someday I expect that ash will be like chestnut before it, a rare and precious visitor to the carvers bench.
This is sad when you consider the many uses of ash in furniture making, basketry, structural timber, musical instruments, turning, flooring, and marine uses. As a carver, I was introduced to it through commissions to carve eagle heads on the ends of long ash tiller handles.
Another part of the tragedy the emerald ash borer brings is the inevitable decline of the environment where it grew. Species dependent on it suffer because their habitat shrinks. I have included a photo below of a piece of ash firewood. The picture shows the tracks of the borer on the wood.
I’ll be thinking about the implications to the environment, craft, industry, and aesthetics as I work this batch of wood.
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