During the final photo shoot of the Studley tool chest we removed all the tools (no small feat), lifted it off its cleats on the wall (it was surprisingly lightweight) and moved it across the room to photograph the back of the chest.
I have not been this nervous since making out with Kym Harper during “E.T.”
The great migration went smoothly. No hiccups. Don Williams, the author, cleaned the exterior of the case and then Narayan Nayar photographed the back. Me? I ate a scone.
Tomorrow we will reload the chest (no small feat) and take photographs of the chest with Studley’s workbench. And later this week, we are going to film a video about the chest. More details to come.
If you have ever wondered what a woodworking class looks like from start to finish, here’s your chance. During the six-board chest class at The Woodwright’s Shop, student Mattias Jonsson documented a lot of the “action” and created a slideshow of his images.
I hate to be photographed. And I think this slideshow will explain why.
When we released “To Make as Perfectly as Possible” at Woodworking in America this weekend, there was one recurring comment from the customers:
“I bet you are proud and happy to see this released.”
My response was entirely undiplomatic.
“Actually, I’d be perfectly happy to set the book on fire and then extinguish it with my <deleted>.”
Indeed, this is the way I feel after every book that we publish is released. The process is agonizing, to the point that I struggle to see merit in what we’ve spent hundreds or thousands of hours on.
I’m sure in the coming months that I’ll come to love the book again and feel the same excitement when we launched into the translation project years ago. It’s a natural cycle, and perhaps I should learn to just smile and nod.
For those of you who ordered your standard or deluxe copy of “To Make as Perfectly as Possible,” your book is going into the mail stream starting this week. John Hoffman and his kids will be packing up the books and sending them out as fast as they can.
When you open your package, I think you will agree with me that it was worth the wait.
One important note: We have suspended sales of the deluxe edition for now. We are very close to selling out the 600 copies that we printed. And until we get everyone who ordered a copy their book, we are not taking any new orders. We suspect we will have a few more to sell at the end.
There is no waiting list. Sorry. If you want a copy, you will have to wait for us to count the remaining books and announce how many are available. No exceptions, please.
We are still selling copies of the standard edition for $43. It’s quite nice. You can order one here.
If you are in the Cincinnati area and would like to get your copy of “To Make as Perfectly as Possible” signed by two of the principals who worked on the book, be sure to stop by the Lost Art Press booth at noon today.
Don Williams and Phillip Lafargue will be there at Woodworking in America to sign your copy and discuss the book. I am not sure how long they will stick around the booth so get there promptly to avoid disappointment.
After thousands of hours of work, we are finally ready to release “To Make as Perfectly as Possible: Roubo on Marquetry” on Thursday.
The last few pieces of puzzle fell into place today with the deluxe edition arriving at John Hoffman’s doorstep in suburban Indianapolis. Exactly 600 books arrived on six pallets, with only three books to a box (typically we get 16 to 40 books to a box). This is a huge book in every sense.
The entire book far exceeds any expectations I had for the manufacturing, the design and the entire editorial package. It is quite possibly the nicest modern book I have ever held in my hands.
And now you have a chance to judge that for yourself at Woodworking in America later this week when we release the huge deluxe edition, the oversized and very nice standard edition, plus a couple other special items starting on Thursday.
Those of you who have been reading my writing since 1996 know that I am not a fan of the hard sell. I don’t like giving it or taking it. So keep that in mind when I say this: We have less than 100 of these deluxe copies left to sell. Once they are gone, they are gone forever. Once you see one, I know you will want one.
If you want to remedy this, you can still buy them in our store here. Yes, they are expensive. I make no apologies for the price. They are worth far more than we are asking, in my opinion.
Other Fun Stuff To celebrate the release of this book – the first English translation of A.-J. Roubo’s masterwork – we have a couple other items for Woodworking in America.
The first 300 people to purchase or pick up a pre-ordered book (or shirt, hat or DVD) at Woodworking in America, will receive a Lost Art Press iron-on badge for their shop apron or Italian undies. These badges will be available only at Woodworking in America. And it will be one to a customer. Apologies.
These 2” circular badges feature the Lost Art Press dividers in white thread on a blue background. I’m going to sew one to my leather jacket.
We’ll also be releasing our latest T-shirt design in support of “To Make as Perfectly as Possible.” The shirt features a detail from one of the plates from the marquetry book of two Frenchmen busy at some marquetry or inlay. The rear of the shirt features the slogan: “Getting Inlaid Since 1769.” (That was the year Roubo’s first volume was released.)
The shirts are available in sizes medium, large, XL and XXL. The shirts are 100 percent cotton and made by American Apparel in Los Angeles. The screen printing was done in Indiana (wait until you see the detail we squeezed out of this one).
The shirts are $20 ($22 for XXL). If we have any left after WIA, we will sell them online in the Lost Art Press store.
And this is the part where you call your boss and pretend to be sick.
To celebrate the release of this book – the first English translation of A.-J. Roubo’s masterwork – we have a couple other items for Woodworking in America.
