This mahogany is likely older than I am. It comes with baggage.
Next week I teach a class here in building the lowback stick chair from “The Stick Chair Book” to a class of six students. Our lumberyard was low on straight-grained 8/4 red oak that was ideal for chairmaking, and I barely squeaked out enough material for six chairs.
I always build a chair during a class for two reasons. One, if a student commits a fatal error at any point, I can hand them my parts so they can continue. Also, if no disasters occur during the class, I have a chair to sell at the end of the class that can be less expensive (because I’ve already been paid for teaching the class).
But I didn’t find enough oak for me to build a chair. So I went to my cellar and pulled out a gorgeous board of old Honduran mahogany left over from my “Campaign Furniture” book.
I have a small fortune of mahogany down there, much of it from the 1950s to 1970s, that I purchased when Midwest Woodworking in Norwood, Ohio, closed its doors. Some of it is 20” wide. I love working with the stuff, and I know it will make one hell of a stick chair.
But I have misgivings about the material.
Yes, there are environmental problems with using rainforest woods. Plus, there are social ones that not everyone knows about. As someone who deals in wood every day and talks to people in many areas of the industry, I have little faith that all South American exotics are produced by free laborers.
You might be thinking: Wait, this wood was cut 50 years ago. It has done no recent environmental or labor harm. While that’s true, promoting the use of the wood by showing it here doesn’t help today’s situation. Someone might look at the chair and say: Damn. I definitely want to build my next chair out of mahogany. And so they buy some mahogany, which encourages the continued harvesting of it.
Mahogany is beautiful, beautiful stuff, so this is a logical reaction.
So I am telling you all this so you know the caveats I have with this material.
If you do want to make a stick chair using mahogany, I have a good suggestion. Buy sinker mahogany from a reputable seller such as Hearne Hardwoods. Sinker mahogany is stuff that sank in the rivers as it was being transported about 100 years ago or so. It survived underwater and has been recovered, cut and dried. It is gorgeous stuff – I’ve worked with it.
It can smell a little fishy when you cut it, but the smell dissipates quickly, and the finished piece does not smell like a tuna sandwich left out in the sun.
— Christopher Schwarz
The chair will have hexagonal legs, which are great fun to bundle together like honeycomb.
Four years ago today, the parent company of Popular Woodworking Magazine, F+W Media, filed for bankruptcy. And in short order the company was chopped up and sold at auction to other publishing companies and venture/vulture capitalists.
Cincinnati and Northern Kentucky are filled with people who worked at this once-great publishing company. People who love making physical books and magazines. Creatives who were willing to work for peanuts for a company that was harvested for its organs by greedy individuals who cared little for the business of publishing.
Today, Megan and I will get a drink at lunch and toast this sad day. And then we will return to the shop to continue the difficult and rewarding work of making books that people want to read.
We are thrilled to welcome Welsh chairmaker Chris Williams back to Lost Art Press this summer to teach two week-long chairmaking classes in our storefront. Chris worked with John Brown making chairs for almost a decade, and Chris has continued making chairs in this Welsh tradition ever since.
A class with Chris is about as close as you can get to working with the late, great John Brown.
The two classes run June 5-9 and June 12-16 here in our Covington storefront. Each class is limited to six students. Chris will lead the instruction, with Christopher Schwarz and Megan Fitzpatrick assisting the entire week.
Registration for the classes will open at 9 a.m. March 15 (Eastern) through our registration portal. If the classes fill, we recommend getting on the waiting list as cancellations do occur.
Students will each build a comb-back stick chair using traditional hand-tool methods and American woods under the guidance of Chris Williams. In the spirit of these chairs, students will personalize their chairs with different stick arrangements, undercarriages, arm shapes and combs.
In the end, no two chairs will come out alike – just as it was with antique Welsh chairs and the ones made by John Brown and Chris.
It’s also worth noting that this chair class is unlike many others taught today. There are almost no jigs or specialty tools used. There are no tenon cutters or jigs to guide you as you drill the mortises for the sticks. Chris doesn’t use sightlines or resultants in his drilling. Instead, he relies on simpler, more direct methods.
Instead of jigs, Chris will show you how to make these chairs using mostly a jack plane, block plane and spokeshave, plus a few auger bits. We will use a band saw at times (freehand) to speed up some sawing operations due to the time constraints of the class.
Chris, the author of “Good Work,” has dedicated his life to making these chairs to an extremely high level. If you would like a taste of these methods and this kind of life, a week-long class with Chris will set you on this path.
Also, Chris is an absolute wealth of knowledge when it comes to antique stick chairs, plus he has a thousand stories about working with John Brown and as an independent chairmaker for most of his adult life. The class is about way more than making tenons and sticks, it’s about immersing yourself in a difficult, creative and beautiful lifestyle.
Note, because of the intense nature of these classes, we ask that all students have some prior experience at chairmaking. Students should be confident in maintaining and working with edge tools. This is a class for intermediate and advanced woodworkers.
The class fee is $1,800 per student, which includes the wood and all other raw materials needed to make the chair.
The Veritas Power Tenon Cutters are incredible tools. They are based on the old hollow auger tools, but they are easier to set, maintain and use. They make perfect round tenons, and you don’t have to use a drill to power them. I have used a brace, and my right hand at times, to make tenons.
The tools have a bit of a learning curve. Many people end up with tenons that are slightly off-center. Or worse, wildly off-axis.
I first started using these tenons cutters when I was in my “willow furniture phase” in about 2000, so I have thought about these tools a lot and used them a lot. The following video shows my tips for how to get the tenon centered on your stock.
If you like this sort of hard-won information, you’ll find more of it in my three chairmaking products:
One of my recent comb-back classes. You’ll notice they have nearly cleaned their plates. This is important.
Sometimes students ask what they can do to prepare for a class in handwork at our storefront. In the past, I’ve told students to sharpen their tools and try to read up on the project or the topic we’re covering in the class.
But I don’t think that’s enough. I’ve been teaching woodworking for almost 20 years, and I’ve watched students who succeed versus those who struggle. Here are some suggestions to consider if you have a class coming up with us or any other hand-tool instructor.
Get in Shape a Bit
This recommendation is for hand-tool classes only. When I have taught machine-based classes, it’s not as much of a factor. During a week-long handwork class, a fair number of people are exhausted by Wednesday evening. And the last two days are difficult – sometimes uncomfortable.
Though we emphasize conserving your energy and show ways to sit down while you work (Roman-style), students are on their feet a lot. If you are a mouse-worker in an office, standing for eight hours in a day can wear you out.
So, wear the most comfortable, lightweight shoes you own (fashion is a low priority here). Plus clothes that move easily (gusseted pants and shirts work with you; not against you). And to prepare for the standing, we recommend getting in decent cardio-vascular shape. That is as easy as taking a 30-40 minute walk each day. This will work wonders for your ability to stand at the bench for the long hours.
We try to keep you well fed while you are here. This is not just because we are nice. We also want you to have the energy to make it to the end of the week.
Diet
Forget your weight-loss diet during the class. You need energy. We have a lot of students who skip breakfast and/or lunch and are absolutely spent by 3 p.m. You need protein and carbs to do the work. It doesn’t have to be junk food. But you need to eat.
Upper Body
We emphasize using your core as much as possible in handwork. But your arms need to be in decent shape to assist with planing and sawing tasks. The best exercise for this is – shocking – planing and sawing. (More on this in a moment.) But if you can’t practice in the shop, try some beginning strength training. You can find many simple tutorials on the internet for this.
A simple stick-making exercise will jump-start your chairmaking efforts.
Practical Practice
Depending on the class you are taking, I recommend some different exercises to try in the week leading up to the class. If you are taking a class on chairmaking or staked furniture, there is a lot of planing. I mean, a LOT of planing.
There is a point at which you learn how to “ride the bevel” of a coarse tool, which greatly reduces the effort required to plane a stick or taper a leg. This is not something you can teach through words. It’s something you have to figure out yourself.
When smooth planing or jointing work, there is a lot of downward pressure required to end up with straight edges and flat boards. With chairmaking the goal is to use minimal downward pressure because you might take 60 or 70 strokes to shape a spindle. So you have to feel where the cutting edge of the tool is, put it to work and try to get the sole out of the equation as much as possible.
Scratching your head? Here’s how to start the process of finding that magic moment.
Take a 3/4” x 3/4” x ~15” stick of straight-grained hardwood. Place a small stop in your face vise. Press the end of the stick against the stop with your off hand. Plane the stick with a block plane set for a rank cut.
Try to make the stick into a dowel. After it’s round, use taper cuts to make it into a magic wand with a pointy tip as quickly as you can. Plane fast. Skew the tool. Try to find a place where the cutting edge is the only thing contacting the work. (It’s not possible, but it’s the goal.)
Do a stick like this each night for a week before class, and you will ace my class.
Also, learn how a cordless drill works – especially the clutch and speed settings and how they interact with the torque of the drill.
This is one way to practice sawing a bunch of dovetails. Read on for a better one.
Saw to Success
Megan’s classes on casework joinery involve a lot of sawing and chopping. Most people seem to struggle with the sawing. Frank Klausz had a straightforward solution to prepare a student to cut dovetails for the first time: 100 lines.
Draw 50 lines that slope to the right (like one side of a dovetail) across the end of the board. Scribe in a 3/4” baseline. Then saw right next to those 50 lines, one after the other. Try to do each one a little better and faster. When done, saw off all those kerfs. Now draw 50 lines the slope to the left, put in a baseline and saw those.
This accomplishes a few things, some of them not obvious.
First, beginners usually own a new saw with freshly filed teeth. These teeth are grabby and difficult to start. About 100 kerfs helps break in the saw.
Many beginners have difficulty starting the kerf. Doing 100 lines one after the other rapidly (it takes less than an hour) teaches you to take the weight of the saw off the teeth when starting. I like to tell students that they should almost hover the teeth over the wood as they begin to push forward.
And the 100 kerfs help you fall into a comfortable sawing stance. Figuring out where your feet should be, how your sawing arm should swing free and that the work should be level to your elbow. Oh and stop trying to choke the saw to death (not a euphemism).
I’m sure I could come up with more exercises, but I’d worry that I’d scare you off. But these simple things will definitely make your week (or weekend) here a lot more rewarding.
— Christopher Schwarz
“If you do what I say, everything will work out fine. Otherwise, put your head here between these hands.”
