There is something demented and wonderful about painting over completely clear 16”-wide pine boards.
Today I finished up a board chest using some nice old pine boards from Midwest Woodworking. Like all the sugar pine, I’ve bought from Midwest, this stuff is like pine is supposed to be – stable, easy to work and clear.
There is always going to be a small voice in my head telling me that I’m a fool to paint this stuff, but the design really demands it. Once you get the chest assembled, it’s obvious that the grain distracts from the form. The moulding around the bottom of the case looks weird – especially on the ends.
So paint it is.
I was going to scratch a geometric design on the front of the chest, but my test board didn’t come out like I wanted. The geometry was easy, but the scratches didn’t show well under the paint. That aspect of these chests needs some more thought on my part.
The winter 2012 issue of Furniture and Cabinetmaking magazine have called out two Lost Art Press books – “The Essential Woodworker” and “The Anarchist’s Tool Chest” – as 12 of the “must-have titles for your workshop library.”
It’s an honor to be in a list of books that includes many of our woodworking heroes, including Charles Hayward, Jim Kingshott, Alan Peters and James Krenov.
The article praises Robert Wearing’s “The Essential Woodworker” as “a seminal text that every single woodworker should have to hand when undertaking any project.” I couldn’t agree more. Wearing’s book is one of the most important pieces of the puzzle in my personal development as a craftsman.
For “The Anarchist’s Tool Chest,” the magazine says it “makes a compelling case for the use of a traditional tool chest and shows readers how to build it well.”
In celebration of this, we will continue to do exactly what we’ve been doing since 2007. So back to editing A.J. Roubo.