Driving on the comb during a chair class in Bavaria.
I just returned from two weeks (and then some) in Bavaria. For the most part I was teaching classes put on by Dictum GmbH. It’s been more than five years since I’ve taught there, so it was great to catch up with old friends and make some new ones.
Here’s a typical scene at dinner one night with the students. We got our menus and the students were explaining what a “divorce salad” was.
“Is this what you eat when you want a divorce?” I asked.
“Yes, of course,” they said.
“No,” I replied. “You are pulling my chain.”
Eventually we realized they were saying “die wurst,” which means “the sausage.” Not “divorce.”
And yes, they put hot sausages on a green salad here. Don’t knock it until you try it.
I’m returning to Dictum next year for two more weeks of teaching. The plan is to teach two chairmaking classes: A big ole comb-back at the workshop in Niederalteich. And an Irish armchair in the workshop in Munich. When registration opens for these classes, I’ll post the links here.
I made a short video of the Dutch tool chest class. Students came from all over the globe.
In between a few too many beers and Bavarian food, I managed to finish editing Megan’s Dutch tool chest book. It was worth waiting for. Soon we’ll begin designing the book, so it’s definitely coming out this year.
After teaching, I traveled to Nuremberg with Lucy to explore the city and see a lot of folk furniture at the Fränkisches Freilandmuseum. I could have spent three or four days there, but we had only one. I made a video of some of my favorite pieces and interiors. Take a look.
And now I’m back in the States. Happy to be home, but falling asleep at odd times until my body adjusts.
Choosing the wood for your first stick chair can feel paralyzing. You might think that the wrong species will doom the chair. Or the boards’ grain orientation will make things split. Or that you need wood that is green or air-dried.
I know you won’t believe this, but Rule No. 1 with stick chairs is this: Use what you have. And use it to the fullest.
If you have only construction lumber, you can make that work. If you have purpleheart, ditto.
This blog entry is about the species readily available to woodworkers in North America. We have lots of woods that work well for stick chairs. If you have a choice of species when you shop, here are my thoughts on what woods will make the job easier and perhaps less expensive.
You can make a stick chair using only one species. I do this all the time. But you can make the job easier if you separate the project into two parts:
Use woods that don’t readily split for the seat, arms and comb/backrest.
Use ring-porous woods that split easily for the legs, stretchers and sticks.
Mixing species might horrify you. And it can look horrifying if you don’t take care. But if you take the long view, most darker woods get lighter in time, and most light woods get darker in time. In other words: Everything turns brown. But if you don’t want to wait 20 years for this to happen, paint can also do the job of unifying things.
Woods that Don’t Split Easily
Here are some woods that are readily available in North America that are ideal for seats, arms and combs.
Tulip poplar: Inexpensive but a bit unattractive. Great for paint. Carves beautifully, so it’s a great wood with which to learn to saddle a seat.
Sycamore: If you can find it in your area, this is a great choice, especially when quartersawn. It carves easily, looks nice and can be some of the cheapest commercial wood out there. It’s also available in wide widths.
Soft maple: Another great wood for the seat, arms and comb. Soft maple is a little more expensive than the above woods, but is fairly cheap overall. Its cousin, hard maple, is more expensive but is also fine.
Black cherry: These days, cherry is out of favor and is cheap (and beautiful). It carves great and – if treated with care – can work for the arms and combs. It splits more easily than the above species, but it is totally do-able.
Basswood/linden: Don’t overlook this species, especially for the seat. It is strong enough, carves incredibly well and doesn’t look horrible. And it’s available in wide widths.
Ideal Woods for Legs, Stretchers & Sticks
I prefer ring-porous woods such as oak and ash because it’s easy to read the grain direction, the species are easy to split and generally easy to find.
Red oak: Though this wood gets a bad rap, I love the stuff. It’s plentiful, strong and cheap. And on a chair you don’t have to deal with the cathedrals on wide panels (which can be overwhelming). I prefer fast-grown oak because it is stronger than slow-growth oak. And, in general, I like Southern red oak more than Northern. (Learn more here.)
Ash: If you can get ash, it’s a great chair wood. Be sure to look for evidence of rot these days. Some lumberyards carry ash that has been on the ground too long and has gotten punky.
Hickory: The ultimate wood for legs and sticks. It is dense and requires effort to work. But it is one of the strongest domestic hardwoods around.
White oak: I love white oak for case pieces. In a chair, the surfaces are generally narrow, so you don’t get scads of the gorgeous ray flake from the quartersawn stuff. I can buy twice as much red oak for the price of white. So I usually get red.
How to Combine the Species
If you are making a painted chair, it’s difficult to beat the combination of tulip poplar and red oak. They’re both cheap, easy to get and take paint well. If you want to use a transparent finish, it’s best to do some mixing and matching.
If you use sycamore, basswood or soft maple for the seat/arms/comb, then I recommend ash or hickory for the sticks, legs and stretchers. These species play well together.
If you use cherry for the seat/arms/comb, I’d use red oak for the sticks/legs/stretchers. You’ll be surprised how well these woods work together after a few years in the sun.
What about other species such as elm, black and honey locust, butternut, coffeewood, sassafras and walnut? If you can find these in your area for a good price, you can absolutely use them for stick chairs. A little research on the tree and playing with a board or two (hello, hammer test) will quickly give you some useful data.
But mostly, don’t hold off on building a chair because you cannot find “perfect wood.” It doesn’t exist in my world. And historically, chairmakers used what they had – Whateverous foundus. And that’s one of the best lessons we can take from the past.
My latest book, “American Peasant,” is now shipping from our Covington warehouse. The price is $37 plus shipping. All copies purchased from us are autographed.
If you can’t afford the book, or aren’t sure it’s for you, the pdf of the complete book is free. You can download it by clicking this link. This is not a trap. You don’t have to register or give up your email. Just click this, and the pdf will download to your device. No strings attached.
The pdf is free now and for always. Tell your friends.
A quick note for those who bought merchandise to support our renovation of the Anthe Warehouse, your book is on the way. Check the bottom of this entry for details.
What’s the Book About?
“American Peasant” is an introduction to a style of peasant furniture and decoration that is almost unheard of in the Americas. Built primarily with tongues, grooves and pegs, the furniture is frequently engraved with geometric symbols that beautify the piece and protect its owner.
With this book, you will learn to build 10 simple pieces using common tools and whatever lumber is on hand. And you’ll learn to engrave the pieces using nothing more than a cheap craft knife and a vinyl flooring cutter. (We were so thrilled with this tool that we now make a commercial version of it.)
In addition to furniture making, “American Peasant” delves into other areas of the craft that will make you a more independent woodworker. Learn to make your own commercial-grade glue using only three ingredients (food-grade gelatin, salt and water), all of which you can find at the grocery store. The glue is strong, reversible and non-toxic (it’s edible, though we don’t recommend eating it).
You can make your own finish using beeswax, linseed oil and citrus solvent. This non-toxic finish is easy to apply and to repair. Plus, it looks better with age and use.
Finally, you’ll learn the language of the engravings, which come from Scandinavia, Eastern Europe and the U.K. These geometric engravings can protect a loved one from sickness, guard your valuables and grant good fortune to others (there are no negative engravings or spells in this book).
It’s the most beautiful book I have written, designed and printed. The cover is our first two-color diestamp, and the plant did a beautiful job of stamping it extra-deep so the cloth has a fantastic texture (“…with the look and feel of hand-tooled leather.”).I hope you enjoy it.
Anthe Supporters – Read This!
If you were one of the 445 people who purchased a special class, a spell panel, lump hammer or book that supported our effort to fix up our Covington warehouse, this section is for you.
Last month I sent out a couple emails to all of you. If you didn’t get one, check your junk folder. I have signed all your books, personalized them to you and they are shipping now (I labeled a bunch of them this morning). If you think or know you are entitled to a book but you haven’t received an email, don’t leave a comment here. Instead, reach out to help@lostartpress.com. They will help sort it out.
Customer service stuff aside, thank you – all of you. Your purchases raised about $120,000 that was beyond helpful.
And Hats! We also have a batch of new hats in the store. These are navy blue with our dividers embroidered in white. These are unstructured, soft and have a metal clasp to adjust them. We got a special deal on them and were able to lower the price by $5.
The cover of “American Peasant.” Coming out this week.
Sometimes we have so much stuff going on at Lost Art Press that I need to condense it all into one brief blog entry. Here we go.
‘American Peasant’ Released Early
My latest book, “American Peasant,” shipped from the printer 10 days early and will arrive in our Covington warehouse on Monday or Tuesday. We’ll open up ordering as soon as we can. The book will be $37. It is the prettiest book I’ve ever written, designed or published. I hope you like it.
FWW issue 311
On the Cover of Fine Woodworking
I am on the cover of the latest issue of Fine Woodworking magazine, which was a surprise and shock. I wrote an article on building Irish stick chairs for the magazine, which I worked on with Anissa Kapsales. I had no idea that I was going to end up on the cover, and Anissa kept it a secret.
The article turned out quite well (I think). And FWW has contracted me to write three more articles for future issues. I was wary about getting back into the magazine publishing world, but the good staff at the magazine has made it a pleasure. And fun.
The Stick Chair Journal No. 2
The second issue of The Stick Chair Journal has gone to press and should be released in early August. The cover article in the issue shows how to build the Hobbit-esque chair from “The Lord of the Rings” movies. There’s also an article about the first John Brown chair made in America. And a new technique I’ve worked out that makes assembling stick chairs much easier.
Other news….
We have new Lost Art Press hats that will go up for sale this week. They are navy blue and feature our dividers embroidered in white.
Whitney Miller has just finished editing her video on building a Swedish Tool Chest. We hope to have that up for sale this week, too.
And also worth noting: We have started production on our new Exeter-pattern nail hammers. Sexy, sexy, sexy.
We have finally worked out all of the price increases that will take effect on Sunday, July 7. This blog entry is our final reminder. The price increases will also take effect with our retailers in the U.S. and elsewhere.
The price increases for books are the result of increased costs of paper and cotton cloth – plus increased labor costs at the printing plants we use in Tennessee and Michigan. Here are the books that will see price increases and the new prices.
The price increases for tools are more significant. Metal prices continue to go up, and we decline to switch to plastics or other inexpensive materials (in fact, we are reducing our use of plastic this year). In addition to the cost of metal going up, our price structure wasn’t consistent. Some tools (such as the sliding bevel) were way underpriced for all the machining and handwork that goes into them).
Because we want to keep making tools (and develop new ones), we have to make sure that Crucible isn’t robbing Lost Art Press. Here the tools and their price increases.
Before you give us grief in the comments, please keep in mind that all of our products are made here in the States. We pay our employees a more-than-fair wage with health insurance coverage. We could go overseas and reduce our prices (or keep the profits). But we prefer to employ our neighbors.
