I’m a big fan of the Taiwanese-made “carver’s vise” sold by many vendors with slightly different paint jobs. The vise is inexpensive and incredibly versatile, especially for chairmaking operations. Most students who take a chair class here seem to end up ordering one after using one of ours. The vise basically replaces a shaving horse.
Recently I decided to buy a few more of these vises so that every student could choose between one of the carver’s vises, or one of our also-excellent Hi Vises from Benchcrafted.
After writing about my love of the green Taiwanese vise, several readers told me I should try the version from StewMac. The company has upgraded the vise to improve its performance.
I ordered one and immediately put it to work on the comb-back stick chair on my bench. Here is the short version of the review: Don’t bother with the StewMac. The upgrades are unnoticeable.
Instead, buy the Grizzly version of the vise, which is on sale for $129 with free shipping until Aug. 14. This is not a paid advertorial. If someone asked me to do something like that I’d tell them to poop up their own butts. The Grizzly version is basically half the price of the StewMac version (after shipping and taxes). And they work the same.
Let’s take a closer look.
The StewMac version is supposed to have hardwood jaws. They aren’t hardwood. They are a softwood – just like the jaws on the green versions.
The StewMac version has roller bearings to make the vise operate more smoothly. There is no difference in the speed or ease that both vises close. Both are swift. Neither is smoother than the other.
The StewMac version has a round handwheel with a plastic handle. The cheaper green versions have a simple cast handle. I prefer the simple cast handle. I don’t like plastic, and there is literally nothing wrong with the all-cast-iron handle.
Nylon locknuts.
The StewMac version has nylon locknuts on the jaws. The green versions use common threaded bolts. This is the tiniest upgrade ever. Yes, the locknuts are smart and a bit better. They prevent the jaws from freezing up temporarily when you over-twist them, which is not a big deal. So yeah, good call. But it’s not worth the $74.75 extra for the StewMac.
Oh, and the StewMac is painted red instead of green. Whoever painted these vises – both the red ones and the green ones – had just failed an eye exam. The paint job is B- at best. But I don’t care about the paint job because it doesn’t hold the work.
Note the front jaw is ash instead of the softwood. After replacement, this jaw has yet to fail.
What I Would Upgrade
If I wanted to “upgrade” the green vise, here’s what I would do.
Improve the jaws. They are softwood covered in a tough urethane. But after a while the jaws and their screws fail. I have fixed this on some of my vises by using a tough hardwood for the jaws, such as ash.
Lengthen the wingnut that secures the vise to the bench. The cast wingnut is pretty perfect. But I would prefer a bigger one so that I could get some more leverage to tighten and loosen the wingnut. It is easy to overtighten the vise by rotating the vise’s body in use. A larger wingnut would fix this problem.
On all these vises, a bigger wingnut (longer shafts on the balls, please), would be an improvement.
But other than that, the green vise is cheap and perfect. Unless you just prefer red.
Katherie has just posted 30 jars of Soft Wax 2.0 in her store. This batch was made in the nacho cheese machine – we are still struggling to get her lipstick machine back on line. She’ll be done with college in two weeks, and then she will have some more time available to work on this problem.
We love this finish, and I use on my chairs and casework. Katherine cooks it up here in the machine room using the raw ingredients of yellow beeswax, raw linseed oil and a little bit of citrus solvent. She then packages it in a tough glass jar with a metal screw-top lid. She applies her hand-designed label to each lid, boxes up the jars and ships them in a durable cardboard mailer. The money she makes from wax helps her make ends meet. Instructions for the wax are below. You can watch a video of how to use the wax here.
Instructions for Soft Wax 2.0 Soft Wax 2.0 is a safe finish for bare wood that is incredibly easy to apply and imparts a beautiful low luster to the wood.
The finish is made by cooking raw linseed oil (from the flax plant) and combining it with cosmetics-grade beeswax and a small amount of a citrus-based solvent. The result is that this finish can be applied without special safety equipment, such as a respirator. The only safety caution is to dry the rags out flat you used to apply before throwing them away. (All linseed oil generates heat as it cures, and there is a small but real chance of the rags catching fire if they are bunched up while wet.)
Soft Wax 2.0 is an ideal finish for pieces that will be touched a lot, such as chairs, turned objects and spoons. The finish does not build a film, so the wood feels like wood – not plastic. Because of this, the wax does not provide a strong barrier against water or alcohol. If you use it on countertops or a kitchen table, you will need to touch it up every once in a while. (I have it on our kitchen countertops and love it.) Simply add a little more Soft Wax to a deteriorated finish and the repair is done – no stripping or additional chemicals needed.
Soft Wax 2.0 is not intended to be used over a film finish (such as lacquer, shellac or varnish). It is best used on bare wood. However, you can apply it over a porous finish, such as milk paint.
APPLICATION INSTRUCTIONS (VERY IMPORTANT): Applying Soft Wax 2.0 is easy if you follow the simple instructions. On bare wood, apply a thin coat of soft wax using a rag, applicator pad, 3M gray pad or steel wool. Allow the finish to soak in about 15 minutes. Then, with a clean rag or towel, wipe the entire surface until it feels dry. Do not leave any excess finish on the surface. If you do leave some behind, the wood will get gummy and sticky.
The finish will be dry enough to use in a couple hours. After a couple weeks, the oil will be fully cured. After that, you can add a second coat (or not). A second coat will add more sheen and a little more protection to the wood.
Soft Wax 2.0 is made in small batches in Covington, Kentucky. Each glass jar contains 8 oz. of soft wax, enough for about five chairs.
I am so pleased to have George Walker as our first guest host of the Lost Art Press Open Wire. George is a traditional woodworker who (with his friend Jim Tolpin) has spent nearly 20 years exploring and explaining “artisan geometry.”
Artisan geometry is the clever and simple system behind all the good designs and simple layout methods that flow from the bench. It is the footers and foundations of our craft – and that of architecture. And once learned, it will open your mind (and hands) to a simpler and more direct way to design and work.
George and Jim have already written four books about it for us, and they are working on a fifth.
If you have questions about this unseen world, George is here to help answer them today.
Here’s how it works: Type your question in the comment field. George will post his answer. It is that easy.
Before you ask a question, please read this.
If you could limit the number of questions you ask to one or two, that would be appreciated.
If your question is your first comment here, it will automatically be flagged for moderation. Your question will appear after I approve it.
So here we go…. Note that comments for this entry will close about 5 p.m. Eastern.
Author George Walker is hosting this Saturday’s Open Wire here on the Lost Art Press blog. You’ll get to ask George about the new book he’s working on with Jim Tolpin, plus ask questions about design, artisan geometry and traditional woodworking – all the good stuff.
George and Jim also run the By Hand & Eye website, where they generously help other woodworkers (and school students) explore the world of artisan geometry.
The pair are hard at work on a new book for Lost Art Press. Here’s what George has to say about it:
Tentatively called “Good Eye, Skilled Hands,” it’s a dive into historic work to uncover timeless lessons about design. We deconstruct the geometry and proportions hidden beneath the surface, secrets that still offer insights for modern furniture builders. Proportions hidden in a medieval coffer or even the geometry built into the framing of a 400-year-old English threshing barn may inspire and guide designs for a contemporary coffee table or a writing desk. It will change the way you see historic work.
You can read a full profile of George here. And of Jim here.
I hope you will stop by this Saturday and ask George a few questions (Jim might chime in, too). We are opening up the Open Wire to our authors, and so you can look for more guest hosts in the coming weeks.
