Funky Winkerbean approves of this new batch of Soft Wax 2.0.
My daughter Katherie has posted about 40 jars of Soft Wax 2.0 in her store, and I have bought the first one (we are out of it, and I asked her to make some).
We love this finish I use on my chairs and casework. I adore it. 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 at college. 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 so 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.
A Scottish Darvel chair. A classic vernacular form.
The following short story was passed to me by a guy at the John C. Campbell Folk School, and it is well worth reading, especially if you are a vernacular chair nerd.
Published in the Christian Science Monitor in 1986 (the year I graduated high school), the short story “I’d Like to Make You a Chair” by Pippa Stuart begins with a couple’s home being burgled. It ends with a chair and complex thoughts about forgiveness.
As I read this story, I tried to envision the chair the Scotsman was building. I concluded that it had to be a stick chair.
My current favorite book. Not because of the content necessarily. Just look at that cover! Wow.
When you encounter a person who is an incredibly talented woodworker, designer and teacher, it’s natural to wonder, “Why hasn’t this person written a book and become a famous author?”
I’ve met a lot of these people. I’ve attempted to get some of them to write a book. I’ve succeeded a few times and failed at least 100 times in my efforts. The next time you think, “Why doesn’t this person write a book?” here are some reasons I have encountered in my career.
They are perfectly happy with their life. They are plenty busy. They make enough money. They are not interested in becoming better known. You can’t argue with this. Writing a book can make you and your family miserable for a couple years.
They don’t have the organizational skills, focus and stamina to complete a book. A good book can require two years of work. It’s easy to get distracted or bored by the project. Especially if your day job is already a challenge.
They have no confidence in their writing skills and they fear the book will not find an audience. Basically, fear of failure. A related reason: The person is functionally illiterate. This is more common than you think. The smartest person I’ve met in my life was functionally illiterate. Writing a book will expose this fact to others, which can be embarrassing.
They know they have a problem calling a project “finished.” They will work and work on it, and it will never be good enough to release to the world.
They cannot afford to gamble spending two years on a project that might only pay them pennies on the hour. Many books do not make economic sense. If you do the math, it’s easy to conclude that only successful authors can afford to write books (a paradox).
They aren’t interested in sharing their methods of work with the entire world. Some authors fear their furniture business will be ruined if they share plans and their real methods with the public (John Brown was this way).
They feel like a fraud for some reason, perhaps a valid or invalid reason. Writing a book will expose them.
They distrust publishers. It’s a fair criticism; a lot of them are snakes.
The person is a complete jackass. Publishing a book is a team effort. If the author cannot take constructive criticism or they belittle everyone else in the project, their book is unlikely to be born.
I’m sure there are other reasons I haven’t yet encountered. Bottom line: It takes a special kind of maniacal, well-organized, generous optimist to write a book. Oh, and they have to have some talent, too. Honestly, the process is so fraught, it’s a miracle we have any woodworking books.
John Wilson, who unlocked the mysteries of Shaker oval boxes for millions of woodworkers around the world, died on Friday, Jan. 27. He was 83.
Wilson of Charlotte, Michigan, began his career as an anthropology professor, but then became a home builder and professional woodworker whose main line of business was building Shaker oval boxes and supplying woodworkers with the training and raw materials for these boxes (especially the copper tacks that hold the bent bands together).
But Wilson’s career encompassed more than just the beguiling and beautiful boxes. He also wrote extensively about toolmaking and taught classes on a wide variety of subjects, from boatbuilding to workbench building.
John Wilson’s boxes on the cover of Popular Woodworking, August 2003.
The business at the center of it all, The Home Shop (aka ShakerOvalBox.com), offers all the supplies and information that woodworkers need to build the boxes. Wilson retired fully from business in December 2022, leaving Eric Pintar, his long-time employee and partner, in charge of the business.
“John took full retirement… in full confidence that we will carry on with The Home Shop, and I’m ready to live into that,” Pintar said.
Pintar worked for Wilson for 28 years, and began as a shop assistant there when he was 16. In 2004, Pintar became an equal partner with Wilson in The Home Shop. Since the start of the pandemic Pintar had taken the lead responsibility for the output of the Home Shop including the teaching of Shaker oval box classes. With Wilson’s passing he takes ownership of the Home Shop and will lead it into the future.
So the supply of Shaker box supplies is secure for years to come, Pintar said. Still Pintar is humbled by the role he is moving to fill and said he is saddened that it is under these circumstances.
From Professor to Woodworker
Wilson grew up in Syracuse, N.Y., and was allowed full use of his father’s hand-tool workshop. While he studied anthropology at university, he worked as a carpenter on the side. After graduating with a master’s degree, Wilson taught anthropology at Purdue University, Michigan State University and Albion College. Despite his best efforts, a doctoral dissertation eluded him, thus ending a career as a university professor. Wilson then went to work in home construction.
In 1977, Lansing Community College offered him a job teaching furniture design. There was a catch: The class began in two hours, according to a 2007 interview of Wilson by Kara Gebhart Uhl. On his way to class, Wilson checked out Ejner Handberg’s “Shop Drawings of Shaker Furniture and Woodenware, Vol. 1” (Berkshire House). That book, and the course, led Wilson to investigating the Shaker’s oval boxes and figuring out how to make them.
“To be able to take the methods used by the Shakers and share those with others is a very beautiful thing, and in the spirit of the Shakers,” Pintar said. “Before John (making these boxes) was mysterious. He brought the methods and materials to the public.”
Wilson began making the boxes to sell and taught others how to make them in classes all over the country. That led to him starting The Home Shop, a large workshop on his land that he built using mostly recycled materials. The Home Shop supplied makers of Shaker boxes everything they needed to build them, including the carefully sawn wooden bands, plans and – most importantly – the copper tacks.
One of the amazing tack machines at The Home Shop.
In 1991, the W.W. Cross Nail Co. – the last copper tack manufacturer – stopped making tacks. Wilson acquired their machinery and began making seven sizes of tacks and 1/2” copper shoe pegs. The noisy, ingenious machines crank out a pound of tacks in about 15 minutes. In the early 2007 interview, Wilson said he was making about 300 pounds of tacks a year.
Wilson insisted for years on keeping the personal touch with The Home Shop. It was years before they had a website. Orders were taken over the phone and shipped with a bill – the honor system.
The Home Shop also offered classes on toolmaking (planes, spokeshaves and travishers), joinery (hand-cut dovetails, mortise-and-tenons), plus sailboat building and paddle making.
John Wilson & John Brown
I first heard of Wilson by reading the column of Welsh chairmaker John Brown (aka JB) in Good Woodworking magazine. JB took his first trip to teach chairmaking in America in 1997 and taught at Drew Langsner’s school, Country Workshops in North Carolina, and at The Home Shop in Charlotte.
Wilson always used an efficient blend of machinery and hand tools to make furniture. JB, on the other hand, used only a band saw to rough out the pieces and then was passionate (probably an understatement) about using hand tools only for the remainder of the work.
During the class, the men famously butted heads. Though Wilson was hosting the class, he also was a student in it. So when Wilson got behind in his work in the class, he would try to catch up in the wee hours of the morning with the help of some power tools.
JB was furious.
“I received a proper dressing down such as a boot camp sergeant might give,” Wilson told Gebhart in 2007. “I stood attentive like a good solider, listening to a man deserving of respect because of his expertise and experience. I could appreciate his point of view, so passionately given, on the virtue of hand tools while blending that kernel of truth with the mix of tools I had just employed that morning.”
JB also confiscated a micrometer from one of the students and threw it in a lake.
In the end it all turned out OK, and Wilson ended up making several of the chairs for his family: his wife, Sally, and children Molly and Will.
The “Little House” at right. The Home Shop at left.
Writing it Down
In the early 2000s, Wilson began writing magazine articles and books to help spread the word about Shaker oval boxes and toolmaking. He wrote multiple articles for Popular Woodworking Magazine, which is how I got to know him. Many of his articles are free for the reading here on The Home Shop’s website.
Plus he wrote and self-published four books. Three were on Shaker Oval Boxes plus “Making Wood Tools.” Like his business in general, Wilson made his books with a careful eye to quality with a personal touch – every book was autographed.
I made several visits to The Home Shop to help take photos for Wilson’s articles. I was always struck by how nearly everything there was made by him. I mean everything. He built the buildings, the kiln, the shop, the storage areas. Plus everything inside them.
His work was always soft and humane. The workshop was flooded with light thanks to enormous skylights (salvaged from sliding doors). I got to stay in his so-called “Little House,” a 15′ x 15′ structure where he lived for 12 years. This building – built decades before the “tiny house” movement – was incredibly well-considered. It felt absolutely roomy and comfortable thanks to his planning and careful construction of every bit.
As a person, Wilson was remarkably generous with his knowledge and his time. He sent hand-written letters (always accompanied by a postcard for The Home Shop). And he has been generous to the craft. His work with oval boxes has launched the woodworking businesses of hundreds of people over the years, and he never sought credit or royalties or anything. He just seemed thrilled that other people enjoyed making the boxes as much as he did.
Thanks to Wilson, I’ve made a bunch of these oval boxes – they are incredible gifts to give. And I couldn’t have done it without him.
So thanks John, for everything you gave us and more. You will be missed.
This year I am returning to hand-cut mortise-and-tenon joinery for my new book “The American Peasant” (I have a whole substack going about the book). All the parts for the projects in this book are processed, joined and finished by hand (using split stock when possible).
Why? Because now I can.
When I left Popular Woodworking in 2011, Lost Art Press (LAP) was just me and John. The company didn’t provide much income, so I built furniture on commission for eight years (I now only build on spec). That meant I needed to use machines to process stock, and the joinery was a mixed bag. Lots of hand-cut dovetails. But also lots of Domino joinery (after I got rid of my hollow-chisel mortiser).
Today Megan Fitzpatrick is the editor here at LAP, and I have a little breathing room. I still need to sell furniture to make ends meet, but I’m going to fill any extra time with work I enjoy.
These handles have seen a lot of beatings and remain strong.
The Ray Iles, which I have written about many times, are perfect things. Their oval handles allow you to orient the tool properly and steer the cut. The shape of the blade allows you to scrape the walls of the mortise without getting stuck. They are tough mothers. (My only quibble is the steel. The D2 really needs diamond media to sharpen it right. Good thing we have a couple diamond stones.)
You don’t really need to buy a whole set of the mortisers (I know Joel, who sells them, disagrees – wink). I do about 90 percent of my work with the 1/4″ and 5/16″.
Anyway, these chisels still have my highest recommendation. I’ve used a lot of other mortising chisels, and they pale in comparison to the Ray Iles.
What I like about the Blue Spruce mallet in particular is the resin-infused head. The resin makes it nearly indestructible. I also love its leather-covered face, which helps prevent dents in nearly finished work. I’ve had this mallet for at least 12 years and use it every day. In fact, today I decided to be nice to it, and I scraped 12 years of glue and grime off the handle.
And let me repeat myself once more: I paid full retail for all these tools. No one asked me to write this review. If they did ask, I would probably tell them to “get bent” and refuse to write anything. (That’s the kind of weirdo I am.)
