As I finished the text for “The Anarchist’s Tool Chest” in 2011, I had a bad thought.
Shouldn’t I build multiple kinds of tool chests for the book? A traveling one? A Dutch example? A Japanese one? Some 20th-century suitcase types (which I am not fond of)?
In the end, I decided that no one was going to build the tool chest anyway. The chest was, after all, just a literary conceit. It was the mental place where you put your limited set of tools.
As the last two years and hundreds of tools chests have shown, I was wrong about one part of my rationalization. But what about the rest?
As I close in on the last bits of writing for “Campaign Furniture,” I am entering the “second guessing” phase of the project. Today I drew up some folding shelves that work using the same mechanism as the folding table I’ve built. As my pencil sketched in the hinges, I thought: I should build this. It’s just too cool.
These shelves fold flat after you pull out the center shelf, which is fit firmly into a groove/dado/rabbets in each side of the case. It is a crazy-cool use of 12 butt hinges.
So I’m trying to figure out if I have the time to build the shelves and still make my Dec. 31 deadline. I won’t extend the deadline. I can’t. But can I fit in this last piece?
Trunks such as this – sometimes called “strong chests” or “barracks chests” – are a common form of campaign furniture. They were available in a variety of configurations, from plain deal boxes to elaborate affairs lined with zinc, camphorwood or baize.
Trunks typically have square ends – both the height and depth of the trunk can be roughly 15” to 25” typically. In general, they are somewhere between 25” to 40” wide. The chests are frequently dovetailed at the corners and bound with brass corners and other brass straps. Despite the dovetails, many of the lids and bottoms of trunks were merely nailed to the carcase. It is not unusual to find a trunk with a lid or bottom that has a split.
Less expensive models used butt joints at the corner and were bound in iron with the lids simply screwed on.
My example is based off of details from five trunks I’ve studied in person, including one from the East Indies that had the unusual corner joint shown.
The mahogany is gorgeous stuff from Midwest Woodworking (RIP David Frank). The hardware was custom-made by Horton Brasses (thanks Orion Henderson and everyone at Horton). The finish is two coats of garnet shellac (Tiger Flakes from Tools for Working Wood), then one coat of dull lacquer and black bison wax from Liberon (aka Creepy Janitor).
I now have only two more projects to build for the book “Campaign Furniture,” a final Roorkhee chair that incorporates everything I’ve learned about them during the last year and a deluxe folding bookcase.
The best thing I ever learned about furniture design came from my mom while we were driving the family Suburban somewhere in the Florida panhandle.
My mom is absolutely the best cook I have ever encountered. She can do anything with nothing. She makes it all look effortless and taste amazing. She, quite frankly, opened my eyes to the possibilities of food in the way my dad introduced me to wood.
So anyway, we’re driving back to our beach rental place one summer in the 1980s, and my mom and I are talking about food. And I describe some fruit smoothie. It’s stupid, really, but it’s a fruit smoothie with some weird combination of fruits and juices.
I say: I think that would taste good.
She says: You can visulaize that?
Me: Yeah, no problem.
Mom: That’s cooking. Right there.
That moment has stuck with me for almost 30 years now, both as a cook and a furniture designer. And after much thought, I’ve concluded there are two kinds of designers: cooks and bakers.
I have always been a cook. I am interested in combining different ingredients until I gradually achieve a perfect balance when making a sauce or casserole or carcase. I taste and taste. Modify and modify. And I’m never satisfied until the very last, when I place the food on the table.
My wife, Lucy, on the other hand, is a baker. She treats ingredients like a chemist. She measures. Measures again. And makes fantastic cookies and cakes that I cannot ever hope to make. But – and this is not a criticism – her cookies always taste the same. My shrimp and grits always tastes different, depending on what’s available and my mood.
What the heck does this have to do with woodworking? Everything.
When I design furniture, I am willing to alter the details at any stage. I refuse to use a cutting list. I simply feel my way through the project, step by step. I can do this because I have a vast library of furniture books and images in my head and in my house that I use to guide me. I start with a basic recipe that is based on the material I have, the photos of similar objects I’ve culled from my library and the desires of the person I’m building the piece for.
When I build this way, I am always happy with the result.
During my years at Popular Woodworking Magazine, I tried to build things according to more of a baking paradigm. I took the print, developed a cutting list and stuck to it. At times this process worked. The baking soda was right to the granule. Other times, I felt like I was simply reproducing someone else’s mistakes.
So, bottom line, I want my mistakes to be my own.
The problem with my approach is that it’s hard (no, impossible) to teach to others. I much prefer the approach of George Walker and Jim Tolpin in “By Hand & Eye,” who teach woodworkers to develop their designer’s eye through exercise and exploration.
My approach is more like Anthony Bourdain. Eat everything. Make yourself sick again and again until you you can find the balance between beauty and botulism. Yeah, sometimes you’ll throw up on the street, but sometimes you’ll find something that can silence a room.
After 18-plus months of building campaign furniture for this upcoming book, I’ve experimented with several different techniques for insetting the ubiquitous brass hardware that adorns every piece.
I’ve used electric routers and templates, routers freehand, drills, firmer gouges, chisels and carving tools. Sometimes I combined several of these tools.
All of the methods work just fine, and so I don’t have any particular recommendation as to the tool set you use. I’m going to show all the different ways in the book.
What was surprising to me is that the 100-percent hand-tool methods (chisel, gouge, router plane and mallet) weren’t slow at all. Yesterday I inlaid 25 pieces of brass into a trunk that I’ll be finishing tomorrow, and I did the whole job in four hours.
That’s on par with the time it takes me to do it with a router and a template.
In other “Campaign Furniture” book news: I can’t draw for possum poo. Yet, I want all the drawings in this book to be hand-drawn by my hand. The solution: Photoshop, a light table and tracing paper. All week I’ve been experimenting with taking my SketchUp drawings, combining them with bits from photos and then tracing the results.
I am not where I want to be. But it looks better (to me) than a CAD drawing in a book that discusses pre-Industrial furniture and has a “manual” feel to its design.
