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27d ago
inMy jig shelf went from 14 jigs to 4 in 6 months and my cuts got straighter
Ten jigs from one drift is wild, but it makes total sense once you say it out loud. My question is what actually tipped you off to the drift in the first place, was it a test cut that kept coming out off, or did you finally just measure the fence against the miter slot with a dial gauge? And now that you're down to 4, which ones survived the purge and what job does each of them actually do that a plain fence setup can't? Curious because I've got a shelf of shame I keep telling myself I'll use someday.
27d ago
inHit 500 picks without a single near miss and it kinda spooked me
The line about "most accidents happen on the boring ones" is real. I did the same thing for crane picks a few years back and the near misses always came on day 200-something when I got lazy on a lift I'd done a hundred times. You stop treating the easy stuff like it matters and that's when your hand slips. Keeping a tally sounds weird until you realize it's just a way to stay sharp. 500 clean is not luck, that's you actually paying attention.
28d ago
inGot torn apart for using only bright colors in my portfolio, now I can't decide which way is right
Losing the bold colors sounds like a mistake to me. That professor gave you one opinion in one class, and now you flipped a quarter of your whole portfolio over it, which feels like letting someone else drive your car. Maya has a point that a loud color story can be your signature, and a signature is worth more than proving you can do gray. Mixing it up to show range just makes you look like every other student who got the same lecture about earthy tones. Range is overrated if it costs you the thing that made people stop and look at your work in the first place. Keep the neon and blue stuff, and if you want to try muted colors, do it in new pieces instead of tearing apart the ones that were already you.