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By checking my blog I discovered that I hadn't made entries about the small barn that I am building at our summerhouse since late March.
That doesn't mean that I haven't been working on it., but rather that I have been too lazy to blog about it while at home.
In the early part of summer I started painting the barn, but the weather wasn't very cooperative, so basically I only got as far as to do the south gable and the underside of the roof on that gable plus a bit on the west side as well.
I also made a door and installed it. I never got around to install boards around the door though, but I can do that later since they are mainly decorative.
Last time while at home I sawed some more floor boards and sent them through the planer a couple of times, so they were the same thickness as the floor boards on the ground floor. (1.75"). Those boards were all installed on top of the beams to form an attic.
I used the same method as last time, with a handheld router making a groove in both boards, and then assembling them with a loose spline.
After completing the floor, the last two windows were installed in the gables. Then I insulated the entire structure with 6" of rockwool. I know that a lot of people dislike insulating, but I actually enjoy it. It is very quiet, and there are quick results to be seen.
I think that the mineral wool of today is less dusty compared to what it used to be, so it doesn't bother me to do that job.
A funny thing to notice is how the sound changes when the walls are only bare insulation. It becomes very "dead".
I had purchased 882 board feet of 1" thick T&G boards that was going to be installed inside the barn, they were delivered to the site and I was just getting ready to start installing them - when the crewing coordinator of the company called me on the phone and asked if I had seen my email.
I hadn't at that time, and told her that I had checked in the morning, and there was nothing from her.
She paused and said: No, I mean the one that I sent you an hour ago. I again told her that I hadn't checked, but since she was calling she might as well tell me what it was about.
Oh, you are signing on tomorrow, and it was just the flight details, letter of guarantee etc.
NO WAY, am I going on board tomorrow! You sent me an email like three weeks ago, and in that email you stated that I should expect to sign on around the 19th of September (this was on Monday the 11th).
Let me see she said, and I could hear her tapping her keyboard and finding the old email. Dead silence for a couple of seconds. Oh yes, I can see that. But that was a mistake. So you are still going out tomorrow!
I tried to explain that I was not impressed with the level of planning, She started explaining that the agent in Guinea had been advised about my coming, and a helicopter trip had been arranged too etc. I then managed to ask in a polite way if I at least had an afternoon flight from Denmark. But nope - My plane was scheduled to leave from Aalborg at 06:00, t
So I had 15 hours left.
I told her that if that was the case, I didn't have any time left for chit chatting, and hung up.
I took a quick look around and started shifting all the boards into the barn so they would be protected from the weather. Cleared up the place and drove home with the surplus of insulation. Emptied the trailer for insulation and stacked it in the large barn at home. Emptied the car for tools, cleared up the mess at home (which I usually do quietly and calmly the last couple of days before leaving).
Ate some supper and packed my bags with the small toolchest and arranged for a taxi to pick me up in the middle of the night. I was still not impressed, but things such as these are the downside of being a seaman.
BUT now I am soon on my way home, and I hope to be able to install all those boards so the interior of the barn will be completed.
I have considered painting the interior white, I guess it will never be easier than when the structure is empty, plus I think that it will look good.
Another project that I have been looking forward to in a long time is to make a staircase for getting up to the attic of the barn.
I guess that a lot of people have a hard time understanding that you can look forward to such a project, but I hope that those reading this post will understand that feeling.
My plan is to make a fairly simple staircase. It will also be rather steep because I don't want it to take up too much room inside. A staircase to me represents one of those projects that are just in the borderland between carpentry and joinery. Large dimensions of stock and still the joints have to be laid out and executed with a lot of care. Yup, that is definitely going to be a rewarding project.
Depending on if the weather will be nice, which it probably won't, I could also continue with some painting outside, and perhaps mount the framing boards around the door and the window in the gables. I could also do the electrical wiring so the inside will be completed, but let's see how it all goes.
Editor’s note: Aside from my family, my three deepest passions in life are woodworking, food and music. Almost every night I cook a meal while listening to music and surrounded by the things I’ve built. I have deep-seated philosophies about kitchens and kitchen tools that parallel my writings on shops, tools and workbenches. So after talking to Nancy Hiller about her approach to kitchens and cabinets, I knew we had to do a book together on this topic.
It will be a book that seeks to overturn the decades of “rip it out” advice you get from television, magazines, books and the Internet. It will be a be a book for people who would rather build than buy. And who want their kitchen to be in harmony with their house, their families and their lives. And so let me turn things over to Nancy.
— Christopher Schwarz
Kitchen cabinets are the poor step-sister of the furniture making world. You know – the homely one with a sixth-grade education who processes fish for a living and always seems to have that smell.
“He builds cabinets,” sniffed one of my woodworking friends a few years back, referring to an acquaintance. The statement was nowhere near as straightforward as those three simple words might suggest. He spoke with a pained expression, lowering his voice to a near-whisper when he got to “cabinets.” Clearly this was some kind of shameful secret; building cabinets made the acquaintance…well, you know, not a real woodworker. He might as well have been telling me the guy’d been caught in flagrante with a blow-up doll.
“Why would I want to build plywood boxes when I could be building 18th-century highboys?” remarked another woodworking friend. The question was rhetorical, more a way of announcing that he’d broken into the East Coast market for period Americana and so escaped the obscurity of the rural workshop where he’d spent years building cabinets, millwork and furniture for the local market.
You get the picture. Among woodworkers, kitchen cabinets are the Zero Bar to the highboys’ Lindt truffle: a species of work beneath those with refined taste and higher skills.
Most woodworkers who build cabinets do so for the same reason as our furniture-making forebears built coffins in addition to tables and chairs: because they offer a source of income that helps even out the road between freestanding furniture commissions. It’s easy to look down on built-ins when your livelihood doesn’t depend on woodworking, or when you are:
• Your woodworking venture is subsidized by a spouse’s income
• You’ve tapped into a rich vein of market popularity
Not everyone is so fortunate.
How did the lowly kitchen cabinet become a friend to many who trained as furniture makers, imagining we’d spend our days hand cutting dovetails and French polishing meticulously inlaid cutlery canteens? The answer has as much to do with publishing, advertising and banking as with wood and tools. Ultimately it boils down to the commodification of the home.
We’re talking real estate. Home ownership today is light years away from that of 200, 100 or even 70 years ago, when the people who owned what’s now my acre of semi-rural land cut down some trees, dug up some rocks and built themselves a simple board-and-batten-sided cabin worthy of Snuffy Smith. Today a massive industry surrounds home ownership, from Realtors (yes, that term is trademarked and officially requires an upper-case “R”) and appraisers to title companies, banks and building inspectors. There has been a serious shift during the past century in how many of us think of our homes: They no longer simply represent shelter and a central base for family, but are the largest financial investment most of us will ever make – one that, with luck, may increase our wealth at a rate that leaves inflation panting breathlessly in the dust.
As with any investment, we’re urged to put ourselves in the hands of expert advisers. And there’s an army of them out there. Take the wildly popular hosts of home improvement shows on HGTV (please, take them) – that cast of smiling, perfectly groomed characters eager to instruct you in the magical art of transforming a hovel into an “urban oasis” or liberating yourself from the corporate rat race by hitching a ride on the house-flipping bandwagon. Take the legions of salespeople at home stores across the nation, who will gladly guide you through one cabinet display after another until you’re dizzy from over-exposure to CNC-routed fretwork, dedicated mixer cabinets with lift-up stands and decorative wine racks. Take the web-based magazines with their daily examples of designer ideas to “steal” and big-name-brand “hacks.” Or that modern means to keep yourself forever in debt, the home equity loan, advertisements for which have long encouraged us to treat our houses as ATMs.
To be a contemporary homeowner is to feel an almost moral obligation to spend money on your house. Never mind how your friends may judge your taste on seeing you still have that Laura Ashley “Dandelion” wallpaper from circa 1983; there’s a sense that if you’re not religiously “updating,” you may be losing financial ground.
One result of this topsy-turvy mindset is that customers are generally more willing to shell out tens of thousands of dollars on something they believe will increase the value of their house than on a piece of freestanding furniture. Built-in cabinets even fall into a different category in the world of sales tax: They are “improvements to real estate.” People rationalize them as an investment. That artisan-made dining table? Arguably a frivolous buy in comparison.
Of course, you can only get the value of a kitchen remodel out of a house so many times. Property values in most regions don’t increase at anything like the rate that would be necessary to cover the tens (sometimes hundreds) of thousands spent on kitchens. And then there’s the troublesome fact that new cabinets installed as part of a kitchen update undertaken to help sell a house are routinely ripped out by the new homeowners, only to be replaced by something more in line with their own taste. Never mind the so-called “green design” professional who encourages you to tear out your laminate counters and replace them with a “sustainable” composite incorporating recycled glass. The preoccupation with updating results in a mind-boggling amount of waste. These are real-world caveats that some of us point out to prospective clients as we urge them to think about what they really want and need, as distinct from what other experts (and friends, and relatives) are telling them they should want. Despite being urged repeatedly by contractors to blow out the walls of their 1910s kitchens per the dictates of “open concept” design, I have found clients almost giddy with relief at encountering a professional who appreciates the value of rooms.
That said, I understand the desire for a change of scene, a shift in tone. There are ways to rework your kitchen without spending a fortune or increasing the elevation of your local landfill. The first requirement is simply to think. In this process, context is your friend. I’m talking about context broadly understood: where you are in life; what resources you have access to in terms of money, unusual materials or time; the architectural style of your home; and so forth. For the past 20 years I have made my living largely by working with clients to respond creatively to a variety of realities many designers and cabinetmakers consider limitations. The book I’m writing for Lost Art Press will be full of these and other ways to approach kitchen design, build cabinets and devise creative solutions to problems.
— Nancy Hiller, the author of “Making Things Work.”
Filed under: Uncategorized
There’s a quick tutorial on laying out a traditional pommel on a seat with a French curve and only two points. Check it out on the Crucible Tool site here.
— Christopher Schwarz
Filed under: Crucible Tool, Uncategorized
Megan Fitzpatrick and Brendan Gaffney will each teach a weekend class in April at our storefront in Covington, Ky. Registration will open at noon on Friday, Oct. 20.
Just like with the Welsh stick chair class with Chris Williams, these will be small classes with only six attendees. Also, these are not money-making enterprises for me or Lost Art Press. All proceeds go directly to the instructor.
I’m allowing them to use the space for free because they are my friends, I think they each have something valuable to teach and the classes build the local woodworking community in Covington. Here are the details.
Build a Shaker Silverware Tray with Megan Fitzpatrick
April 7-8, 2018
Cost: $250, plus a small materials fee for wood & cut brads (likely around $30)
Make a classic Shaker silverware tray in this introduction to hand-cut dovetails. In this two-day class, you’ll learn:
- Dovetail layout using dividers
- How to use a backsaw to saw to a line
- How to wield a coping or fret saw
- How to pare and chop to a line with a chisel
- Several strategies for transferring the tails to the pin board
- Techniques for fitting the joint
- Why dovetails work – and we’ll look at some examples of long-lasting period dovetails that look as if they were gnawed out by a beaver – “perfection” is overrated when it comes to the efficacy of this joint. (That said, you’ll also learn some “tricks” for fixing less-than-stellar dovetails.)
- How to lay out then cut and fair the handles (both the hand holds and the curved top edge)
- How to smooth-plane your surfaces
- How to use cut nails (to install cleats for the bottom board)
- And of course, how to put it all together (and why I recommend liquid hide glue).
Build the Cabinetmaker’s Sector with Brendan Gaffney
April 21-22, 2018
Cost: $300, which includes all raw materials
In this two-day class, students will build their own Cabinetmaker’s Sector, my modernized design for the ancient geometer’s tool, used for drawing, drafting and (in my shop) the layout of dimensions and joinery on woodwork. The class will revolve around the skills of modern hand-tool makers, including careful marking and measuring, mixing metal and wood, hand shaping, finishing and (of course) how to use the tool.
Each student will be provided the wood and the necessary brass hinges and pins, everything needed to produce the sector. The first day will revolve around affixing the brass and wooden tabs into the tools, riveting the leaves together, flattening and lapping the tools and reviewing the principles behind the geometry of the sector. The second day will revolve around shaping the sectors, stamping and inking the sector marks, finishing the sectors and learning to use them in the shop. Every student will leave with a completed sector, plus the knowledge of how it works and how to use it.
Filed under: Lost Art Press Storefront, Uncategorized
Yes it’s fine to think inside the box for a change, especially when there’s no need to think at all! At least not if your goal is to divide the box into any number of divisions. Thanks to the geometry of diagonal lines that occur inherently within a square, you need only a straightedge to reveal these fractions. This truth/tool allows you to lay out the baffles that will keep the bottles of spirits from rattling or worse. Of course there are easier ways to come up with these fractions (the sector springs to mind), but this is still a great way to construct by hand and observe by eye these geometric patterns as they spring to life.
See if you can follow the steps below which I’ve sketched on a sheet of graph paper. Why don’t you grab some paper and follow along too? Bet your kid can (and would like to) help you out! Get out a pair of dividers so you can confirm that the intersections do indeed produce perfectly spaced segments along a line.
Now isolate the first square…
…and continue by drawing a pair of diagonal lines as shown in green in the next sketch:
Next draw a horizontal line through the points that have been given to you where the (green) diagonals cross the first set. If you set your dividers to the intersections along this new horizontal line, you’ll find there are exactly/precisely/perfectly three equal-length segments. Now let’s draw another set of diagonals and connect their intersections with the original diagonals with a horizontal line:
As your dividers will reveal to you, that line is now automagically broken into four equal segments. Let’s continue the process with two more sets of lines (I really do highly recommend that you stop right now and grab a sheet of graph paper and watch this happen in real time through your own hands and eyes).
You’ll discover the red lines produces fifth segments while the yellow produce sevenths along their horizontals. Add another set (in blue here) of diagonals and horizontal and you come up with ninths:
Keep going if you like:
You’ll get ninths, elevenths and thirteenths – and on to infinity I suppose. What if you want an even number of divisions along a horizontal line, say tenths along the line of fifths? Well they are there waiting for you to discover with your dividers!
— Jim Tolpin, one of the co-authors of “From Truths to Tools“
Filed under: From Truths to Tools
Many of you know or have discovered that I have a passion for blue painter’s tape. I think blue tape rules in the woodshop. Here’s a bit of history.
In the 1920s Minnesota Mining and Manufacturing (known today as 3M) hired Richard Drew to travel around promoting the company products to automobile shops. The product he was pushing was sandpaper. Drew noticed that many of the shops struggled with different tapes. The sticky tapes of the day would not hold enough or would hold so much that paint was removed when the tape was peeled off the cars.
Ian from Japan sent me these pictures of some drawers which provided him with much needed additional storage in his workshop. Such a level of organisation and tidiness is only something I can aspire to!
The drawers were all dovetailed by hand, front and back. To give the maximum amount of drawer depth, the bottoms were screwed on from underneath rather than slid into a groove. Making the bottoms with plywood avoided any issues with wood movement.
|the lead off batter|
I checked the logo on the iron to try and date the plane. The logo on the iron matched up to the one for '1935 to the present'. But that is the iron and not necessarily indicative of the age of the block plane itself.
|the top right is low|
|after the 80 grit runway|
|I didn't see this until I had sanded the side|
|sharpened the bevel again|
|shiny brass to makes my day|
In the past I let it soak in Bar Keeps with some water for a while. This time I dumped some powder on a piece of paper and grabbed some water and a clean toothbrush. I dipped the toothbrush in the water to wet it, picked up some powder and scrubbed the knob. It seemed to work better and quicker than letting it soak which never seemed to self clean. With that method I still had to scrub the brass to clean it.
|box is almost done|
|put 3 coats here|
|didn't effect the fit of the lid|
|I think it looks better|
It will be hidden most of the time because of the lid being on but once you remove it, you'll see this.
|you can file these irons|
|the fit is a lot better|
|played with these a little too|
|the frog on the #6 I just got|
|nothing on the back of the lateral adjust|
|just STANLEY on the front|
|my lateral adjust|
My daughter was leaving today to go back to North Carolina but the plane had issues (leaking water into the cabin) so she came back here. She is supposed to leave tomorrow at the same time. I took this opportunity to stop working and go up upstairs to play with Miles before he took his nap.
What is the size of a standard pillow?
answer - 20 x26 inches
I was in the process of building another shelving unit for my wife’s new booth in Milford, Ohio. She originally asked me to build it four feet long. However, once I started to attach the shelves to the unit, she wasn’t too thrilled with the overall dimensions. I asked if she wanted it cut down to 36″ long instead of 48″, but she was afraid that it would be too much work. I assured her that I could cut it down without much problem.
I slapped the unit on top of my workbench and carefully measured where the rails were to be cut. I then grabbed my Festool plunge saw and rail system, clamped it to the lines and ran down the rail cutting as deep the blade would go.
I then flipped the unit off the bench and cut the two attached shelves in half.
After one side was free, I unscrewed the pocket holes and broke away the rails with a hammer. I then cleaned the side up with a random orbital sander.
I then flipped the other side of the unit back onto the bench and re-drilled the pocket holes to the shortened rails. For the two shelves that already had plywood nailed in place, I had to bust out the plywood with a hammer.
After about twenty minutes, the shelving unit came back together a foot shorter. I cut the remaining plywood to the new measurements and installed them using cleats on the inside of the rails.
Now it was time for the antique shutters to be screwed onto the sides.
After a coat of black paint, the shelving unit looks really nice in her new booth.
This afternoon, Luke and his partner, Sara, came up from Vermont to deliver the 200-year-old 1-1/4” thick wall sheathing. About half of the load was from this frame originally but Luke threw in a bunch more of the same vintage and region to fill out the rest of our sheathing needs. We hauled the boards into the frame and loosely organized them by length and width.
We have a whole pile of boards that are up to 20” in width and other piles in the 12”-14” range. They are between 7 and 12 feet in length and all the boards have sash saw mill marks and beautiful patina. These will be applied to the outside of the frame as the finished interior wall.
We’ll then cut window openings into the sheathing and build a 2 x 4 wall outside that to house the insulation. The exterior will be finished with new vertical 16” wide pine boards (with wide battens beneath the joints) so that the interior and exterior will look as if there was no insulation.
Mike and I are working our butts off to complete this “Tables” video before we dive into this sheathing. We are very close and hope to be tackling these boards next week.
|low angle 60 1/2|
|it has most of it's japanning|
|the inner parts of the plane look good too|
|the lid fits|
|lid flipped 180|
|how I got the fit|
|I could repeat it with the lid cocked on the opposite side|
|started with sanding|
|switched to the bullnose plane|
|planed the outside|
|see the dark line?|
|the LN 102 was too big|
|a light sanding and it was done|
|left the lid as is|
|I'm calling this done|
|the iron bevel isn't 25°|
|forgot to do the back first|
|the sole is pretty flat|
|this side looks to be flat|
Who became vice president after vice president Andrew Johnson became president when Lincoln was assassinated?
answer - no one
I came across David Thomas Brown’s coffee table build on Reddit last week and thought it was a great build. If you spot a build that has great photography and solid technique, send me an email! – David Lyell I remember the glory days of unlimited garage/driveway space and access to my dad’s tools that I had as a kid in Winston-Salem, North Carolina. Scrap wood in the backyard became […]
The post Rising Coffee Table Built in a 500 sq ft NYC Apartment appeared first on Popular Woodworking Magazine.
The following is a short excerpt from Making Things Work.
It was a spacious shop, well lit and outfitted with a tidy mix of old and new equipment. “I’m working on a dining table and chairs for a client in Miami,” [my host] told me. “Quite a famous bloke, actually. To tell the truth, he’s got such a big name that I’m not allowed to say it. Not that that’s anything out of the ordinary in my world. These days it’s rare for me to work for anyone who’s not routinely written up in Esquire or Vanity Fair, that sort of thing.”
“Which part of London are you from?” I asked, curious as to the origin of his accent.
Ignoring my question, he turned his head to the right, saying “Come an’ take a look at this table and chairs” as he strode toward his workbench. The dining set was inspired by the work of French Art Deco designer Emile-Jacques Ruhlmann. The table, made of rosewood, was stunning. A cross between Deco and neoclassical, it had an extending top that could seat an intimate foursome or expand to accommodate 10. It was waiting to be finished, as soon as the chairs were ready.
“Double tenons hidden in those miters around the seat,” he remarked. “Ever use those darlin’s? I’m telling you, they are quite the challenge to pull off. But what a sturdy bit of join’ry they are. Those chairs will last forever. On the other hand, so will everything I make. That’s one of the reasons my clients are willing to wait years for an opening in my schedule.”
“I took a look at your website,” he went on. “Nice enough work, but really….’Period-authentic furniture and built-ins?’ It’s all been done before, ‘ain’t it? You couldn’t pay me to do that type of guff for common punters. On the other ‘and, someone’s got to do it, so I daresay it might as well be you.”
Now that he’d established I didn’t even rank high enough to engage in a pissing match (not that I am ever inclined to take part in such b.s.) I thought he might answer my question. “Which part of London are you from?” I asked again.
You can read the scintillating remainder of this tale and learn the origin of my host’s accent in Making Things Work.
Filed under: Uncategorized
The long-awaited Anne of All Trades YouTube channel is finally here! Subscribe and learn right alongside Anne as she tackles all kinds of projects in the woodshop and around the farm. Check it out at https://www.youtube.com/user/allaboutanne18
Editor's Note: Jim and I have been discussing metal-bodied vs. wooden hand planes and agreed to have an open discussion on the matter here on the blog. Here's Jim's take.
One of the driving passions behind Mortise & Tenon Magazine is the exploration of efficient pre-industrial woodworking techniques in the hope that we can share that information with others. We realize that we sometimes sound like evangelists and we’re ok with that. We really are trying to share the good news of rough secondary surfaces and set people free from the law of machine tolerances. With that in mind I sometimes feel like a bit of a hypocrite when I admit that the planes I choose for my own personal work are direct result of the industrial revolution that we so often rail against.
That's right, I use metal bodied planes. Judge me accordingly.
The only wooden planes in my workshop are a couple of moulding and dado planes that find occasional use, but mostly live in the bottom cabinet of my tool chest. Oh, and one old fore plane that serves as decoration, you know, to make me feel authentic. The rest of the time, I'm a ductile iron kind of guy. I'm fairly ecumenically minded. I have nothing against wooden planes and I've tried out some of the very best, but for some reason I’ve never even been tempted to make the switch. Lately I’ve started to wonder, why?
I have to admit that I’ve always thought of wooden planes as fussy (Tap, tap, tap). They also have the reputation of being temperamental and susceptible to changes in the weather. Honestly I suspect that those issues are greatly exaggerated, but I can’t shake the feeling that wooden planes are like the creaky old men at the barbershop who predict the weather by the aches and pains of the day. To be fair, a wooden plane in good condition should take no more time to set up than their metal counterparts. The only real problems I’ve ever had were with the neglected and derelict wooden planes that sometimes float around antique shops. I bought a few of these when I started working with hand tools. In general, I should have left them for the interior decorators.
If you’re new to rust hunting it’s a lot easier to hit a homerun with a rusty old Stanley Bailey than your average Ohio Tools woody. To date, I’ve probably had a 60% success rate with antique wooden planes. That gets better as you learn what you’re looking for and your chances also go up if you live in certain parts of the country (or certain countries for that matter), but these days there are other options. With the current renaissance of plane making you can get yourself a fancy new wooden plane (or a whole set) and although you will likely pay exponentially more than you might for an antique store find, you will also be buying the peace of mind that they’re well tuned and ready for shavings.
That’s appealing to me... until I remember how much I paid for the handplanes I already own.
Besides, that’s the argument people make about new high-end metal planes isn’t it? The idea that you pay for the privilege of pulling a highly refined tool out of the box, sharp and ready to go to work? Hmmm... And metal planes take some fussing too. Blades get dull. Moisture wreaks its rusty havoc. You need to wipe them down and keep them oiled. It’s certainly easier to true the sole of a wooden plane than one cast in iron. Oh, and the weight!
Do I need to continue?
This is PC vs Mac. Canon vs Nikon. Ford vs Chevy. Duke vs that other team from North Carolina.
There will always be opinions and there are no perfect answers. I won’t argue that metal planes better than wooden planes. I can make all sorts of rationalizations, but use metal planes for the simplest reason of all - because I like them. They feel right to me. I understand their idiosyncrasies and yet I find them to be reliable and well-suited to the work I do. The heft and inertia of these post-industrial beasts work in my favor (most of the time) and I understand how to make the subtle adjustments to get what I need out of them. With the limited shop time I have, I don’t want to think hard about the tools. I just want to use them, and these are the tools I want to use. Some days they wear me out, but they always put a smile on my face.
- Jim McConnell
I tried to finish the seat of the dugout chair today in preparation for our open day tomorrow (10 a.m. to 5 p.m. – lots to do and see). But I was only able to squeeze in about 30 minutes of work as I was dealing with heavy construction out back with the Lost Art Press Horse Garage.
In any case, I’m trying not to make this seat too refined or precious. I want it to match the ruggedness of the chair. But I don’t want it to look sloppy. So I’m shooting for “done quickly and with purpose.”
This seat is made from the last significant chunk of Eastern white pine from Midwest Woodworking I own. I’m going to miss this stuff.
I don’t wear cologne (heck, I barely wear deodorant). But if someone could make a cologne that smells like Eastern white pine when it’s being cut, I would actually wear that scent. Of course, the scent would only really attract beavers and some bark-eating grubs. But oh well.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Yellow Pine Journalism
You can now register for the chairbuilding class with Chris Williams via this link.
Note: Registering for the class or the waiting list is free – they won’t ask you for a credit card to register. After the dust settles, we will invoice the six attendees, as discussed here.
If the six slots are filled, please consider signing up for the waiting list. People’s lives will change in the next seven months.
See you in May!
— Christopher Schwarz
Filed under: John Brown Book, Uncategorized
This morning I posted an entry on our Crucible Tool site about how to use the continuously changing radius on French Curves to join three points. This is a huge help when creating irregular or organic shapes.
Read the entry here.
— Christopher Schwarz
Filed under: Crucible Tool, Uncategorized