Speaker A
I'm building a table where woodworking, sculpture, and illusion all become one piece of furniture.
Watch the creation of a hypnotizing table blending woodworking, sculpture, and illusion with intricate mosaic techniques and unique wood species.
Key Takeaways
- Combining woodworking with artistic illusion can create unique, captivating furniture.
- Using offcuts and multiple wood species adds visual interest and sustainability.
- Custom tools like 3D printed inserts can improve precision in complex woodworking tasks.
- Attention to detail in sanding, sealing, and color arrangement is critical for quality.
- Gradual phasing of materials helps create smooth transitions and intentional design.
Summary
- The creator builds a large table combining woodworking, sculpture, and illusion to captivate viewers.
- Uses offcuts of premium wood species like walnut, mahogany, and leopard wood to create a spiral mosaic tabletop.
- Invents new techniques including 3D printing custom zero clearance inserts for precise cutting.
- Cuts thousands of tiny geometric pieces, focusing on only outside corner cuts for the mosaic design.
- Experiences challenges sanding and sealing numerous small pieces to prevent finish defects.
- Experiments with color mixing versus separation to achieve a more exciting visual effect.
- Phases different wood species gradually in the mosaic to avoid harsh color transitions.
- Addresses practical issues like covering mounting holes to maintain the table's hypnotic aesthetic.
- Applies a high gloss finish to enhance the table’s visual impact and durability.
- Shares insights on creative innovation, woodworking challenges, and the artistic process.
Chapters
- 00:00Introduction and Project Concept
- 01:53Creating the Template and Cutting Pieces
- 03:56Challenges with Small Pieces and Sanding
- 05:49Color Mixing vs Separation Tests
- 08:06Phasing Wood Species in the Mosaic
- 10:49Final Assembly and Addressing Mounting Holes
- 13:05Finishing Touches and High Gloss Application
- 15:30Testing, Flattening, and Final Thoughts
Full Transcript — Download SRT & Markdown
Speaker A
I want the viewer to be hypnotized into looking closer. To pull this off, I'll need to invent techniques that I've never even seen or tried before. This thing is huge.
Speaker A
So then the question becomes, how far can I push traditional woodworking before it pushes back? To find out, you'll just have to look a little closer.
Speaker A
I have a lot of walnut offcuts from that amazing last project that I did. And I think I have just the solution to use at least some of these and some other wood species that I have in my shop.
Speaker A
They may be cutoffs, but a lot of these have amazing grain and figure because they came from premium boards that I used for other projects. And I have a fun idea. If I cut these into small geometric shapes, what can I do with those?
Speaker A
They all just disappear. And since they are small pieces, I need a solution. So, I can just 3D print a new zero clearance. And I was able to download this off of Bamboo Labs Maker World, which is super handy because then I don't have to spend the time modeling it.
Speaker A
The only thing I suggest is use 100% infill. And you'll see why here in a little bit.
Speaker A
At this point, I'm just trying to keep the pieces different as well as a variation of different sizes. But I am sticking to one main rule: only outside corner cuts and no inside corners allowed. So shapes more like these rather than these.
Speaker A
But I am going to need a template for this top. When I say template, I actually mean several different things. First, it will serve as a template, but it'll also serve as a place for me to glue these pieces to,
Speaker A
but it'll also be a form in the end. And with those pieces that you saw me cutting, I want to do a really cool spiral mosaic. I think it'll just lend itself to the hypnotic vibe that I'm going for. And not hip like, "Yeah, bro, that's hip." I more or less mean here,
Speaker A
I'll just explain. All right, so quick proof of concept. I need to be able to tile these and have them orbit around this and look correct. And yeah, just as a proof of concept and not putting a lot of energy into it, I'm confident that I can make this look good.
Speaker A
So, I'll see you in another year or two because I have another trillion pieces to cut. And that's just the walnut.
Speaker A
All right, there's those. I'm going to do some different species. Now, this way is from the recent geometric coffee table that I've built. If you haven't watched that video, it was a really good one and it came out so fancy and it sold in like a week's time, which was amazing.
Speaker A
Oh, and by the way, remember that insert I made for this bandsaw and how it should have had solid infill? Whoa.
Speaker A
Yeah, it turns out these things aren't very strong if you print them hollow. So, in like 15 minutes, I can print a new one that's completely solid. That way, those things don't happen. All right.
Speaker A
So, I have walnut, way, mahogany, and mar. I think with all of these woods together, this is going to be an astounding mosaic. I mean, even the dust looks pretty. But with a trillion pieces comes a trillion opportunities to burn my fingers off on this sanding belt.
Speaker A
Whose idea was it to make these pieces so darn small? I can barely even hold on to them. And that's not the only problem. How do I keep my sanity while doing this for a few days straight, especially when I have zero help from the one support creature in the shop?
Speaker A
I know, pathetic, but I only sanded my nails slightly. Okay, that took like a day and a half to do every single one of these pieces. And now I need to seal every single one of these pieces.
Speaker A
You know, I've said in a previous video that when you have multiple items, but then you have multiple tasks for those items, things start to compound and multiply really fast. For instance, if the processes are I have to cut, then sand, then seal, then glue.
Speaker A
If you multiply that by 1 trillion, I think the most accurate answer is a lot of days. And that's with Bridget's help, at least on this part. You may be asking, why am I even sealing these? And that's because if I don't, some of the future things that I'll be doing will turn this into a bubbly mess.
Speaker A
And that's not very hypnotizing, now is it?
Speaker A
All right, let's see if they cured. Ooh, yes they did. Oh, and they're coming right off. Perfect.
Speaker A
So, I just saved myself some paint and I went to put them in a bucket, but I realized that when I'm doing the mosaic, I want to be able to see what next piece I want. And so, they're already laid out perfectly. I can see the sizes and the shapes, the colors, everything. I should leave them alone.
Speaker A
As an artist, I've learned for the most part I shouldn't just throw things at the wall and see what sticks. So, I'm running another test to see what it looks like if I mix the colors versus keep them separated.
Speaker A
All right. So, this one is where the colors are mixed. And then over here is where I did some color separation. So, I thought about it for a while and I even did another section over here where they're mixed colors.
Speaker A
And I just feel like there's something lackluster about this. The separation in color just makes it feel exciting. So, I'm going to do that.
Speaker A
There are certain times and places for more mature and less expressive furniture. But once in a while, I like to throw that maturity subtly out of the window because who needs it anyways?
Speaker A
It's just me, my hands on my tiny wood, and some questionable decision-making. After all, folks, this is when creative innovation happens. And I, for one, am going to lean into it.
Speaker A
For a tabletop, I can already tell this thing is going to look amazing. So far, it's exceeding my expectations, but let's see what Live Corey thinks.
Speaker A
Okay. Wow, that's actually looking really good. The black and the mahogany is just, oh, it's so nice. I've basically phased out all of the WG. Now, I'm just working on the mahogany going around. Then that'll phase into something else.
Speaker A
I am getting a little worried though that I didn't make enough pieces. And I'm really enjoying this part. I don't want to have to stop and make more.
Speaker A
All right, I'm phasing out the mahogany and phasing in leopard wood. Yep, this is the surprise species that I added and you didn't even know. Oh, it's so cool.
Speaker A
You can see there's a different grain pattern depending on what angle it was cut. Pretty cool, huh? Now I'm phasing out the leopard wood and phasing in the marado.
Speaker A
When I'm saying phasing in, it just means that I'm adding those new pieces in gradually as I phase the other pieces out gradually. That way, there's not a hard line of color change.
Speaker A
Now, I'm phasing out the marado and phasing in the walnut. This is what I have the most of and the biggest pieces of, so it'll fill up the rest of the space.
Speaker A
I learned the trick is to add small pieces to accentuate certain parts. I just think that it makes the design look more intentional rather than randomized.
Speaker A
It's weird that even though it is random, you can show that there was thought and intention behind it. So, you know what I just realized though is I forgot to cover where the mounting holes are going to be with large blocks.
Speaker A
And I don't know if you can see that, but down there is the hole. So, I'm gonna have to go back through and correct those spots over here and over here.
Speaker A
The holes I'm talking about, I drilled out of the template earlier. And if I don't cover them in large blocks, you would be able to see the mounting screws later, which would really kill the vibe.
Speaker A
Well, that was quite the lightning show last night, but today I'm excited to get this finally finished. Quite the lightning show, I feel like, is an understatement. That thing was insane.
Speaker A
And usually all of the nature scenes in my videos are filmed by me, but my lazy butt was still in bed, so Bridget got up late in the night to get that shot. Last piece.
Speaker A
Okay, so first of all, what? This thing is amazing. It's exactly what I was going for. And second...
Speaker A
It's already cured. Pause again. It might seem like it's a good thing that it's cured, but let's just say that the smile on my face is to hide a big frowny face. It's cracked right here. It's weird. There's like bubbles running across on the bottom. Super
Speaker A
weird. Yep. I shouldn't have covered it. I wasn't expecting to demold today. [laughter] You know, I was going to laugh because I put subscribe underneath the epoxy, but it's not even funny anymore.
Speaker A
Unfortunately, there's just so many areas where the bubbles are crawling all the way up.
Speaker A
Well, [sighs and gasps] as much as I hate to say it, the answer is I have to remake it. And can you guess what I had to do next? Well, besides the obvious fact of having to redo everything,
Speaker A
I also got to cry myself to sleep on those many nights. But don't worry, I learned something from this. My pillow can soak up a lot of tears.
Speaker A
All right. So, I have the tabletop curing hopefully this time, and I need to make the complex bent lamination base. For that, I had to make a rather sophisticated bending form. With a spiral, there's really no good way of breaking up this form where we can clamp it all together
Speaker A
without having to feed the veneers in like this. And by that point, at a larger scale, they start breaking, things start happening, you have glue everywhere, and it just doesn't seem to work. You also can't really feed them in from the end because getting them to go all the way around
Speaker A
to the very end is basically impossible. So the solution I found would have been like really hard to make it out of wood. Extremely hard especially because all of these joint together. So instead I 3D printed everything on my Bamboo Lab H series machines because they have a large bed and they
Speaker A
are very quick. So I engineered the inside run to just dovetail together. Then I can just insert the start of my veneers. The outside then tilts and locks in and can be clamped together. This oddlooking section just makes sure that the form can open up so I can get the veneers in first.
Speaker A
Then everything can be clamped back into place. After that, there has to be braces so that this whole thing can't move and deform. So these have to go in and then we can just continue the process as we go. Since there are so many pieces, I had to keep track of them some way. So,
Speaker A
I numbered or lettered them and I could deboss the text right inside Bamboo Studio. And Bamboo Lab is the sponsor of today's video, which allows me to do crazy things like this. I've had my H2D and H2S for a while now. They both have really good sealed enclosures with large print volumes,
Speaker A
of course, AMS capabilities, and even laser or cutter attachments. But here's the differences that I like. The two nozzles on the H2D make it much faster to print multicolors or support material along with your main material. And it supports a larger 40watt laser
Speaker A
that can handle faster and thicker cutting. But the H2S has some different benefits. It has less cost and it's been simplified down to one nozzle, which gives you more access to the printing bed because then there's not left and right nozzle zones to consider. So,
Speaker A
I can just pack this thing full of large prints. And trust me, I do frequently. The thing I'll be relying most on this project is consistency between each part and the ultimate clamping strength they can take. I really can't have any failures at this point, and I can trust my Bamboo
Speaker A
Lab machines to do that. So, if you feel it in your gut that it's time to make more possible, I'll put links in the description, and using those will just let them know who inspired you.
Speaker A
So now I just need to take these boards that are the correct width, flip them on the edge, and res-saw them into veneers. Basically, to simplify it, thick wood is really hard to bend without extreme heat and pressure. So it'll usually just break. But if we cut this thick
Speaker A
wood into thinner strips called veneers, then each one of those can bend independently from one another. I mean, it barely even has to be sanded at this point. That's crazy. So, yes, I'm about to spend a lot of time cutting a lot of strips just to glue them back into the
Speaker A
boards that they once were, except curved this time because I built straight things once and that man was so yesterday. Here's the crazy difference between the freshly cut and the freshly jointed piece. They almost look exactly the same. That's how smooth that blade cuts. It's
Speaker A
just like miraculous. That's what a carbide tipped res-aw king blade will do. Apparently, I've never really stopped to take a look, but I'm surprised. I just need the cut to be straight so I don't get a bunch of drift. Well, at this point, I'm basically splitting hairs,
Speaker A
so let's see how this goes. And I would just love to give you shop sounds right now, but they're not super nice right now. That'll come later. Oh, it popped through. That's why I'm not using my hand.
Speaker A
I was really hoping to get that last veneer, but it's a lot better than cutting these.
Speaker A
I did however get seven veneers out of that one board, which is impressive. I was in fact finally able to split a hair, though. It was incredible.
Speaker A
Oh yeah, baby. But unfortunately, it's not all rainbows and butterflies. That's the moon tonight. You can see the glow of the fires at night. We're actually starting to get evacuation stuff together. Unfortunately, in a shop full of heavy machinery, it's hard to figure out
Speaker A
what to take. But I found two things that are very important to me. This has taken me more work than probably anything in my entire life. More work than that wedding arch. But we are gonna try to take that as well because it would be a shame to lose this thing right before our wedding.
Speaker A
[snorts] So, I spent a whole evening cutting out something like 22 veneers, and they're not even long enough. Amidst the pressure of the fire approaching, I can't let that get to my creative side. So, I finally invented a way to stretch a board. And it requires cutting the most shallow
Speaker A
scarf joint you've probably ever seen. I also have double-sided tape here. If I had to guess, this is probably less than one degree of an angle. That's a sharp taper. Yep, that worked really well. I just got to run a little bit slower towards the end and I think we'll be fine. So,
Speaker A
this is really clever because now it's repeatable and I can join two veneers together to make one.
Speaker A
I've actually done this exact joint before, but I had to do it with a hand plane. So, it is possible to do it by hand, but the repeatability is questionable.
Speaker A
So, it's next day and I um in that. So, I took a small chunk out of my thumb. Did you see the look on my face? This one with mild annoyance. As it turns out, I originally didn't spend all my luck
Speaker A
in one place, but we'll just leave it at that. Here's some old Jara veneers I've been saving.
Speaker A
You can see that some of these already have those joints in them. And I probably did these with a hand plane. See, I wasn't lying about the hand plane. These veneers were intended for a baby grand piano build I was doing a long time ago. And hey, now you know where I got all my clamps.
Speaker A
This is a tone wood, by the way. I mean, look at that Frankenstein veneer I made. The inside veneers won't really matter, but this Marado is going to make a gorgeous outside shell.
Speaker A
And voila, like magic, they're ready to go. Well, unfortunately, it never ends. Hubbups. Yeah. Anyways, I counted all of the long strips that I have. I only have 20, which means I need more. I have these veneers though, which were also supposed
Speaker A
to be for baby grand piano. And it's maple with the grain running this way. Actually, I'll show you a quick snippet of how I'm joining these only cuz it's different.
Speaker A
Since the grain is running across the width, I can just joint a nice edge and combine them together.
Speaker A
You would think that this wouldn't be very strong being that it's such a tiny joint, but it really is. But now the next challenging part is running these extremely long 12T veneers through a drum sander. Even with this roller conveyor thing that I have and an extremely
Speaker A
long table, it's basically impossible to support them all the way through. So, it actually gets much more complicated from here. These aren't staying rectangular.
Speaker A
They have to taper this way. And also in thickness, they need to taper from thick to basically nothing on the other end. That is one long track. So I have one side flushed up.
Speaker A
All right. Wish me luck. I was about about to already cut into that. All right, wish me luck. Take two.
Speaker A
I obviously can't keep moving the saw unless I remove clamps. But if I keep removing clamps, then the track could slide. So, I do have to put them back. But the happy accident here is the clamps that I add support the cut offs so they don't break.
Speaker A
The other side has to be done too. So I got this really cool time lapse of it in 3 2 1.
Speaker A
It's hard to see on camera, but it tapers from 5 in to 2 in. So, quite a bit. Wow. I'm super relieved because ruining these would have ruined so much time spent into all the veneers. It would have been ridiculous. Now, I have a really long board that I need to make a jig with so
Speaker A
that I can taper these along the thickness. And honestly, with this precision, the only solution is using my Bamboo Lab machines. If you think the last taper job I did was sharp, this is 0.015°, which is nuts. And that taper has to remain perfectly constant throughout that entire
Speaker A
board. No, no, I got it. No, you you don't need the help. That's really sweet of you, offering. But now that that taper is cut into this board, I can do another cool trick that I thought of 8 years ago. Using dry spray adhesive as a
Speaker A
non-slip surface so nothing moves. Oh, wow. I pushed those to their limits, didn't I?
Speaker A
This is really cool, actually. Now, if I send those veneers through on my jig that I made, it'll taper them from this thick down to this thin.
Speaker A
And since I let the spray adhesive dry before I put it on, it just comes right off and I can start the next one. I am without a doubt though checking every single one with calipers because if that measurement is wrong, added together over 27 different veneers, the compounding
Speaker A
error would just be dramatic and it would not be the correct thickness and not fit in the form.
Speaker A
Thank buds. It's raining. It's raining hard, huh? But man, that taper is perfect. And guess what that rain means? No more fire. Thankfully, now I can gleefully test things to see if it's all going to work.
Speaker A
Okay, so it did go. It's showtime now. I actually debated not even testing it and just going full send, but there's just way, way too much time in all of this for me to just full send and have everything blow up in my face cuz that's happened before. No, I mean literally.
Speaker A
They're not all winners. Perfect. Oh yeah. Oh yeah, baby. Oh yeah. We going now, everyone.
Speaker A
Oh man, it's working exactly like I wanted it to. Warning, if you're sensitive to a man being overly satisfied, I would skip this. Oh yeah. Oh yeah. It's so perfect. Yes, it's working flawlessly. Like exactly like I would have hoped. If you remember,
Speaker A
I also tested the strength so that I wouldn't have issues when I was clamping these. And I think that's really starting to pay off now. Dang, I need more clamps. No way.
Speaker A
Impossible. This thing is huge. [laughter] But there's one hiccup. I don't know if the veneers are quite long enough. So, I'm going to add some in for now, just in case.
Speaker A
Okay, there she is. Are you being hypnotized yet? Walking in. That thing is just a beast. And this top cured correctly this time, so I don't have to cry myself to sleep. And we can flatten it.
Speaker A
Is it on there forever? Almost forgot to mark those holes. Well, I guess I'm going to have to resort to plan B.
Speaker A
I feel like the solution in my shop is always either 3D print it or throw that sucker on the jointer.
Speaker A
It's snowing. This just so happened to be a few millimeters wider than the cutting capacity. So, I just have to hand plane that off. Then throw that sucker through the joiner again.
Speaker A
So, here's plan B 2 to take care of that form that's stuck on. Yep, I just threw that sucker through the planer.
Speaker A
Wow, that's so cool. With all of them flushed up, I'm getting excited. [screaming] I wasn't proactive enough to make a template for the final ellipse, so you know. Oh, yeah.
Speaker A
I can already tell that's going to be so cool. That's when those sensor covers come in handy.
Speaker A
It's really nice seeing this top finally come together, but there's still a lot of work to do to get this thing looking insane. See how nicely those holes hit those wood pieces?
Speaker A
The thing that's going to push this entire piece over the top is an astounding high gloss finish. And I've done quite a few of these over the years, and they're definitely worth the effort. And even though this is pretty cool, it's not cool enough for high gloss. I don't
Speaker A
really recommend sharp corners, so I usually round those over a bit. And now we can begin.
Speaker A
This is the moment where everything starts to clear up and look like glass. And I don't know why I'm whispering, but it's just so nice.
Speaker A
She's looking nice. Right now, we have a coyote problem and little Toby Bubs is always at risk and they're mean. So, he's very sad that he needs to be inside today. The bottom side is cured and I used two coats of Super Clear's art resin. It just flows a little bit better in my opinion.
Speaker A
Now it's just time for the top. No pressure. If I get to it at just the right interval of curing, I can fill any holes that might appear.
Speaker A
Man, that is never going to get old. So beautiful. Um, did someone order like 500 clamps and a really heavy spiral? You betcha. You know what? I really wish I had a shop gantry crane. That would be so
Speaker A
nice. Got some clamp pads stuck. Now the question is, will this whole thing come apart? Oh man.
Speaker A
Wow. Is it just going to come apart? I You know, that's not allowed in this shop. It can't just come apart.
Speaker A
There we go. [laughter] Did it work? I can't tell. I put a level across just to see if when I cut this, it'll cut across that joint.
Speaker A
Guess what? The joint is exactly where I need to cut. I got so lucky. Well, that's not right.
Speaker A
Instead of doing some type of edge banding, I'm going to let the veneer color variations speak for themselves. So, I'm cutting a nice convex edge profile that will help accentuate things rather than cover them up. And I'm using a cutsall disc that you've probably
Speaker A
never seen me use before because it's way less likely to tear out this fragile grain. That looks so cool. And from time to time, I like to write you love notes.
Speaker A
It's going to be a late work day, but it sure is beautiful. I cannot believe that there's 27 veneers in that small space. Take that, Baltic birch plywood. I win. [snorts] Look at the compression of those veneers. That form worked perfectly. There's no
Speaker A
gaps whatsoever. This is where I shut up and let you enjoy some nice shop sounds.
Speaker A
Now, those are some shavings worth showering in. Forming an edge profile by hand takes some finessing. It takes practice, takes patience, but just like doing high gloss, it is so worth it. It's also kind of the gateway drug into sculptural
Speaker A
furniture. Once you see what's possible, it's hard to go back and you start thinking about things much differently. I actually started a mentorship program where you can sign up and have one-on-one sessions with me to learn something called the fortress formula that I developed. and
Speaker A
my sign up already came and went, but if this is something that you want access to in the future, leave a comment. Are you being hypnotized yet? So, I'm going to attempt to put this thing through the jointer. And I say attempt because, well, I think that should be obvious. And if it's less obvious
Speaker A
because you're not a woodworker, usually you don't put things like this through the jointer.
Speaker A
But in this unique case, it really is the best tool to create a flat facet on one side. Didn't I say earlier that I either 3D print it or throw it through the joiner? It's always a solution and everything stands perfectly upright. Okay, so for this lower base that everything attaches to,
Speaker A
I just glued up some boards of popppler and then cut the oval out on the CNC as well as this really nice flowing top arc. And I used popppler so that I could just veneer this with that beautiful Mado. That way it matches the spiral. I need to get rid of these ridges first.
Speaker A
If I was lazy during this part and I didn't make sure it was flat, then there would be sections where the veneer would not adhere properly and it would most likely bubble up or break off in the future. So this veneer will go around these wide curves easy. Once it gets to this,
Speaker A
that is just too much for it. So I have a special tool for that. It's something called a hot pipe. And no, that's not an innuendo. It's a slang term for a luier bending iron.
Speaker A
I actually made this hot pipe between 8 and 10 years ago when I was building more instruments.
Speaker A
That was before my YouTube era, so I wish I had video of it, but I don't. This was primarily used to bend the guitar sides for acoustic guitars. But what it's doing is really cool. It's superheating the water in the wood, which is creating steam, loosening up those fibers, and creating a
Speaker A
permanent curve in the wood. This is different than bent lamination because in that form, you have to make sure the veneers are thin enough to do the curve without breaking or do some sort of steam bending prior to the bent lamination. But doing it this way is really helpful because I
Speaker A
can just whip out my hot pipe, do a few quick moves, and I am on my way. No fuss, no mus.
Speaker A
And this way I can keep the veneers nice and thick so I can sand as much as I need to later. Then for protection I'm going to wrap it in a rubber strap of course just so everything is tight as tight can be. All right, there she is.
Speaker A
Now I'm using the cutest little hand plane. It's called a finger plane, and I modified it with a curved bottom because that's when I was carving my violin soundboard. Just thinking about it now, this project really has brought out a lot
Speaker A
of the old tools that I used to use, as well as techniques that made me fall in love with woodworking in the first place. And by the way, I do go into much greater detail on a lot of these
Speaker A
techniques in my Patreon if you happen to want to join. No pressure. I just want to let you know that that information is somewhere. Instead of a vacuum bag, I'm using a clamping form for this. If it were any more complex, I probably would have just done the vacuum bag. Now,
Speaker A
I'm anxious to get this thing fitted to the spiral. Everything's upside down right now, but if I level the lower base, which is actually the upper piece, then I can mark that out and make that cut. I wish it was as easy as this, but I'm definitely going to have to refine
Speaker A
this for a while. The better this one joint is, the more stable the whole table will be.
Speaker A
What? But now she fits like a glove and level both ways. Watch this. Since the veneers are thick enough, I can actually round over the corners. And to take care of the light strip on the bottom, I rounded that over too,
Speaker A
which made it disappear. An important aspect of making high-end furniture is the assembly. This trapezoid pattern of holes ensures that it can't be put on backwards. And in the rare event that the furniture gets damaged, it can be taken apart to be repaired.
Speaker A
Wow, that bit is so dull. Of course, none of these holes are going to be visible when the piece is standing upright, especially with how much work it took me to make sure they were hidden.
Speaker A
All right, she stands and you're not allowed to see it yet. And she's really stable, which I was worried about that because this is basically a giant spring. Let's get this thing finished.
Speaker A
And by finished, I mean like the actual finishing step this time. You don't see this often, but I'm using a solvent urethane. And that's just because the Mado looks so good under it.
Speaker A
And this is why I finished the top side last because any of the drips are on the bottom side, which means I can flat sand them and buff it right out. And buffing I did for a long time.
Speaker A
One last final touch I like to add is Carbon Methods ceramic coating. It'll improve the luster of this Morado even more and it can be used on both of my satin and high gloss surfaces.
Speaker A
And with all of the final details finished, thank you for taking the time out of your day to watch my videos. There will be a link below if you happen to want to purchase this piece.
Speaker A
[music] [music] Heat. Heat. Heat. Heat. [music]
Topics:woodworkinghypnotizing tablemosaic woodworkingwood sculpture3D printing woodworking toolswalnut woodmahoganyleopard woodhigh gloss finishcreative woodworking techniques
