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.”
The champion of chopping, the superlative of sawing, it’s Megan – teaching dovetailing today.
Megan is teaching a Dutch tool chest class during the next three days, so today is all about dovetails in the bench room. It’s also all about dovetails at our warehouse – we have just restocked with Crucible Dovetail Templates. They are ready to ship.
These handy little tools mark out 1:6, 1:8 and 90° – everything you need to lay out the shape of the joint. The templates are made in Kentucky and are milled out of one piece of steel to ensure the tool is perfectly 90°. (It’s not a wasteful process; all the excess steel is recycled.)
It’s a pretty little thing.
I am trying to figure out how to offer this tool with 1:4, which is the redneck slope I prefer. I’ll keep you posted on our progress.
We also continue to look hard for warehouse space in Covington. We have a couple good leads. One place used to be a grocery store. The other used to be an auto repair service and was built in the early part of the 20th century. Either way, I’ve got the right shirt.
For the last year I’ve been building chairs using slabs of bog oak that are 2,000 years old (according to a carbon dating test) and was harvested in Poland.
Furniture maker Andy Brownell is responsible for starting me down this path. He offered me some scraps of bog oak from one of his commission pieces. After experimenting with it and building a chair using the scraps, I was sold.
Together we bought a large chunk of a bog oak tree. It was the most I have ever spent on a single load of wood. However, don’t be freaked by that statement. Because I work almost entirely with common domestic woods that aren’t highly figured, my lumber bill has always been minimal.
This entry is about my experiences with the wood – good and bad. I’ve worked before with some older bog oak from Denmark, so I have a little perspective. But I am not an expert. Trees, like people, are individuals and are weird.
The hammer test I perform with chair parts.
Strength
My biggest concern with the bog oak was that it wasn’t strong enough to use for a chair. This is oak that has been in a peat bog for 2,000 years and is on its way to becoming petrified. After wallowing in an anaerobic environment filled with turtle poop, is it too weak?
The good news is that the tree we bought was fast-grown oak. Some of the annular rings are 3/8” apart. Fast-grown oak is typically stronger than slow-grown oak. Also, the grain was incredibly straight, except at the butt of the tree. I have never worked with wood that is this rod-straight.
I made some sample chair-sized parts – legs, stretchers, sticks and arms. Then I propped the test pieces up on 4×4 blocks and smacked them with our lump hammer. Hard. They all survived just fine. No cracking, though they dented a little more easily than modern European oak.
Because the parts passed the test, I made some chairs using the bog oak.
Working Properties
The bog oak feels a bit like plowing dirt at times, instead of slicing wood. The wood requires more effort to saw, chisel and shape than modern European oak (which I have a lot of experience with). I also feel like it is more difficult to get a finished surface, but it’s not because of tear-out. It’s because the stuff is dense and resists you.
It smells quite a bit when you cut it with electric machines. And the smell it makes is: bottomland. Mud, dirt and cod poo. But it’s not awful. The worst-smelling wood I ever used was mahogany that had been sunk in the Amazon for 200 years. When you cut it, it smelled like rotten, burning fish that had been injected right into your nose.
The smell goes away quickly. And the finished pieces have zero smell (just like normal wood).
A slab of bog oak that shows the color variation.
Color
Bog oak gets darker as it percolates in the bog. I’ve worked with 4,000-year-old stuff that is almost black. This 2,000-year-old stuff has lots of variation. The wood by the bark is nearly black. The majority of the heartwood is a chocolate brown. And some parts are tan or khaki. And you see that variation all in one board from one tree.
So you have to think about color the entire time, even though the wood comes from the same damn tree. A stick from the bark part of the tree can look radically different from a stick 3″ away.
Downsides and Defects
Wood that has been under ground/water for a long time can have some faults. I find far more structural faults with bog oak than standard European oak. Some of these splits and cracks look like the result of the wood being dried. Other cracks look much older (something killed this tree and sent it into the bog).
When ripping up the stuff, you absolutely have to pay close attention to the end grain and look for splits. Most of the splits I have found are near the pith of the tree, but I have also found some out by the bark.
I reject anything with a split for structural parts (basically all my chair parts). These pieces are fine for boxes or stuff that doesn’t support a human body, but shakes and chair parts don’t go together.
The other odd quality of the wood is that it’s not good for making wedges. I made many bog oak wedges to secure the legs and sticks of the chair. It was poor wedge material. When struck on its end grain, the bog oak was mushy and split easily. (Even though it was strong when struck 90° to the end grain – weird.)
Here you can see the color variation.
The Upside
The stuff is beautiful, even with simple finishes. I use linseed oil and beeswax, and the range of color is extraordinary, from coal black to an olive green. Plus, after five or six chairs, I have found ways to use this color shift to my advantage in the design.
All in all, the stuff is worth working with. The prices I fetch for bog oak chairs make it worth the effort. However, I wouldn’t want to work with it exclusively. It is recalcitrant. And I am always happy to start saddling a chair in modern red oak or white oak after working the boggy stuff for a couple weeks.
Where to get it? There are vendors who specialize in the stuff. I don’t have experience buying from them, so do your research. Andy and I bought our bog oak from M. Bohlke, a long-time local supplier of amazing woods.
This building, which is not for sale or lease, is similar to what we are looking for in Covington. The city has a proud industrial past, so we are hopeful.
After many months of study and research, John and I have decided to take a big and overdue step with Lost Art Press. We are now planning to bring fulfillment in-house and do it here in Covington, Kentucky.
For the first six years of Lost Art Press, our families fulfilled every order placed by individuals or bookstores. We stored inventory under beds, in closets and in my sunroom. By 2013, we were out of room, and our order volume was still increasing. So for the last 10 years we’ve been using fulfillment centers (this industry is called 3PL) to ship out your orders.
Our current 3PL company does a great job. But we are well past the point where we should be doing this ourselves. Why? It will be cheaper and give us much more flexibility.
Because all the 3PL services are a la carte, doing things such as offering signed editions, including stickers, fliers or extra personal touches in orders is not possible. Well, it’s possible, but it’s not a good idea financially. Everything costs money. Dropping a sticker in a box? Cha-ching. Pulling inventory to sign it? Several big cha-chings. Experimenting with different boxes and packaging? So many cha-chings. Writing short notes to customers we know personally? Impossible.
We have hired an experienced fulfillment manager, who should start in June. And we are looking for a building in Covington. We want it to be big enough to accommodate other future dreams of ours, such as having a dedicated retail storefront with regular hours. Able to store a lot more wood. To have enough room for Naked Woodworking Yoga (just kidding).
We aren’t abandoning our offices on Willard Street. This building belongs to me and will remain the center of our editorial and research efforts. And where Megan and I will offer classes.
Bringing fulfillment in-house is going to be expensive and difficult. But we have good people who know how to set up a warehouse, a friendly city government that is helping us with our property search and good relations with our bank and creditors.
In the coming weeks and months, there might even be some opportunities for y’all to lend a hand (any tuckpointers out there?). So stay tuned.
