To develop a good eye for chairmaking (or spoon carving or alligator wrestling), you need to study as many chairs as possible. Do it until your eyes glaze over.
Here’s a set of nice “Spinnstuhls” compiled by Rudy Everts in Bavaria. These so-called sewing chairs are from southern Germany and the Alps. These chairs are interesting to me in several ways. Some have a traditional undercarriage for chairs from this region – radical rake and splay, legs that taper to the floor, battens to thicken the seat – but some do not.
Check out the bent legs on a couple examples. A good guess is these came from a bent section of the tree, perhaps a branch or from the root section of a trunk.
Also, the variety of uppercarriages is fascinating. Some are joined, some look sawn from solid and some look bent.
Look through the gallery. Zoom in. Class dismissed.
Building a hayrake table. Killer joinery (exposed tenons with trapped, scribed shoulders; bridle joints; cool geometry), carving lambs’ tongues, decorative gouging and inlaid butterfly keys—all at the Port Townsend School of Woodworking.
Laying out a lamb’s tongueCutting one exposed tenon with shoulders scribed to a curved stretcher is fun. Cutting a pair when the shoulders are trapped between stretchers at a fixed length is a challenge.Preparing to trim a stretcher tenon
At the end of six days you’ll go home with a table–or, depending on your proficiency and other variables, you’ll at least go home with parts of the table ready for you to finish working on them, and you will be familiar with the techniques required to complete the build.
The class will run from July 8-13 (six days) and students are encouraged to build their table to their own dimensions. You can bring your own lumber or buy it before the start of class at Edensaw Woods.
If you didn’t get a chance to purchase one of the Crucible curved card scrapers, you can make your own with a dry grinder and an existing card scraper. It takes about 30 minutes.
Download and print out the following template. It’s a hand-drawn version of Chris Williams’s scraper, which is where our design started.
Cut it out and affix it to your card scraper with the help of spray adhesive. Or make a cardboard template and trace its shape on your scraper with a permanent marker.
At your grinder, set the tool rest to 0° – parallel to the floor. Dress the wheel of your grinder (we use an #80-grit wheel, but a #60 or #100 will also do) so it has a slight convex shape. This convexity in the wheel makes the scraper easier to shape.
Get a bucket of water and put it by the grinder.
(Hey wait, where are the step photos? I’m in a hotel room that’s 400 miles from my shop. You are going to have to use your imagination.)
Place the scraper on the tool rest and start grinding the excess metal away. Don’t work on one part of the scraper for more than a few seconds. Keep moving around the perimeter. After 10 or 15 seconds, try to pinch the scraper with a finger and thumb. If….
… you can pinch the scraper with no pain, continue to grind.
… your fingers reflexively jump away, cool the scraper in your water bucket.
… you smell bacon, also cool the scraper in the water bucket.
Once you have ground down to your line, you will have become pretty good at grinding flat shapes – congrats. Now you need to remove the grinder marks from the edges.
Use a block of wood to hold the scraper at 90° on a coarse diamond stone and stone the edges. Remove all the scratches from the grinder. Then move up to a #1,000-grit waterstone (or soft Arkansas) and then up to a polishing stone. Then you can proceed with normal scraper-sharpening procedures.
This is exactly how I made all of our prototypes. I promise that you will become emotionally involved with your scraper after putting all the work into it, and you might not ever want to buy one of ours.
You can now purchase the Williams Welsh Card Scraper in the Crucible store. It is $20 plus shipping and is available for immediate shipment.
The scraper is named after Chris Williams, a Welsh chairmaker who first showed us this shape in 2018. While there are many custom scraper shapes out there for specialty work (especially scraping mouldings) Chris’s scraper was the first shape we’ve seen that is ideal for scraping both flat and curved surfaces.
We think it’s a huge improvement compared to the typical square-cornered rectangular scraper sold today. Here’s why:
The gentle curves of its cutting edges mean that you don’t have to bend the tool with your thumbs to scrape a flat surface – the curve is built-in. That makes our scraper much easier to use. (Side note: many woodworkers with arthritis who cannot use a rectangular scraper report that they can use our scraper.) Here are the tool’s other features.
It is made from 1095 spring steel that has been hardened and tempered to a Rockwell (C) hardness of 48 to 51. This hardness makes it easy to turn a hook with a standard burnisher (though carbide is always the superior choice for a burnisher) and the hook lasts plenty long.
The faces are polished and blued for rust-resistance.
The scraper is cut to shape using waterjet – both for precision and to preserve the hardness of the steel. Then the tool’s edges are hand ground and polished in Nicholasville, Ky., to make the tool easy to set up and maintain.
The scraper comes with a magnet, which acts as a heat sink while scraping, making the tool comfortable to use for long periods.
The tool is supplied with a heavy paper envelope that is perfect for storing the scraper, protecting its edges while it’s sitting in your tool chest or cabinet.
Sharpening the Williams Welsh Card Scraper is as simple as sharpening a rectangular tool. (We’ve prepared a tutorial here.) In fact, I think our tool is a bit easier to sharpen than a flat-edged scraper, especially when stoning the edges.
Like all Crucible tools, the Williams Welsh Card Scraper is made entirely in the United States with domestic materials. You can purchase one here.
Editor’s note: We’ve just sent Peter Follansbee’s book, “Joiner’s Work,” to the printer. It will be released in May. If you order a pre-publication copy from our store you will receive a free pdf of the book at checkout.
I’ve told most of my stories many times. When I first learned woodworking, it was from books. Books and one magazine. Ultimately that led me to taking a workshop/class with John (Jennie) Alexander and Drew Langsner. Some years later, Alexander and I started a correspondence in which we collaborated while 500 miles apart. This correspondence consisted of letters, 35mm slides, notes and photocopies of research/books/museum work. Back and forth these things sailed between Hingham, Mass., and Baltimore, Md. Maybe three or four times a year we’d physically work together. This went on for quite a while, until email came along and changed how we worked. (I lost all the email copies of our collaboration in a hard-drive crash. Let that be a lesson….)
What this means is I have been documenting my woodworking habits, ideas, foibles since about 1989, in words and pictures. I learned how to use a camera, tripod, cable release/self-timers etc. back in those days to shoot slides showing JA what I was doing – while s/he’d do the same down in Baltimore. We ate through a lot of Ektachrome. The good ones we kept, and used in slide lectures to woodworking groups, museum audiences and whoever would sit still for our dog and pony shows.
Interestingly, when I started museum work in 1994, that made my documentation more difficult. It was the audience – no one wanted to see all that gear set up in my shop, so I was limited in how often I could set up my camera stuff. Mostly, then, it was before or after hours during the season, but in the off-season/winter, I just left it in place.
Starting about 1992, JA and I would often talk about “the book,” as in, “we’ll have to put that in the book…” about joinery. That book percolated for 20 years until it became “Make a Joint Stool from a Tree.”
A couple years before that book was done, I had the idea for “my” book – much of the iconic joined and carved furniture of the 17th century: chests and boxes, cupboards, chairs, tables and more. And carving. And more carving. So I wrote and wrote, took pictures and filed things where, in theory, I could find them.
Like the joined stool book, this one got interrupted a few times, but I halved the time it took and then some. We ditched some of the repetition, but I think when you learn the mortise-and-tenon and frame-and-panel, then composing the piece of furniture is not all that complicated. A cupboard is not much different than a chest; the chair and table are like overgrown joint stools, Thus the focus of the new book is boxes and chests and carving. And more carving.
One standout visitor comment at my old job I remember clearly. One of the members of what I call my “craft genealogy,” Bill Coperthwaite, had just died. He was on my mind as I was working that busy November day. I forget what I was making, but it was oak for sure – and a woman watched me for quite a while, we chatted some, and in the end, she turned to her partner and said, “It makes me want to go home and make something!” I hope my new book, “Joiner’s Work,” gets the same reaction.
