We’ve added a few more classes for 2019, including a two-class visit from internationally known spoon carver JoJo Wood!
Click through the titles below to read more about each class. Registration will go live next Monday (Feb. 18, 2019) at 10 a.m.
Intro to Spoon Carving with JoJo Wood – June 17
In this one-day class that’s suitable for beginning carvers, you’ll learn knife and axe skills, make a lot of woodchips and finish the day with a spoon that’s ready to use at home!
Eating Spoon Master Class with JoJo Wood – June 18-19
The perfect eating spoon should be a balance of smooth aesthetic, and function. It should feel great in both hand and mouth, carrying food comfortably without any spills. JoJo’s spoons are at the top of their game, performing exceptionally and looking beautiful. In this course she will teach her technique for bringing out the best spoon from each piece of wood, with all her tips and tricks from years of carving.
Build the “Anarchist’s Tool Chest” with Megan Fitzpatrick – Aug. 19-23
If you don’t like dovetails, this is not the class for you. If you’d like to learn dovetails (while you build a sturdy chest that holds about 50 hand tools…which is to say almost all the hand tools you need to build furniture), this is absolutely the class for you – you’ll get plenty of instruction and practice.
Build the Cabinetmaker’s Sector with Brendan Gaffney – Nov. 23-24
In this two-day class, students will build their own Cabinetmaker’s Sector, Brendan Gaffney’s modernized design for the ancient geometer’s tool, used for drawing, drafting and (in his 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.
We also have some slots remaining in already announced classes – so check those out, too!
And as always, if you have questions about the classes, send me an email at covingtonmechanicals@gmail.com (not the Lost Art Press help email).
The Rainbow Room in New York is one of the commercial interiors for which Heitink has furnished custom-veneered panels. (Photo from Heitink website)
My favorite instructor, Mr. Williams, always said Anyone can do something right. The real skill is knowing how to fix things that go wrong.
Maddeningly, there will always be things that go wrong. Overlooked abrasive marks beneath your flawless finish? Check. (Scrape the whole tabletop down and refinish.) A brand-new oven front dented by a dropped cabinet door? Check. (Pay to have oven part replaced by manufacturer’s service person.) Etc. The moment of discovery is always a punch in the gut.
My most recent experience with this sickening phenomenon came earlier this week. I was making great progress on a job I’d started that morning—months later than anticipated, thanks to a stack of other work commitments (and also thanks to my clients’ patience). The job involves a set of panels custom veneered with dyed eucalyptus. As I made the first cut, my client’s reaction to the price was still ringing in my ears. “X-thousand dollars? Just tell me–is this like buying a gold-plated toilet?” No, I reassured him; the purchase didn’t necessarily qualify as extravagant. The price reflected the exotic species of veneer, which was dyed in Europe, then exported to the United States.
Around midday I was lifting another panel onto the tablesaw to miter an edge when my eye was caught by a note in my handwriting on the order form: Grain to run horizontally, i.e. parallel with dimensions under “width.” The grain on the panels was vertical.
I got the job folder from my bench and sifted through the records. Sure, the evidence was right in front of me on the order form, but I honestly couldn’t remember which way the clients had wanted the grain to run. It had been so long since we’d discussed it–and the magnitude of the cock-up (to use a charming British term) would be so daunting that I just wasn’t ready to believe it.* I called the clients to check. No answer. I left a message. Next I wrote by email.
By bedtime there was still no response. I hardly slept that night; each time I lapsed into slumber, I found myself in a different subconscious-generated torture scenario involving horizontal versus vertical grain.
The following morning I contacted Max Jeffrey, the salesperson at Heitink Veneers, and let him know there might have been a mistake. He said he would look into it and assured me they would make things right.
And that’s exactly what they did. No prevaricating, no drama; just a sincere apology for having laid up the veneer in the wrong orientation, while noting that this kind of error is exceedingly rare because they take grain orientation seriously. (As a customer of theirs for nearly a decade, I know this to be true.) Tell us what we need to do to make things right for your clients, Max said.
When my client called back, I explained the situation and asked whether he would like Heitink to order new veneer and remake the panels, or would he and his wife like to keep the grain vertical. My personal preference, I added honestly, was the existing vertical orientation, because the island’s stone counter has a bold lengthwise grain and I thought the added linearity of horizontal-grain panels might make the island seem as though it was ready to shoot through their back door. They asked for a break on the price, and Heitink agreed to refund that amount. (The clients had purchased the veneered panels directly and had already paid in full.)
To paraphrase Mr. Williams, Anyone can do something right. What’s truly impressive is making things right for your customer—graciously—when you have made a mistake on their order. When I asked Jan Heitink (he’s Dutch; his name is pronounced “Yon”) whether he would permit me to identify his company in this post, he said yes, adding, “We strive for perfection in our products but in real life there is no such thing and when a situation does not go as planned, how we react to the situation is what will leave a lasting impression.”
I couldn’t have put it better myself.–Nancy Hiller, author of Making Things Work
One of several jobs in which I have incorporated custom-veneered panels from Heitink, this was a kitchen refaced in composite teak. (Photo by Kendall Reeves, Spectrum Studio)
*This is why I put everything in writing. But even so, in this case, I wanted to consult the clients to make sure I had ordered what they wanted.
Registration opens at 10 a.m. today (January 21, 2019) for classes during the second half of 2019. Note that the registration form now requests (but does not require) a phone number. It would be helpful to provide that (and to double-check your email address); we’ve had a few emails bounce back…and if I can’t get in touch with a student after repeat attempts, I have to cancel the registration – which I hate to do. Thanks in advance.
If you’ve any questions, shoot me an email at covingtonmechanicals@gmail.com (please do not send questions about classes to the LAP help desk).
We’ve a plethora of woodworking classes on offer for the second half of 2019 – most of them from visiting instructors (some from far, far away).
In most cases, classes are limited to six students (the number of benches we have available, plus one for the instructor) – so the instructor has plenty of time to pay attention to you…whether you want that or not!
The storefront (837 Willard St., Covington, Ky., 41011) is located just south of the Covington, Ky., MainStrasse entertainment district, in a safe neighborhood with lots of food and drink options, as well as accommodations at various price points, from inexpensive Air BnBs to an awfully nice hotel (that honestly isn’t pricey by most big-city standards), all within walking distance.
Registration opens at 10 a.m. Eastern on January 21 for the classes below (click through to each for a description). Registration is free on Eventbrite (and I strongly recommend signing up for the waitlist if you don’t get into the class you want – cancellations do happen). About three weeks after registration opens, I send each instructor his or her class list, and you are billed by the instructor (not by Lost Art Press or me – unless it’s my class, of course).
And as I’ve written before, this is not a woodworking school; it’s a woodworking shop in which some classes are taught. Christopher Schwarz runs not only the editorial side of Lost Art Press out of the space, but also his own furniture business, and he kindly allows both Brendan Gaffney and me to use the space for furniture work as well. The classes are a lot of fun…but they are also a lot of work – amidst the other work – which is to say that while we’ll still have some in 2020, we will not be able to have as many. So if there’s one you’re eyeing below, be ready at your computer on Jan. 21 at 10 a.m., and type quickly (they do tend to fill quickly).
If you’ve any questions, shoot me an email at covingtonmechanicals@gmail.com (please do not send questions about classes to the LAP help desk).
When Megan Fitzpatrick posted the frontispiece of Christian Becksvoort’s latest book, Shaker Inspiration, on Instagram a few months back, I knew I would be placing an order. Not only have I admired Becksvoort’s work for decades; the frontispiece was utterly lovely, promising yet another beautiful and informative book from Lost Art Press.
What I did not expect was a book that offers as much to the professional or would-be professional woodworker as to the ardent Shaker furniture fan. In addition to a sizable section devoted to Shaker furniture, with measured drawings of Becksvoort’s own designs and reproduction pieces along with a portfolio of drool-worthy classics, the eminently readable book encompasses wood technology (informed by the author’s academic background in forestry), no-nonsense discussion of training possibilities, tips and techniques (several of them new to me) and invaluable advice on what’s involved in setting up a business and running it successfully.
Those who have read my book Making Things Work will be aware of the importance I attach to being honest about the sometimes-brutal realities of basing your livelihood on furniture making. Ever since I read Becksvoort’s no-holds-barred reply in Fine Woodworking to a reader’s letter asking how to make a living as a furniture maker, I have wanted to shake his hand.
After weeks of looking forward to that handshake, I relinquished the opportunity to meet Mr. Becksvoort at yesterday’s Lost Art Press event due to the forecast for several inches of snow combined intermittently with the dreaded “wintry mix.” But I’m looking forward to seeing him in April at Fine Woodworking Live.
Seriously diminished in volume after 24 hours of temps hovering around freezing, the snow is still lovely to look at.
