“About 1975, I was asked to start up an industrial arts class that would contain woodworking, mechanical drafting, arts and crafts, and so on. I explained to the superintendent of the district I was working in at the time that I had no training, but they wanted me to do it anyway.”

After getting district permission to tour other schools’ woodworking programs around the state of Idaho, Tom started a program for grades seven through nine, “and that got me fired up,” he said.

He continued during woodworking even after moving to Oregon and, around the time of his retirement in 2005, began to find a particular interest in carving wildlife. About 70 percent of his current woodworking time is spent in carving, Tom says, although he has also done cabinet work – and leather carving. “I’m still very blessed with good health, but I don’t do the big pieces of furniture anymore simply because of the massiveness and the massive nature of moving them around, whereas with the carving, you’re usually working with reasonable pieces of wood; more handle-able, so to speak.”

That appears to be a matter of perspective: Tom admits to often scouting for found wood while participating in outdoor activities. He carries a pack frame in order to bring home larger pieces of wood. “At one point in time, there was a burl, it was about five and a half feet tall and probably weighed 70 pounds or so, and I carried it quite a way to get it back to the truck – but it’s been worth it.”

When cut and presented properly, Tom says, burls often look to him “like the waters in a trout stream.” He frequently uses them as the bases for his carvings of fish.

He will also do carving in tilia (basswood), has a fondness for Western red cedar, and enjoys working with reclaimed barn wood which, in Oregon, he said, often turns out to be Douglas fir.

“There’s a lot of wood out here that’s available, including driftwood from the ocean. It makes good bases occasionally for birds I’ve carved, songbirds and shore birds and so forth, to create, in my mind anyway, kind of a natural setting for the carving.”

As for the carving itself, “It’s a process I go through to create one of these,” Tom said. “It takes me roughly 30-35 hours from start to finish to complete one of these wildlife carvings, be it a fish or a great horned owl, or whatever it happens to be. I rough out with the band saw and then I do the fine carving with chisels and knives and saws, a wide variety.”

To create the specific species, Tom will sometimes re-create “trophy” fish for clients, based on a photo and statistics such as size, weight, etc., but he also draws on his own memory, plus photographs and other resources. “A lot of it is from memory, probably most of it: the shape and the general feel of the movement of the fish I’m trying to get,” he said.

A fly fisherman for at least 50 years and a fly tier for at least 40, Tom says he’s probably caught more rainbow trout than any other fish, and they are likely his favorite to carve, as well as to paint.

“When I paint I use brushes. I do not use an airbrush. I use brushes and highlighters, whatever I can get my hands on.” Generally, he uses acrylic paints, but will choose other options in order to get the effect that he wants. In the past few years, Tom has also been using pyrography pens to enhance his carvings.

The appeal of woodcarving, for him, Tom said, “I think it’s just the whole ethic of it: the smell of the wood, the tactile nature of the material. I love working with good tools, which I have a plethora of. And I enjoy sharpening tools. So, it’s a combination of the things that conspire to allow you to do and to create whatever it is you want to create.”

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Bevel capacity on this circular saw ranges from 0 to 55 degrees with positive stops at 0, 45 and 55 degrees. The steeper 55-degree tilt angle should be helpful for roof framing. When the base is set to 90 degrees, the saw will cut material up to 2-3/8 in. thick, and it can handle 1-27/32-in.-thick workpieces when tilted to 45°.

Depth and bevel levers are made of steel for added durability. The saw’s heavy-duty, stamped aluminum base features ribbing — a first for Hitachi on a circular saw — to also help bolster its jobsite ruggedness.

Many of the features on this 11.1-lb. saw were influenced by end user feedback, Hitachi says. Among them, the handle is now closer to the blade for better balance and ergonomics. Its grip circumference has been reduced for easier handling, and the trigger was widened to improve comfort. The saw’s cord hook — another unique feature — allows the cord to be repositioned securely to the side and out of the way for cutting convenience. The motor’s carbon brushes can be changed quickly and easily as well.

Hitachi’s 7-1/4” RIPMAX Circular Saw (model C7UR) comes with a 24-tooth, premium VPR Framing Blade for fast cutting, a hex bar wrench and carrying bag. It retails for around $149 at Lowe’s stores, and it’s covered by Hitachi’s 5-year professional warranty. The saw can also meet OSHA silica compliancy when cutting fiber-cement board if it’s connected to a vacuum system using Hitachi’s Dust Collector Set (item 372757), which is sold as an accessory.

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The light head rotates 360 degrees on its tubular base so you can adjust it to the angle that best suits your task or working environment. It also offers multiple hanging options. The light’s HYBRID feature allows it to run with either a ONE+ battery or by using an AC extension cord (both options not included). It is compatible with all 1/4″ x 20 tripod mounts, and a tripod adapter is included with the 2.6-pound light.

RYOBI’s HYBRID LED Color Range Work Light (item P795) sells for $79.97 at Home Depot stores nationwide.

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I know water-based products will raise the grain, plus I have concerns about its durability in the kitchen. Ninety percent of the cabinet surface area to be painted is sanded to bare, near bare wood or completely new bare wood construction.  For the ornate trim around the top of cabinets, I planned to use a de-glossing product before applying the primer.

Using an oil-based product presents some challenges as my house is rather rural and using a dedicated paint store would incur a rather significantly increased drive time and, I assume, a premium cost, plus the more difficult cleanup and means of safe disposal of the byproducts of the cleanup.

What would you use or recommend in my situation? – J. Scott Bell 

Tim Inman: On an aged surface like you are describing, as long as your surface is clean and dry, you should have great results with any good paint. The old finish will no longer be attacked by any solvent incompatability issues, since it is well cured and totally hardened. Your biggest enemy is grease and grime. Get the surfaces clean, and you’ll be good to go.

Chris Marshall: I agree with Tim. A quality interior primer and paint should work great for your cabinets. I’ll suggest going with a sheen that will be easy to wipe clean — semi gloss or even gloss. For that ornate trim that you are cleaning up but not stripping to bare wood, trisodium phosphate (TSP) will cut through the old grime, smoke and greasy cooking residue. It also gives some “tooth” to the old paint by etching/de-glossing it, so the new primer will stick well. You can find it among the cleaning products at any hardware store or home center.

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When introducing the three year old to the table, I carried her upstairs with her eyes tightly shut. Upon seeing it, she dove from my arms and assumed the position under the table. Doubles as hiding place, I guess.

Was a fun build and glad it is in constant use.

Michael Armstrong

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