Journeyman's Journal

Over the last week or so I’ve had a couple of people question me over the new Lost Scrolls of Handwork logo. Some were disappointed that I used AI to create it while others immediately assumed that meant I was about to start making fully AI generated podcasts and content. So let me explain where I actually stand on all this.

Yes, I used AI to create the logo. And yes, I probably got a little carried away experimenting with it because truthfully this was the first time I’d ever seriously used AI for anything.

But let’s get one thing straight. I could redraw that logo myself without much difficulty at all. I’ve worked with graphic design software for years. Recreating it manually would not be some impossible task for me. The issue was never ability. The issue was time.

Between work, woodworking, writing, researching, designing and trying to keep all these different projects moving at once, there simply comes a point where you physically cannot do everything yourself no matter how much you want to.

So I decided to experiment with AI as a tool.

And after spending weeks learning this stuff I can honestly say this. Some of it is useful. A lot of it is overrated.

Most of these companies are trying to convince people they’re good, but in reality they’re not.. Especially when it comes to animation and lip syncing. What looks simple on the surface quickly becomes very complicated once you start trying to do it properly yourself.

I still haven’t completely figured out the lip syncing side the way I want to, although I did eventually get another character working surprisingly well after a lot of trial and error and many late nights learning all this from scratch. I’ve been getting around three hours sleep a night just trying to work through it. Right now it’s 3:30am and I’m getting up at 5:00am.

But what bothered me was seeing people immediately assume that because I used AI to create a logo, that somehow means everything I do will suddenly be fake. My track record already speaks for itself.

For 28 years, longer if you start counting from the age of 7, I’ve been building clocks, furniture, studying woodworking, writing articles, sharing knowledge and trying to preserve the craft. My gallery is full of work made with these two hands. Only one year of those 28 years I’ve use machinery, the rest of those years it was only hand tools. That should say some thing. My blog has served readers around the world for years. I also ran a magazine alongside my mate Matt McGrane who painstakingly edited my work issue after issue.

None of that came from AI. Heck AI didn’t even exist then. And none of that suddenly disappears because I experimented with a tool once.

Many of you also remember my old YouTube channel that was hacked and eventually wiped out along with years of videos and over 50,000 subscribers. Starting again from scratch after something like that is not easy, but I kept going because the purpose behind all this never changed. That purpose has always been simple.

1. To preserve the craft.

2. To pass knowledge on.

3. Not hoard it.

After giving this a lot of thought, I’ve decided the podcast idea will not be moving forward the way I originally intended.

The blog simply makes more sense for what The Lost Scrolls of Handwork actually is. That’s where the real substance has always been.

What I will continue doing however is creating narrated videos on YouTube using my own recorded voice while discussing subjects like shellac, tools, techniques and historical woodworking. The only difference is there will be a 2D character lip synced directly to my voice while images and material related to the topic are shown on screen. After all, there is no point throwing away something I’ve spent many sleepless nights learning.

I’ll still be recording the voice myself. I’ll still be editing the audio myself in Resolve. And I may still upload the audio versions to Spotify for people who enjoy listening while driving home from work or spending time in the workshop.

As for the logo itself, some of you probably noticed I already changed it back to the original one. Yes, I drew that one myself years ago in Illustrator before eventually replacing Adobe software with Inkscape. I still enjoy using open source software wherever I can and saving money in the process.

I’m happy to say that I’m almost finished the first episode of the podcast.

Without question, the most difficult part of the entire process has been creating the characters for YouTube. I honestly underestimated just how much work goes into lip syncing and animation. There have been plenty of setbacks and moments of frustration along the way, but the tenacity and perseverance that hand tool woodworking teaches you kept me going.

Originally, I planned to use myself as one of the speakers. Unfortunately, the lip syncing didn’t turn out as well as I hoped. Still, I’m not giving up on it. I’ll continue experimenting and refining the process, and if it ultimately doesn’t work, I already have another character ready to step in.

Despite the challenges, I’m genuinely excited about this project. Ideas keep flooding into my head faster than I can write them down. In many ways, I feel the same excitement now that I did back when we started the magazine. There’s something deeply rewarding about creating something from the ground up and sharing it with others who appreciate the craft.

Podcasts have become incredibly popular, yet I haven’t really come across one dedicated specifically to hand tool woodworking. My hope is that this becomes a positive, informative, and enjoyable addition for those who love the craft as much as I do.

I truly hope you gain something from it, whether that’s knowledge, encouragement, inspiration, or simply enjoyment while listening.

I’d also encourage you all to subscribe on Spotify so you’ll receive notifications whenever a new episode is uploaded: Spotify Podcast Subscription

The video versions will be going onto YouTube, which is the reason I’ve been putting so much work into creating animated characters for the presentations.

As for Apple Podcasts, there currently seems to be some sort of technical issue with their links. At the moment they appear to be broken, but I’ll keep working on it until it’s sorted out.

Stay tuned. There’s much more to come.

Journeyman’s Journal has always been the ongoing record of work at the bench, notes, reflections, and lessons gathered over more than thirty years of hand tool woodworking, and still continuing.

Separate to this, Wooden Wares Handwork continues as an ongoing venture. That side of the work is focused on making, and stands on its own. It is no longer connected to the blog.

Some of you will remember The Lost Scrolls of Handwork. That name belonged to a magazine we ran alongside the work, carrying forward the same philosophy: sharing knowledge gained over time spent at the bench. The magazine eventually came to an end, but the idea behind it never disappeared.

Now, The Lost Scrolls of Handwork returns, not as a magazine, but as a broader extension of the work at the bench. It will be used as the title for future books and podcast material, while the main blog continues under Journeyman’s Journal.

The two are connected, but distinct:

• Journeyman’s Journal remains the ongoing written record of woodworking.
• The Lost Scrolls of Handwork becomes the written form for books, and the voice for the podcast.

The podcast

Alongside the written journal, I am introducing a podcast. The plan is to release episodes monthly, though it may settle into a two-month rhythm depending on time and the demands of my own work.

It will follow the same principles as everything else here: woodworking by hand, the thinking behind it, and what is learned at the bench. Available in two forms, on YouTube as video, and on Spotify as audio only, which can be listened to anywhere without needing to watch. Something you can have playing while you’re in the workshop or driving your car.

The most challenging part so far has been the realistic 3D lip-sync work. The available tools tend to be expensive, and the results only marginally better than free alternatives. That part is still being refined.

The first introduction is live

An introduction to the podcast has already been released and can be found here: https://open.spotify.com/episode/036WosfvejMFAeRH4x5Pbz?si=0bUSZZafQnWwc7T7eNCB6A

This is a continuation rather than a restart. The names may shift slightly in how they are used, but the intent remains the same: to record what is learned through time at the bench, and to pass that on in a way that stays close to the work itself.

Here is a video I just uploaded to youtube. This is a short introduction to the podcase using a realistic 3d animation. Hope you guys like it and support the channel.

I have read many books on saw sharpening and watched various videos on the subject, and most of them tend to repeat the same information. However, the Spear & Jackson handbook goes that little extra mile by elaborating on certain points. For example, when topping (jointing) the teeth, it recommends doing the work in stages: make a pass, file the teeth, then joint again, repeating the process until all the teeth are of uniform height.

Most other books simply state that the teeth should be jointed until they are all the same height. Many of us have likely done exactly that during a restoration, only to become frustrated at how long it takes to shape and sharpen the teeth afterwards. I think Spear & Jackson provided an excellent method that saves a great deal of time and frustration.

I am providing the pages that I felt would be of most interest to you, as the remainder is largely marketing material. The booklet appears to be fairly old; although I could not find a printed date, based on the art style, typography, and layout I would estimate it was produced sometime between the 1930s and 1940s.

Timothy Rousseau is a Maine-based furniture maker and woodworking instructor recognized for his finely crafted, functional furniture designs. Working from his studio in Rockport, he combines traditional craftsmanship with clean, contemporary forms and has become a leading figure in the American studio furniture movement.

I found this video interesting and thought I would share it with you. What I don’t see eye to eye on, though, is the need to shape the pins to mark out the mortise. In my view, the pins don’t need to be flat on one side, as the mortise will never be seen. It isn’t a show side like a through mortise would be.

Nonetheless, it has some nice features and good pointers that make it worth watching. If you’re new to the craft, or just want to brush up on some skills, there are plenty of other videos there to watch as well.

I also have to add that I love their setup and the open fields around them. Maine looks like a beautiful place to be.

David Boeff is not the kind of furniture maker you watch casually. His work demands attention, and so do his videos.

He does not walk you through every single step like most modern woodworking channels. You will not find long, drawn out clips of him carving an entire shell from start to finish. Instead, he explains what needs to be done, why it needs to be done, and then leaves space for you to meet him halfway. You have to listen. You have to picture it in your mind. In a strange way, that makes you more involved in the process, not less.

There is a level of knowledge behind that approach. It is not aimed at beginners, and it does not pretend to be. It assumes you already understand the basics and builds from there. That is exactly what makes it valuable. No handholding. Just clear, direct insight from someone who has spent serious time at the bench.

The truth is, there is no shortage of woodworking content out there. But most of it leans heavily on presentation rather than substance. There are plenty of people willing to teach, far fewer who actually understand the work. Boeff sits firmly in the second group. He understands the craft in a way that shows through in how he speaks, what he chooses to show, and what he does not feel the need to explain.

When he is at the bench, it is not about performance or proving anything. He picks up a tool and uses it the way it was meant to be used. Just a craftsman who understands his tools and lets them do their job. There is a kind of quiet confidence in that, the kind that only comes from years of doing the work.

There is a flow to it, something almost musical. He is not fighting the material, and he is not forcing the outcome. He is guiding it.

That is where the romance sits. He works with the material, listening to the wood as it speaks to him, working in harmony with nature rather than against it. He does not rely on brute force except when removing the bulk of the material, but even then there is control and intent. Every pass is guided by attention to the grain and every sudden shift within it. There is a confidence in that, the kind that only comes from years of doing the work.

Furniture built in the eighteenth century is made up of complex designs that draw on a wide range of woodworking techniques. These include intricate hand carved details such as shell carvings and acanthus leaf motifs, refined mouldings, sweeping curves, serpentine and bombe forms, cabriole legs, and flowing swan neck style elements often seen in period furniture. It is a language of form and proportion that relies heavily on both technical ability and an understanding of style.

An eighteenth century reproduction build therefore requires a tremendous amount of know how and skill. It demands patience, study, and a willingness to work through unfamiliar techniques. But that should not deter anyone from attempting such work. The knowledge and skill gained by taking on a project of that scale far outweighs the fear of starting it in the first place.

For modern woodworkers, especially those drawn to hand tools and historical methods, Boeff’s work offers both inspiration and a benchmark. It challenges the idea that traditional craftsmanship is outdated or impractical. Instead, it shows that there is enduring value in doing things the right way, even when that way is slower and more demanding.

This approach is not the easiest path. It requires time, discipline, and an acceptance that efficiency is not the goal. Yet it is precisely this commitment that gives his work its character. The subtle irregularities of handwork are not flaws. They are evidence of the human hand and mind at work. They give life to a piece in a way that no machine can replicate.

While I completely remove the bulk of the waste with only hand tools, it is not an efficient way to work wood, especially thicknessing a board entirely by hand. But at the end of the day, as night falls and your body aches and you look at your progress, there is a sense of achievement that is hard to describe and, for me at least, only comes from working by hand.

Spend enough time looking, and a pattern emerges. The largest channels tend to prioritise entertainment. The smaller ones are often where the deeper knowledge lives quieter, more focused, and far more useful to anyone serious about the craft.

Boeff falls into that group. There is no hype around what he does. It is just solid work, done properly. If you are interested in traditional furniture making, especially eighteenth century work, he is the kind of maker worth following. Not because he is popular, but because he knows what he is doing.

https://www.youtube.com/@DavidBoeff

I came across a clip from Paul Sellers where he says it’s not about applying downward pressure and that sharp tools make the work easier. That’s absolutely true. Sharp tools should always be the starting point, and relying on force to compensate for dull edges is poor practice.

But there is another side to this that often gets overlooked.

Low workbenches allow you to use your legs and core to help drive the plane through the wood, rather than relying only on your arms. This makes longer strokes more efficient and helps reduce fatigue over time, especially during heavier stock removal.

Historically, this makes sense. Earlier wooden planes were generally taller and suited a different grip and stance. When metal planes, such as those from Stanley, became common, they sat lower in the hand and required less effort to push. At the same time, work began to shift toward more controlled, finer bench work, which led to higher bench heights becoming more common.

So a low bench is not a mistake or bad habit. It is simply a different approach, built around full body mechanics and efficiency for certain types of work.

This is not about saying one method is right or wrong. It is about understanding that different tools, bench heights, and techniques evolved together, and each has its place depending on the task.

This is a very old video and one of the most in depth I have seen to date. As always, there is a lot of misinformation online, along with sloppy use of tools, especially hand tools. Much of this comes from people who present themselves as teachers but simply make things up as they go.

This is why it is always best to source information from books or other credible sources, preferably older books and older videos like this one. There is a prophetic saying that one of the signs of end times will be fewer scholars and many speakers. Clearly, we are living in such times, where many people speak online about various subjects, while those with real knowledge are drowned out by the noise of loud voices and their followers.

There is something deeply satisfying about working wood by hand, the feel of a sharp plane, the sound of a saw cutting cleanly, and the quiet focus it demands. For many people, introducing a computer into that process feels wrong at first. It can seem like it takes away from the craft. But when used properly, a tool like FreeCAD does not replace the craft it supports it.

FreeCAD is completely free to use, and unlike some software, you can use it for commercial projects without any licensing costs. Despite being free, it is a professional grade CAD program that meets industry standards for accuracy, interoperability, and parametric design. You are not just using a hobbyist tool. Your designs can integrate with other CAD systems, generate accurate dimensions, and be used in professional workflows. For woodworking, that level of reliability and flexibility is a real advantage.

One of the biggest benefits is gaining clarity before you ever touch a tool. Instead of guessing proportions or relying on rough sketches, you can build your piece virtually and see exactly how it comes together. Mistakes are caught early, long before they turn into wasted timber. A joint that looked fine in your head might reveal a flaw when you model it, saving hours of frustration in the workshop.

There is also a level of accuracy that is hard to achieve on paper. FreeCAD allows you to define exact dimensions and relationships between parts. If you decide to change something, such as the width of a cabinet or the thickness of a rail, the entire model updates automatically. This kind of flexibility is incredibly useful when refining a design, letting you experiment without committing material or time.

For woodworking specifically, this becomes even more powerful when working with joinery. You can model mortise and tenon joints, dados, rabbets, and see exactly how everything fits together in three dimensions. It gives you confidence that when you cut those joints in real life, they will work as intended. You are not just hoping they line up you have already proven it.

Another benefit is planning your workflow. When you model a project, you naturally consider the order of operations. You see which parts should be cut first, what needs to be milled to thickness, and how the components fit together. This adds a level of intention to your work that is easy to overlook when you go straight to the bench.

There is also a practical side when it comes to materials. By modeling your parts, you can see exactly how much wood you need. You can even create cut lists, which help reduce waste and make your projects more efficient. This is especially important when working with expensive wood.

What surprises most people is that using FreeCAD does not make woodworking feel any less real. If anything, it removes many of the small frustrations that get in the way of enjoying the process. You spend less time fixing mistakes and more time actually building. The craft stays exactly where it belongs in your hands.

At the end of the day, it is just another tool, no different in principle from a saw or a plane. You can ignore it if you want, but if you take the time to learn it, it quietly becomes one of the most valuable tools in your workshop.

Recently, I’ve switched to open source software for all my 2D, 3D, office, and accounting needs. I now use Blender, FreeCAD, Qcad, Gimp, Inkscape, LibreOffice, PDF Gear, and Express Accounting Software for small businesses with five or fewer employees. All of these programs are completely free, professional-grade, and have come a long way since they were first introduced, offering powerful tools that rival many commercial alternatives. This change has streamlined my workflow, reduced costs, and given me the freedom to work the way I want without being locked into subscriptions.

For anyone interested, here is a list with links to download all the software I use:

• Blender – https://www.blender.org
• FreeCAD – https://www.freecad.org
• Qcad – https://www.qcad.org I use Qcad Professional which cost me a one time fee of $72.
• Gimp – https://www.gimp.org
• Inkscape – https://inkscape.org
• LibreOffice – https://www.libreoffice.org
• PDF Gear – https://www.pdfgear.com
• Express Accounting Software (for businesses with five or fewer employees) – https://www.nchsoftware.com/accounting/index.html