We use bandannas constantly. We use them as a dust mask, napkin, oil rag, tourniquet, loincloth, clamp pad, battle flag on the War Rig and – in extreme cases – as a way to blow our noses.
The Lost Art Press Bandanna is designed, sewn and printed in the USA. It features our proud skep logo plus busy bees, as every woodworker ought to be. The hem is a “rolled-hem overlock seam.” (No complaints from the purists, please. A true double-fold hem, as on vintage bandannas, would have made this one cost about $50.)
It’s printed with water-based discharge ink for a durable image. Give it a wash before using it, and it’ll soften up beautifully.
Some statistics:
22″ x 22″
100 percent cotton
Sewn in South Carolina
Printed in Oregon
Skep logo designed by Joshua Minnich
Price? We’re still working that out – likely $20 to $25 delivered.
This Saturday we are opening the doors at Lost Art Press, and there is a lot of stuff going on. Here are the parts that I can remember:
Tools. Brendan, Megan and I are selling off our excess tools. I’m still digging stuff out of the basement. Everything will be priced to move. None of us own junk. All tool sales are cash.
Book-release Party. Suzanne Ellison, the Saucy Indexer and LAP researcher, is making her first appearance here. Suzanne and I are going to present our unexpurgated history of workbenches on Saturday night. At the party we will give you drinks. Suzanne has party favors for everyone that she has made. We have a few spots left for this free thing. Sign up here.
Special guests. Jameel and FJ Abraham from Benchcrafted will be there to poo upon our Roman workbenches. And they have cool Chatoyance stickers to sell.
Another special guest – Mark Hicks from Plate 11 Workbench Co. – will be there with shavehorses. (We bought one and he is bringing an extra one I believe). Give them a spin and talk workbenches with Mark, Jameel and me (if you dare).
Books. As per usual, we will have the complete line of LAP books available for sale, plus T-shirts.
Finally, a couple food notes. If you are here on Friday, go to Braxton Brewing and get yourself a fried chicken sandwich on a biscuit from Bakers Table’s pop-up shop. And when you are here, make sure you eat at Main Street Tavern. It’s right around the corner from us. We eat there way too much. The brunch is cheap and incredible (it’s offered both Saturday and Sunday).
Looking for a place to stay? Definitely Hotel Covington. It’s a seven-minute walk from our store. The restaurant there – Coppin’s – is outstanding.
Alright, enough of my unsponsored blathering. Hope you can stop by on Saturday.
“Welsh Stick Chairs” by John Brown is a small but mighty book. At just 104 pages long, this book can be read in an afternoon, but it has changed the lives of thousands of woodworkers all over the globe.
John Brown (1933-2008) was a chairmaker in Wales who specialized in Welsh stick chairs, a vernacular form of furniture that was typically made by the end users. Compared to Windsor chairs, Welsh stick chairs are masculine, lively and even sometimes a bit aggressive.
They are built with simple hand tools and (when made properly) are designed to last for hundreds of years.
John Brown made hundreds of these chairs, and in 1990 he published a small book that explained how he made the chairs at that time, plus some history of stick chairmaking in Wales and a critique of the Windsor chairs they were sometimes confused with.
The book electrified woodworkers everywhere. Even those who weren’t chairmakers were fascinated by John Brown’s approach to the craft. His disdain for measured drawings. And his honest and forthright writing style.
“Welsh Stick Chairs” has been out of print for some time. But thanks to the efforts of Matty Sears, one of John Brown’s sons, and the rest of the heirs, we are pleased to present a beautiful and well-made edition of this important work.
The book is now available for pre-publication ordering in our store. It is $29, which includes free domestic shipping. The book will ship to customers in late June 2018, which is the 10th anniversary of John Brown’s death.
Using first-edition examples of “Welsh Stick Chairs,” we reset the entire book in the original font to ensure the text was crisp. We rescanned and processed the photos and drawings and cleaned them up. And we spent weeks researching the paper stock of the original in order to capture the same earthiness and perfection of the first edition.
We also made a small but invisible improvement – we sewed the signatures together to ensure the book will last for lifetimes.
The book is a softcover, covered in heavy card stock like the original. The book measures 7-1/4″ x 9-5/8″.
Our version includes John Brown’s original introduction to the book, plus the additional introduction he wrote for the third edition and an updated essay on John Brown by Nick Gibbs.
It’s difficult to believe that it has already been 10 years since John Brown died on June 1, 2008. It’s even more difficult to believe that his landmark book “Welsh Stick Chairs” is not in print.
With a little luck, we hope to have “Welsh Stick Chairs” in your hands in June 2018 for the 10-year anniversary of his passing. Today I uploaded the final files to our printer and they should start production on the book on Monday afternoon.
We hope to open pre-publication sales of the book next week. We’re still waiting on a couple elements of the print job to make sure we have the costs correct. We’re shooting for $27 to $29, which will include domestic shipping.
Note that we have the rights to distribute “Welsh Stick Chairs” only in North America. Not in Europe, the UK or – oddly enough – Wales. We’ve been told another publisher in the UK will be publishing a version for that market. But we don’t know when or what it will look like.
Ours will be printed in the United States on heavy and smooth coated paper. The signatures will be sewn for durability. And the book will be covered in heavy 100-pound Mohawk cardstock with a vellum texture. (We love Mohawk paper – it’s made with wind power.)
The dark blue cover will then be stamped with a matte silver foil. It’s going to look crisp and have a lot of nice textures.
I am off to Charleston, S.C., for the rest of the week to help settle my father’s estate and clean out his house. So I won’t be posting much on the blog, if at all.
In my absence, I give you this embarrassing reading of the poem from “Ingenious Mechanicks: Early Workbenches & Workholding.” It always takes me a little time to get any perspective on my own work. This book seems to be an unusual combination of deep and difficult research with Cheeto jokes. I can say at this point that the printing job is spectacular. And the paintings that Suzanne Ellison dug up for the book are worth the price of admission.
The poem is an exhortation on the sort of woods that are appropriate for a workbench. The audio was recorded and edited by Brendan Gaffney. The plates are from from M. Duhamel’s “de L’exploitation des bois.”
