Fish glue is the best that one can use for gluing hard woods and metals. It is made with the skin, nervous and mucilaginous parts of certain large fish [sturgeon], which are found in the Russian seas. It is in the north where fish glue is made, from where the English and the Dutch bring it to us, especially from the Port of Archangel, where it is a good business. Good fish glue has hardly any odor, and should be of a white color, clear and transparent. One must pay attention that is not contaminated, that is, mixed of heterogeneous parts.
To make fish glue melt, you take it in the following manner: You begin by cutting the hard, dry glue in little pieces, then you put it in a clay pot or a glass vessel with good brandy, noting that the latter covers the glue. Then you bottle up the vessel, which one must fill only half full, and you put it all on hot cinders just until the glue dissolves perfectly. Or, you can cut the glue as above, and you soak it in the brandy until it has softened, then you make it melt in a double boiler, as is normally done.
There are workers who, instead of brandy, put the fish glue in ordinary water to which they add a garlic clove. This is rather good, but is not the same as brandy, to which one can add a bit of garlic, which can only augment the strength of the glue.
One can do the same thing with good English glue; that is to say, put [it] in brandy and garlic. I have done it many times, and that has always been successful for me.
With the stool’s hardware mechanism working fine, this morning I made a set of three stool legs from mahogany left over from a run of Roorkhee chairs in 2012.
My design for the legs was inspired by the foot of an original 1898 Roorkhee, which is essentially a slightly flattened bead. I also added four grooves that straddle the holes through the legs and turned a gradual taper from these holes down to the ankle.
The fun part of the job was finishing the legs on the lathe. With the lathe spinning, I rubbed on some beeswax from farmer beekeeper and woodworker Will Myers (thanks Will!). Then, with the lathe still spinning, I used Roubo’s polissoir to burnish the mahogany and drive the wax into the wood’s pores. A final polish with some rough cotton cloth (an empty bag of grits) produced the final sheen.
I don’t know if it’s a non-non to use a polissoir on a spinning lathe, but it sure made short work of the finishing process.
For the seat, Ty Black is cutting out some of my “oiled latigo” leather I bought for a Roorkhee chair for a customer. That leather is from Wicket & Craig and has the shop nickname of the “sex machine leather.” It’s impossibly buttery and beautiful.
On Friday, I hope we’ll get the second prototype assembled – after I age the hardware.
— Christopher Schwarz
Oh, One More Thing…
During the last 10 years, the most common question I’m asked (aside from, “What wood should I use for my workbench?” Answer here.) is, “How do you manage to write, edit, build and teach as much as you do?”
I know that most people are paying me a compliment with the question. With others, the implication is that I don’t build all the projects I show here. Or that I sub-contract out the construction or finishing. Or that I am just really skilled in making photo-realistic images.
Here’s the deal: I went to journalism school and cut my teeth at a newspaper where we wrote 400 to 500 original pieces a year. I can write a blog entry, such as this one, in about 15 to 30 minutes without much forethought. It just comes out – like water from a well or crap from a porta-potty, depending on how you like my work.
Also important: I don’t watch TV, don’t like sports, don’t have a lot of friends and don’t have any other hobbies besides woodworking and listening to music while woodworking. Considering how much time I devote to the craft, I actually should be a lot better and a lot faster.
I am pleased to announce that Lee Valley Tools, Lie-Nielsen Toolworks and Tools for Working Wood will be carrying Christian Becksvoort’s first book with Lost Art Press: “With the Grain: A Craftsman’s Guide to Understanding Wood.”
The book should be in our warehouse (um, John Hoffman’s garage) in the next two or three weeks.
You can order “With the Grain” from the Lost Art Press store for $25 with free domestic shipping until Feb. 20. After that date, shipping will be $7.
If you haven’t read about the book, check out our announcement here. And I wrote a follow-up here.
Today my daughter Katy was home sick and asked to give me a hand in the shop building a prototype of the Andre Roubo campaign stool.
We made the prototype using 1-1/8”-diameter dowels made from some spongy wood from Southeast Asia. We’ll make the real campaign stools from mahogany spun on the lathe and leather scraps leftover from the Roorkhee chairs.
Today was all about getting the hardware working with the holes and the sticks. When everything is tuned correctly, the legs fold out without flopping out.
Today I taught Katy to use her first machine: the drill press. She drilled the holes in the legs. Her holes looked great because she drilled in from both ends and her holes met in the middle. My hole was so ragged that Katy was compelled to take a picture for you.
Photo by Katy Schwarz
Note that we threw this one in the garbage and used her legs instead.
The hardware is the interesting thing. I’ve resisted making these stools in the past because the old books show making the hardware by soldering some round steel stock together and then threading it manually.
Instead, we’re using 5/16” all-thread rod that is bisected by an eye bolt to make a three-way joint. It works very well. The hardware is secured by washers and brass acorn nuts. Tonight my leather-loving shop assistant, Ty Black, is going to stitch up some different seats for us to try.
I hope (and also don’t hope) that Katy is sick tomorrow.
I finished up an Andre Roubo try square last night – this one in row-grain mahogany,
The funny thing about this square is that it is the first one I’ve made in a species that Roubo himself might actually have used. All the other French squares I’ve made have been using North American species: American beech, maple, walnut and cherry.
What’s funny about that? Of all the squares I’ve made, I like this one the least. The square’s blade is perfectly quartersawn and has that row grain that is a result of the interlocked grain. I think it’s visually distracting, even though it’s proper, and I’ve seen many wooden tools that look this way.
The bridle joint also has a small gash at the baseline when my chisel slipped. But the square is square and is nice and lightweight. So maybe I’ll come to like it after it gets grungy.
On the docket today is a full load of Roubo. I’m editing the last chapter of “To Make as Perfectly as Possible: Roubo on Marquetry.” I’m also building a three-legged campaign stool from his original 18th-century text.
This should be a fun build, and an opportunity to use up some of the small leather scraps from our last run of Roorkhee chairs. The only trick to the stool is the hardware. I found a way to make it without welding, which was the traditional method.