After a crisis involving the endsheets in “The Anarchist’s Design Book,” we are back on track with the production process and the book is expected to be released on time in late February or early March.
Just a reminder that if you want a pdf of the book included in your purchase, you need to order by Feb. 15. After that day, the pdf will cost extra.
We have started receiving orders for the book from our retailers. Here is who has signed on so far:
As more retailers sign on, we will let you know here on the blog.
A couple notes: We don’t know when our retailers will begin selling the book. Some offer it for pre-publication order. Some wait until they have the books in their warehouse. If you have questions such as this, it’s best to ask the retailer because we don’t know.
Also, many international customers have asked about getting the pdf with their purchase. We have created a mechanism that allows the retailers to do this. We now offer “dropcards” – a nicely printed card with a unique code that allows you to download the book securely. Several of the retailers are interested in the technology. But once again, it is up to them to decide to carry these dropcards or not.
One last thing: As of this morning, we have sold out about 75 percent of the first press run. If you are one of those freaks (I mean, book collectors), you have been warned.
The only time I feel like I’m a Deep South Bible salesman is when I try to convince people of the merits of hide glue. I’ve spent years honing my case for this glue, which is perfectly designed for furniture makers.
Among younger woodworkers, it’s an easy sell. But for people who have been using yellow or white glue for a decade or two, it’s typically hopeless.
And so I present to you these four photos that show one of the glue’s many merits.
Today I’m tidying up the carcase of a tool chest that is bound for a customer in two weeks. And I found an ugly film of glue that has squeezed out under the top skirt. I’d missed it because it had been obscured by the bar of a clamp.
No worries. I get a small bucket filled with the hottest tap water and fetch a toothbrush and a blue surgical rag.
I apply some of the hot water to the glue and rub it in with the rag. These surgical rags (available via mail order or from friends in the medical profession) don’t leave lint behind and have a very slight abrasive quality. But they don’t scratch the wood.
After about 30 seconds of rubbing, I switch to the toothbrush to make sure I get all the glue out of the corner. Then I dip the rag in the hot water anew, scrub the affected area and hit it again with the toothbrush. After a couple cycles the glue softens, then dissolves into the rag and the water. I dry off the area and I’m done.
There might still be a little bit of dissolved glue in the grain (which I cannot see), but as hide glue is transparent to most finishes, I’ve never had a problem.
This fix took about two minutes and there was zero chance of my gashing the wood with a scraper, chisel or shoulder plane.
By the way, this fix works on hide glue that is way older than I am.
My latest DVD with Popular Woodworking, “Build a Hand-Crafted Bookcase“ is expected to ship this week. It’s a 126-minute exploration of building the bookcase from “The Anarchist’s Design Book” entirely by hand using surfaced home-center pine.
The DVD begins by throwing out the modern idea of using adjustable shelves and discusses how the design was created and can be modified. From there we explore a bunch of different skills in detail suitable for the dead-nuts beginner (there’s way more detail than in the book).
Topics include:
Surfacing boards with handplanes.
Cutting through-dados with saws, chisel and a router plane.
Making stopped grooves with a chisel and router plane.
Making a tongue-and-groove back.
All about cut nails, forged nails and wire nails.
Why furniture makers should use hide glue.
On using milk paint and why you shouldn’t use the instructions to mix it.
It was a fun DVD to make and we ended up with another bookcase for the house, allowing me to unbox some more woodworking books stored in the basement. The video is available as a DVD or as a download.
Editor’s note: In 1981, Charles H. Hayward wrote some short autobiographical pieces about his time as a young woodworker in England before the Great War. To give you a better picture of the man behind our new book, “The Woodworker: The Charles H. Hayward Years,” we offer some excerpts for you to enjoy.
Looking back over the years perhaps the most outstanding difference between a cabinet-making workshop as I remember it in the years before the war of 1914 and that of today is that, whereas in the early days a man made a piece of furniture from start to finish, today he may carry out just one process in a whole chain of operations. It is, of course, the result, partly of mechanisation and of specialisation. There are a few workshops in which a man may make up perhaps one of an individual piece for a customer, but in general the furniture of today is not only mass-produced but is the product of several specialised operations, one shop cutting parts to size, a second laying veneers, a third cleaning up, another assembling, and so on. To a man of today the day’s work may be one long repetitive process, and he may never see the final outcome.
In the early years of which I speak, there were of course some machines in use, circular saws, bandsaws, planers, spindle moulders, and so on, but mass-production on a grand scale had yet to come, and it was still possible for an individual cabinet-maker to make a living, turning out one or perhaps two or three of an item.
I recall that remarkable district of Shoreditch as it was before 1914 when it was the home of the furniture trade. There were a few factories in which a dozen or so men might be employed in turning out bureaux, tables, or whatever their specialty might be, but for the greater part whole streets of houses were let out, sometimes in individual rooms to cabinet-makers, each self-employed. One man might be making the finest grade cabinet work, serpentine-front sideboards, or oval writing desks, etc., while his neighbour was turning out the cheapest grade flimsy items made from plywood faced with veneer. No one thought there was anything strange about such curiously mixed classes of work, and each man went about his business sublimely indifferent to the works of his neighbours.
Of course, even in those days the necessity for machines to reduce costs had made itself felt, but few men had the room or facilities for installing even a basic machine, and so came the development of machine shops which undertook to do planing, fret-cutting, sawing, spindle moulding, turning, and so on. Thus a cabinet-maker could take his timber or partly prepared parts and have the moulded, rebated, or given whatever treatment was needed.
And even here the curious system often maintained in which, say, a woodturner would hire the use of a lathe for a day or more, and would then earn whatever he could on a piece work basis from regular or chance customers. His clients would bring him their timbers with a drawing or note of whatever was wanted, and bargain for a price.
I recall as a youngster wanting a set of oak turned legs for a table I was making. One of the men from the workshop where I was an apprentice offered to take me to Shoreditch when he had finished work on Saturday at 12:30 pm. He knew the district well, having worked there himself, and we went by tram to Old Street (there were still a few horse-drawn trams in those days, though they were mostly electric). The machine shop was in a dismal back street, and apparently had been the basement of a large house, for we went four or five steps down from the pavement. The turner must have been a master of his craft (as he needed to be because he was far from sober and was in the garrulous stage of drink). He leaned against the stand of his lathe for support as he finished off the legs and entertained us with a recital of his matrimonial difficulties. I have never seen a man work so quickly with gouge and chisel and still turn out a really clean job. When we paid him he made an elaborate bow, gave us his blessing, and picked up the next square of timber for turning, apparently set for an afternoon’s work. Maybe he found it more congenial to remain at work than face further contact with his life companion.
I cannot recall that there seemed to be anything odd about either the district or the people who worked there. Things in those days seemed to produce a species with curiously emphasized characteristics, and working conditions and sanitary arrangements were tolerated to a degree difficult to realise today. I remember being taken to the East End of London a day or two after the Sydney Street Siege to see the site of the street battle, and opposite the blackened building were two women, both drunk, fighting like furies, one with her blouse torn open up the front and both with black eyes and scratched cheeks. Eventually one fell into the gutter, and the last I saw of her was as she was carted off screaming, strapped into a wheeled hand-stretcher by two policemen, one of whom had his helmet knocked off. (These wheeled hand-stretchers, by the way, were used as much for removal of drunks as for use in street accidents).
Here’s a short list of stuff you should see before June – the five-year anniversary of “The Anarchist’s Tool Chest.”
We have figured out a way for international customers to buy a book plus a pdf at a discounted price. We’ll have details in the next few weeks.
Starting in February, we are going to begin selling original handmade copperplate prints of the 12 projects in “The Anarchist’s Design Book.” Each month we will feature one of the project prints for ordering on the website. Then the artist, Briony Morrow-Cribbs, will make your copperplate print to order and they will be signed and numbered by Briony and myself. Each print will be $125; we’ll offer a different print every month. We’ll also be offering a complete set of the prints in a handmade box. Details to follow.
Visitors to the new Lost Art Press storefront will be able to examine and purchase these copperplate prints during our March 12 open house. Prepare to be impressed.
For the five-year anniversary of “The Anarchist’s Tool Chest,” we’ll be printing special stickers, red T-shirts and a 17” x 22” poster featuring an architectural drawing of the chest. All of these will be available first at our Covington storefront as we work out the supply issues, and then on the website.
“Woodworking in Estonia” is at the top of my editing list right now. We hope to have that at the printer by June.
All of this is possible because I’m not teaching this year. I’ll also be releasing three DVDs through Popular Woodworking that I think you’ll find interesting. Oh, and I’ve started working on my next book. It will be unlike anything published in the last 70 years. Promise.