On Feb. 1 we will discontinue all the “print on demand” products in our store. That includes all the T-shirts, sweatshirts and hats. You can see our current selection here.
We are not (repeat, not) discontinuing our bandanas, chore coat, vest or pullover work shirt.
So if you want one of these print-on-demand products, place your order before Feb. 1.
Why Chris, why? Two reasons: We want all our apparel to be made like our books, tools, chore coats and vests. In other words, we want them made by small companies that take pride in their work and produce top quality. Until now, I viewed T-shirts as a commodity product. I don’t anymore.
Second, the “print on demand” service we use has done a good job (considering the pandemic), but I think the prices are a bit high for what we get. And we don’t control the stock. Or quality control. Or customer service.
So Tom Bonamici, our clothing designer, is now investigating offering a nice USA-made T-shirt. Something high-quality and special, like our books. We also will have new hats in the store from Ebbets Field Flannels next month.
Make Your Own Dang Shirt What if you like having a scruffy T-shirt with our logo on it? We have you covered. You can download the logos we use on our shirts here. You have our permission to use them to make shirts for your personal use (or gifts). There are lots of places that will make you a shirt on demand (or a baby onesie, thong or hotpants). Go nuts.
We have opened pre-publication ordering for “The Woodworker’s Pocket Book,” which is currently at the printer and is expected to ship in March. This important reference book is $13 and is built to withstand daily use in a hand-tool shop.
This book has been a long-time coming, and I think you’ll be thrilled with the thing.
We also have just restocked on bandanas. These are green, feature a new design from Tom Bonamici and – most importantly – come from a new maker. One Feather Press in East Nashville cuts, sews, prints and washes these bandanas all by hand in a shed. And they are printed on both sides.
‘The Woodworker’s Pocket Book,’ edited by Charles H. Hayward “The Woodworker’s Pocket Book” is small – just 4” x 6-1/2” – but it contains 112 pages of critical woodworking information for the hand-tool woodworker.
Edited by the great Charles H. Hayward and published in 1949, “The Woodworker’s Pocket Book” is a guide to everything from finishing recipes to drawing ellipses to choosing the correct screw or nail.
We own several versions of this book, as it was regularly updated and republished. After reading through all of the versions, we decided to reprint the original edition (with permission, of course). This edition is packed with drawings from Hayward and doesn’t deal much with the metric system, sharpening high-speed steel sawblades or pulley sizes for your machines. In other words, it’s for the woodworker who likes working by hand using fractions, inches and feet.
Also appealing to us is the small size of the book – it literally fits in your back pocket. We recommend keeping it in your tool chest or tool cabinet. It belongs in the shop and is more like a tool than a book.
To ensure the book’s long life, we made sure this book is designed for a shop environment. All our books’ signatures are sewn and taped for durability. We wrapped this one in high-density boards and picked a durable paper that improves on the original’s paper.
Like all our books, “The Woodworker’s Pocket Book” is printed in the United States.
You can read a complete index of the book’s contents here.
— Christopher Schwarz
P.S. I’m sorry there is no PDF of this book available. We were not able to acquire the electronic rights to the material.
Our retailers have been asking about the tools and books we have planned for 2021. If I have to write this explanation up for them, I might as well let y’all have a look, too.
If a book or tool is not on this list, that means I don’t have a timetable for it. So if you ask when Andrew Lunn’s sawmaking book will be released, my response will be: crickets. Please don’t be offended by this – I simply don’t have any information to give you.
These are roughly in order of when they will be released. Like many manufacturers, we are fighting supply-chain breakages from the paper mills all the way up to the cardboard box supplier we use to ship products.
“The Workbench Book” by Scott Landis We are still taking pre-publication orders for this book. We expect it to ship out in early February. We are also working on getting its companion book, “The Workshop Book,” to the printer by Feb. 1.
“Make a Chair From a Tree (Expanded and Revised Edition)” by Jennie Alexander with Larry Barrett and Peter Follansbee At long last, this should go to the printer in February. We still don’t have a retail price, but I suspect it will be less than $40. This book has been a group effort from people all over the country, and I hope you will be pleased. The layout is just about complete. We have a couple drawings and photos to add. And then some editing. Look for it this summer.
“The Woodworker’s Pocket Book” Edited by Charles H. Hayward This is a book I have wanted to reprint for many years, but we kept hitting obstacles. First printed in 1949, this small handbook (4” x 6-1/2”) is perfect for the hand-tool woodworker. It is filled with finish recipes, workshop geometry, details on tools, practical wood advice, moulding charts from different furniture periods – plus tons of information on using nails, screws and other fittings. I’ve owned a copy for many years and use it all the time. This book is at the printer and should be out in late March. The price will be $13, which is a steal as the book is built to take a beating. We also hope to offer a special slipcase (for an added charge) that screws to the inside of your tool chest or cabinet and keeps the book where it should be – by your tools.
“The Handmade Life of Dick Proenneke” By Monroe Robinson Kara just posted this update on the book last week. So I won’t repeat after her. Linda Watts is now designing the book (the proofs I’ve seen are gorgeous), and Elin Price is still making the illustrations. I don’t have a timetable for this title yet, but I suspect it will be released at the end of the summer.
“The Dutch Tool Chest Book” By Megan Fitzpatrick This is the working title. For all I know, the real title could be “Come Hither, Monkey Bride: A Guide to Dutch Tool Chests.” Megan is doing everything she can to get this book out this year. It will show you how to make two Dutch tool chests with a lot of different variations in the back, lid and how the interiors are arranged. The book will go into great detail on all the handwork, so if this chest is your first hand-tool project, this book will be a great guide.
Crucible Tool We are hard at work on three new tools and hope to release all of them this year. One is a cast planing stop that works like a blacksmith-made stop (with a super-sneaky improvement). The second is an adaptation of A.J. Roubo’s miter square. This square, which has almost disappeared, is insanely useful for hand-tool woodworkers, especially for edge-jointing. And the third tool (fingers crossed) is to bring back our Crucible dividers, redesigned so they are less expensive (and can be manufactured without my wanting to pluck out my own spleen with barbecue tongs).
There also are a couple other books that might make it across the finish line in 2021 (“Guerrilla Chairmaking” is a contender). So stay tuned.
And finally, thank you for all your support and patience in 2020. We shipped 50,502 books and tools directly to customers last year (and sold thousands more through our retailers all over the world). We are still a tiny company. John and I are the only “employees”; Megan, Meghan and Kara are all part-time (but absolutely essential) contractors. So we still feel like we are gulping for air at times. We make mistakes every day, but we try to do a good job and make things right.
I don’t do many fake finishes. I prefer to let a piece age naturally rather than beat it, burn it, and make it write bad checks. But some pieces look wrong with a perfect coat of paint or shellac. The following finish is not designed to fool anyone. It is designed to nudge a vernacular piece in the right direction.
If you read “Chair Chat” (doesn’t everyone?), then you know we have a joke about faked chairs and finishes. We say they are from “Far East Wales.” We are told there is a robust trade in importing fake antiques from the Far East.
I learned to execute this finish from Troy Sexton in 2007. I have modified it to make the finish look grimier (and make the finish easier to do). This blog entry offers the basics. I’ll have a full writeup in “Guerrilla Chairmaking.”
This finish works with latex and acrylic paints (regular house paint). I haven’t tried it with milk paint, oil paints or artist paints, so I don’t have anything more to add here. Here’s how it works:
Paint your base coat on. I use two coats. Sand between finishes, just like you would normally.
When dry, coat the project in lacquer – brush it or spray it. Use a fairly heavy coat. Light coats of lacquer won’t do much. (Note: in “Guerrilla Chairmaking” I’ll detail other film finishes that will work besides lacquer – I’m not done experimenting yet.)
As soon as the lacquer is dry to the touch (15 minutes or so) add the topcoat color.
As soon as the topcoat of paint is dry to the touch (but not fully cured), use a heat gun (mine goes to 1,000° (F)) to blister the topcoat. Hold the gun about 1” from the surface and use one of the attachments that consolidates the blast of heat. (I have tried using propane torches instead of a heat gun and am not wild about them.)
Scrape off the blisters. Then smooth all surfaces with a woven pad (like a 3M grey or green pad). Steel wool works, too.
Rub on a coat of black wax. Buff it when it flashes.
That’s all there is to it. You can add as many layers of color as you like, burning between each layer of paint and lacquer. If you do this, always apply the wax only on the last coat.
If you are eager to try this, I suggest doing a test board with leftover paint to get comfortable with the process. This also will answer a lot of your questions about how fast to move the heat gun, how to get big blisters, etc.
As always, wear breathing and hand protection when working with solvents and VOCs. And take care with the heat gun. I do all the burning outdoors.
— Christopher Schwarz
Blistering the red topcoat with a heat gun.Scraping the blisters off when the paint has cooled.Removing the errant gunk with a woven pad.
Some short sticks that I rived from kiln-dry white oak for an Irish vernacular chair.
For the last seven years or so I’ve been working with kiln-dried wood that I have rived to help straighten out the grain in my components. But I haven’t really written about it because – I’ll be honest – I was uneasy about presenting the process.
It works really well. It’s not as perfect as riving green stock – that’s the gold medal technique. But it can greatly improve the strength and working characteristics of your parts and allow you to use plain-old lumberyard wood.
As this is one of the core techniques in “Guerrilla Chairmaking,” I thought I’d begin the discussion about it here on the blog and take my spanking.
Here’s how I do it.
Legs and stretcher parts that were “dry rived” from white oak. This is what straight stock will give you.
I use 8/4 quartersawn white and red oak when I go “dry riving.” I’ve done it with walnut and maple, but oak splits the best among the species I can get here. At the lumberyard I look on the edges of the boards for the straightest grain possible. Most quartersawn boards will have pretty straight grain on the edges and faces. The boards might have some curvy grain near one end – likely the beginning of the tree’s root mass. That’s OK – the curvy stuff comes in handy.
Then I crosscut the boards to the lengths I need. That’s 23” for legs and long sticks and 13” for short sticks. I mark out my parts on the end grain and plan the splits to follow the annular rings. Then I put the stock on my workbench (over one of the bench’s legs) and rive it out with a froe and a mallet – just like green stock. With dry stock, I haven’t found as much need to rive the stock in half and then rive it by half again. I just pop the parts off the board.
To me, the riven surface looks the same as when I work with green wood.
If I purchased straight-grained boards, I’ll get a flat surface along the split. I dress that with a jack plane and then work from there to true up the stick off that riven surface. I use a jack plane for most of this work, working either in a cradle (as shown) or against a stop a la Chris Williams and John Brown.
When the grain curves, I don’t throw that stock away. As you can see in the photo the top section is straight, but the bottom is radically curvy. I have a couple choices: crosscut the straight section and use that as a short stick. Or use the curved shape as an arm or crest.
This piece with curved grain (going around a knot) can be used for chair arms or a crest. Or I can trim off the top section and make a short stick.
The parts I make seem strong as hell. For the book I’m going to test them against green rived stock (that has been air-dried). Chris Williams has a torture test for brash wood that also weeds out blanks with short grain.
In the book, I’ll go into a lot more detail than is possible with a blog entry, but this entry has enough for anyone to give it a try.
