At 1 p.m. Eastern tomorrow (Tues., Oct. 6), Peter Galbert will carve a chair seat right in front of your very eyes on Mary May’s live-streamed Twitch TV channel. The web address is: twitch.tv/marymaywoodcarver.
You don’t have to have a Twitch account to watch, but if you want to ask questions or interact in any way, you do. Twitch is free and can be watched online, or through the free app for either iOS or android.
If you can’t make the live stream, you can watch the recorded show afterward on Mary’s Twitch channel.
— Fitz
p.s. Obligatory commercial mentions: Take a look at Mary May’s “Carving the Acanthus Leaf” here, and Peter Galbert’s “Chairmaker’s Notebook” here.
“Drew’s books and tool sales were invaluable to me in the 90s as I explored traditional woodworking. There was a fascinating world within the brown cover of his 1978 book ‘Country Woodcraft’ and Drew and Louise were really living it. From Louise’s baskets to a carved hauling yoke to bowls and spoons, I found wood, and the working of it, honored.”
Drew and Louise Langsner began their woodworking classes at Country Workshops in 1978 and ran them until 2017 – more than 400 classes in all. The instructor list reads like a who’s who of green woodworking, featuring Wille and Jögge Sundqvist, Jennie Alexander, Curtis Buchanan, Brian Boggs, Carl Swensson, John Brown, the toolmaker Hans Karlsson and more. Working with and alongside these great craftspeople, I’d bet Drew has seen more green woodworking than anyone alive. There’s so much content rattling around in Drew’s memory, and now he’s distilled much of that information into a new expanded edition of his 1978 book “Country Woodcraft.”
The world was young when the book first came out. If you wanted information like this back then, it was more than a click away. Mail order was the standard order of the day. That’s how I got the book. Then just a couple years later, a notice in small print in the back of Fine Woodworking alerted me to the existence of Drew’s then-fledgling school called Country Workshops. A long trip from Massachusetts down to North Carolina, and my world changed forever.
But the book started it, along with John Alexander’s “Make a Chair from a Tree,” which was published the same year. “Country Woodcraft” was a project-based book that really taught techniques, starting off with felling and splitting trees into usable sections and going through the making of all manner of household and farm implements. This book is where Americans first saw Wille Sundqvist make wooden spoons; Drew and Louise met Wille in 1976, then brought him to their farm two years later for some of the first courses their school ever ran. The hewn wooden bowls stem from the same source. White oak basketry and poplar bark boxes are among the many projects included here that they learned in their adopted home of southern Appalachia.
Now with the updates to this seminal book we have the benefit of all of Drew’s continued exploration. Having watched Drew now for much of 40 years, I can tell you he puts a tremendous amount of thought into his woodworking and teaching. Drew has always wanted to know how to use this tool, that technique, but also why to use them. And how to make them better. He has searched out great craftspeople and toolmakers and learned as much as he could from them, adapting and blending ideas from one to another. Refinement has been at the forefront of his work. Being a teacher and overseeing others instructing classes, Drew’s focus is often on how to convey his ideas to students. And they get more than their money’s worth. “Life-changing” is an adjective often used to describe students’ experiences at Country Workshops.
Reading the new edition of “Country Woodcraft” was as exciting for me as reading it the first time all those years ago. Great depth and detail, showing us what has changed his thinking through the decades and why. Things Drew couldn’t have known back then are carefully explained now – even down to what to do with the shavings! Many of us remember when the book first came around, but now the great influx of interest in green woodworking, spoon carving and other related crafts will introduce this well-deserving giant in the field to a whole new audience.
I’ve taken a few green woodworking classes, and I’ve lurked in the background for several others. What stands out to me from those experiences is that the axe is the tool most unfamiliar to green green woodworkers. Sure, we all know what an axe is, and we might have used one to split firewood.
But most woodworkers haven’t used an axe for carving until their first green woodworking class. I know I hadn’t. And my grandfather’s axe from his short stint as a carpenter on the L&N Railroad cut neither the mustard nor the wood (at least not as I needed it to).
So even though the pdf excerpt below is one of the appendices from Drew Langsner’s “Country Woodcraft: Then and Now,” I think it’s an excellent introduction to green woodworking.
Reminder: Until the physical book ships to the warehouse, all orders include a free pdf download of “Country Woodcraft: Then and Now” in its entirety.
We’ve had a couple people place inadvertent double orders: one when a book is first available (right when we send it to the printer), then again six weeks or so later when we post that the book is now in stock. (I get it…given my bourbon intake since March, it’s a miracle that I haven’t placed a double order!)
So, if you think it’s possible you’ve placed an order but cannot remember (or if you simply wish to check the status of an order), here’s how, in pictures (and captions).
At lostartpress.com, click on LOGIN (upper left)Enter your email and password (or in my case, Chris’s (masked) email and password…I’m drunk with power, not bourbon!), then click “Sign in.” (If you’ve forgotten your password, no problem. Click “Forgot your password?” to reset it.)After you’ve signed in, you’ll end up on your “My Account” page, which lists all your orders. Here, I see “Unfulfilled” on Chris’ most recent order…so I know there’s something ordered that has not yet left the warehouse. So, I click the blue order number at far left. And yes indeed – Chris has already ordered “The Anarchist’s Workbench,” but it has not yet left the warehouse. No need to order another copy.
And if you’re wondering why Chris ordered “The Anarchist’s Workbench” – a book he wrote and that is not only free to download but for which the design files are available to him on the very computer at which I type this – it’s because Lost Art Press likes to replicate your order experience from time to time, just to make sure everything is working as it should – from placing the order to the packing and shipping to delivery.
This week I’m building two prototypes for a lowback stick chair for my next book. There’s a good chance this form will be a failure. But if I don’t try, then it definitely will be a failure.
Chair prototypes start with sketches and hours of staring at the hundreds of images I’ve collected from my travels, auction sales and images shared by brother and sister chair nerds.
Then I build a half-scale prototype with scrap wood, wire hangers and epoxy. I’m starting with a basic D-shaped seat, though that might change down the evolutionary path.
For this prototype, I found a better way to glue the wire hangers into the seat. In the before times, I would drill a slightly undersized hole, coat the end of the hanger with epoxy and tap it in. Then I’d dab some epoxy around the place where the hanger met the seat.
This was usually a strong-enough joint to bend the legs a few times. But sometimes the leg would come loose while bending it.
To fix that, I first drilled the hole for the hanger and followed that with a countersink. This created a bowl for the epoxy to pool. This greatly strengthened the joint, and I didn’t have to be gentle while bending the legs with pliers.
After settling on the rake and splay for the prototype, I visit my “boneyard” of chair parts. These are the bits I’ve accumulated after years of building chairs for customers and in classes.
Using leftover parts saves time, of course. But it also helps me visualize what’s right and wrong about a prototype. By using old legs at new angles, I can see clearly if I like the rake and splay without being distracted by a new leg shape.
Put another way: If I build a prototype with a new leg shape, new leg size, new stretcher orientation and new rake and splay, then it’s difficult to decide how to improve the chair. Is it the angles that are wrong? The leg shape? A combination of two factors?
It’s a cautious and slow approach, but I rarely hit a dead end as a result.
The other nice thing about this approach is that even a failed prototype isn’t a total loss. I can cut up the cherry, ash and oak parts and put them in my smoker with a pork shoulder and prototype me some pulled pork sandwiches.
