I made my song a coat
Covered with embroideries
Out of old mythologies
From heel to throat;
But the fools caught it,
Wore it in the world’s eyes
As though they’d wrought it.
Song, let them take it
For there’s more enterprise
In walking naked.
— William Butler Yeats, “A Coat”
“True taste is for ever growing, learning, reading—”
It is well-nigh impossible to begin a New Year without some stirring of the pulse. Anything may happen to us, for good or ill, during the coming year. There is a certain sense of adventure in the air until the year is well launched and the same old pattern begins to repeat itself and the same old routine threatens to submerge us. But need it? Sometimes I think that, in an age which is pre-eminently one of change and experiment, we are often very slow as individuals to become interested in either. Most of us at heart do not like change. What we most dread about war is the major uprooting it makes in our lives, and rightly we dread it, because that is the kind of change over which we have no control. But when it means setting ourselves against new ideas, new methods, simply because they are new, then we are in danger of closing our minds to much that is interesting and stimulating in the world to-day. And a very good resolution for many of us for the New Year might be to take down the shutters from our minds, the self-imposed iron curtain by which we try to shut out the changing world.
***
Behind it we accumulate a somewhat formless litter of preconceived ideas, cosily familiar tenets and shibboleths and judgments, acquired many of them during schooldays and early youth, which have become a great part of our mental make-up. As such they will limit and cramp us unless we are determined to keep our vision clear, our minds receptive, by deliberately looking out upon the world with the eyes of maturity, noting and comparing the new with the old, and prepared to find interest and pleasure in whatever is good in both. In this way we shall remain mentally alert, and in fair way to become men of trained judgment and good taste. Which, for the woodworker who wants to become a first-class craftsman, is essential. For it is the habit of really looking at things for their own sake with intelligent, seeing eyes, and a habit of comparing and contrasting, which teaches us the difference between mediocre and fine work wherever we may find it. And not only in furniture. We can draw inspiration from anything that man has made when the work is good.
***
The great difficulty is how to hold the balance between a readiness to seek out the best in what is new and yet not to be led astray by the vagaries of fashion. We all know how from time to time a change of fashion can inundate the furniture world, so that wherever we turn, in every shop window, our eyes are caught by a new style. Whatever our first reaction may be, the fact remains that when we have seen it sufficiently often our critical faculty becomes dulled. We find ourselves liking it simply because it has become familiar. “It grows on one,” we tell ourselves, and any plans we have for making furniture can be influenced for better or worse. How are we to learn to discriminate, to keep on the one hand an open mind that is prepared to learn, on the other hand not to be led away by every passing eccentricity?
***
I fancy that there are no easy rules. That the answer can only be found in that gradually maturing judgment which comes through continued, thoughtful, observation, a weighing-up of points which, as experience accumulates, becomes an instinctive habit of mind. Ruskin who, amid a welter of words, can be relied upon for flashes of golden insight, sums it up thus: “The temper by which right taste is formed is characteristically patient. It dwells upon what is submitted to it. It does not trample upon it, lest it should be pearls, even though it looks like husks. It is a good ground, soft, penetrable, retentive; it does not send up thorns of unkind thought, to choke the weak seed; it is hungry and thirsty too, and drinks all the dew that falls on it. It is an honest and good heart, that shows no too ready springing before the sun be up, but fails not afterwards; it is distrustful of itself, so as to be ready to believe and try all things, and yet so trustful of itself that it will neither quit what it has tried nor take anything without trying. And the pleasure which it has in things that it finds true and good is so great that it cannot possibly be led aside by any tricks of fashion, or diseases of vanity; it cannot be cramped in its conclusions by partialities and hypocrisies; its visions and its delights are too penetrating, too living, for any white-washed object or shallow fountain long to endure or supply.”
***
Life so lived ceases to be the drab kind of affair that subordination to routine would make of it. For there need be no subordination of the mind except to what is true and good. And a habit of constant, eager observation will show us that “every moment some form grows perfect in hand or face; some tone on the hills or the sea is choicer than the rest.” Once such a spirit is kindled within us life becomes something vital and glowing, full of new interests and potentialities. “True taste is for ever growing, learning, reading, worshipping, lamenting over itself and testing itself by the way that it fits things,” says Ruskin. “And it finds whereof to feed, and whereby to grow, in all things.” Which is a pretty heartening thought to take into the New Year.
— Charles Hayward, The Woodworker magazine, 1951
A woodworking friend of mine has the most boring tattoo ever.
It’s a single black dot – about 1/16″ across – on his hand. He put it there as a reminder. Whenever he sees that dot, he is reminded to stop messing around and get back to studying or working or some such.
This morning, I’m pondering a trip to the tattoo parlor myself. I need some totem to remind me to lay down my tools when someone is yakking at me.
This week I am in the heat of finishing a run of Roorkee chairs, and I’m down to the part where I am cutting and assembling all the leather bits. This involves hundreds (maybe a thousand) intense freehand cuts with a utility knife and punches. One miscut and the piece is spoiled.
For the last three days, I’ve been standing alone at my bench making these cuts. I have neat piles of hundreds of components. Zero mistakes.
Yesterday a neighbor came into the shop, asking me to make him a walking stick (he’s been using a tomato stake to help him get around lately).
First mistake: I kept working while we chatted.
Second mistake: I should have offered to simply buy him a walking stick at the drugstore a block away.
Third mistake: I installed a buckle on upside-down, and I had to then destroy and remake the piece.
Fourth mistake: I fixed the problem while he kept talking. My repair turned out to be half-assed.
Fifth mistake: I cut the belting for a chair’s thigh strap 1-1/2” too short, completely ruining an assembled $150 component.
I put down my tools and wished the neighbor a happy new year as he left, tomato stake in hand.
I know a tattoo can’t fix stupid. But you think I’d be smarter after working in group workshops for the last 23 years.
— Christopher Schwarz
One of the reasons we’ve made Lost Art Press books as durable as possible might seem silly. Perhaps it is the result of growing up in the Cold War, but I’ve always worried that human civilization is on the brink of collapse.
And after that happens – whether it’s from war, climate or economics – people will need to build things without the help of YouTube or television. Maybe our books (which have already endured floods, babies and dog attacks), will survive as well.
Lately, however, my morning walks into Cincinnati have changed my mind.
Just about every morning I walk along a stretch of the Ohio River that features a geologic timeline of earth’s history from 450 million years ago until the settlement of Cincinnati in 1788. Each tile in the path is about 36” x 36” and can be covered in a single stride. And each tile represents 1 million years. Some of the tiles are decorated with the animals that developed during this period (227 million years ago: The first mammals are 6 in. shrew-like animals) or what was happening with the climate or the continents.
The entirety of human history is covered in the last of the 450-plus tiles. It’s a sobering thought to consider our lives and our work against such a grand clock. Even if you build things from solid stone, they are no match for time on this scale. Building a chair with excellent joinery so it might last 200 years suddenly seems laughable. In 1 million years, everything we know will all be dust anyway.
If this sounds like I’m headed down a path to existential despair, you’re wrong.
On the whole, I consider humanity to be a generally greedy, selfish and destructive force. But we are all capable of good. For me, the two most important things I can do are: Take care of others and create things that are beautiful. By “beauty,” I don’t mean the stuff in art museums, the books in our libraries or the soaring buildings in our cities. I mean the small (and big) things that we do everyday.
Beauty can be a rude chair that is nice to sit in and draws your eye from the other side of the room. It can be a handplaned surface. A moulding that creates bands of light and dark. A song that is sung at the end of a day’s work. A meal that you make for your family.
All these things are temporary; some last only an instant. But these bits of immediate and ordinary beauty (what you see, taste, smell and feel) make a moment – perhaps the one you are in right now – better than moments without them.
This beauty does not require a particular talent or decades of training to create. This is one of the reasons I’ve always been drawn to vernacular furniture and architecture, outsider art, folk music, folk cooking. Anyone can do it. Anyone. Even if I’m making a chair from Curtis Buchanan’s pen, singing a song by Ralph Stanley or making a recipe from the Lee Brothers, the act of creating it (or creating it again) is what keeps me in love with life.
If you are a cynic, you might think this blog entry is my way of explaining that we are going to stop sewing the signatures of our books. Or quit using the fiber tape that reinforces the casebinding. Or heck, we’re just gonna have monkeys read our books out loud on YouTube. After all, it’s all going to be dust as soon as the earth steps forward onto the next tile.
But no. I think that making something well – even if it lasts just an instant on the geologic timeline – is a form of beauty and brings pleasure or delight to others (as it does to me).
Gotta go. I’ve got some leather scraps that need to be riveted together into something that – I hope – will bring joy to a man in California and a man in Idaho.
— Christopher Schwarz
Earlier this month, John Kunstman gave a presentation at the Lost Art Press storefront on how to make breadboard ends using both power tools and hand tools.
For the attendees, John also prepared a nice 15-page handout on the process that illustrates the process with words and photos. I was supposed to print the handout for the 25 or 30 attendees, but I had too many things on my plate that day.
So I’m posting it here for everyone.
The handout covers just about everything you need to know, from panel preparation to drawboring. John even shows a few of the common mistakes he made.
The download is free. You don’t have to register, or sign up for anything or give away your social security number. Just click the link below and it will download to your device.
Thanks to John and everyone who turned out on Dec 14 for our last open day until June. It was a fun day with cameo appearances from Nancy Hiller and Peter Follansbee.
— Christopher Schwarz