The July floods in Eastern Kentucky that devastated communities also tried to erase part of the area’s history. Audio tapes stored at Appalshop were soaked with floodwaters and later covered with mold.
Appalshop has been salvaging what they can, and have been digitizing some of the gems they have unearthed. This is an expensive process, so donations to Appalshop are always appreciated.
Today Appalshop released the excerpt above that features Chester Cornett being interviewed by Elizabeth Barret. In the interview, Chester gripes about what all furniture makers complain about – how difficult it is to make a living selling handmade furniture. It’s worth your three minutes.
Katherine has just posted about 32 jars of Soft Wax 2.0 in her store. She wishes it were more jars. Production has slowed because the lipstick making machine she normally uses has gone on the fritz. The switch that controls the heating element and temperature control has failed.
Replacing it is beyond my skills – there must be six leads to the switch. And our normal repair guy isn’t responding to our hails. (Help, Eric, you’re our only hope.)
If you are an electronics expert in our locality and want to earn some money and gratitude, let us know in the comments.
In the meantime, poor Katy is making wax with a restaurant-grade nacho cheese heater. It works well, but it’s small. So it’s a whole day’s work to make 30 jars.
Anyway…
We love this finish, and I use on my chairs and casework. Katherine cooks it up here in the machine room using the raw ingredients of yellow beeswax, raw linseed oil and a little bit of citrus solvent. She then packages it in a tough glass jar with a metal screw-top lid. She applies her hand-designed label to each lid, boxes up the jars and ships them in a durable cardboard mailer. The money she makes from wax helps her make ends meet at college. Instructions for the wax are below. You can watch a video of how to use the wax here.
Instructions for Soft Wax 2.0 Soft Wax 2.0 is a safe finish for bare wood that is incredibly easy to apply and imparts a beautiful low luster to the wood.
The finish is made by cooking raw linseed oil (from the flax plant) and combining it with cosmetics-grade beeswax and a small amount of a citrus-based solvent. The result is that this finish can be applied without special safety equipment, such as a respirator. The only safety caution is to dry the rags out flat you used to apply before throwing them away. (All linseed oil generates heat as it cures, and there is a small but real chance of the rags catching fire if they are bunched up while wet.)
Soft Wax 2.0 is an ideal finish for pieces that will be touched a lot, such as chairs, turned objects and spoons. The finish does not build a film, so the wood feels like wood – not plastic. Because of this, the wax does not provide a strong barrier against water or alcohol. If you use it on countertops or a kitchen table, you will need to touch it up every once in a while. (I have it on our kitchen countertops and love it.) Simply add a little more Soft Wax to a deteriorated finish and the repair is done – no stripping or additional chemicals needed.
Soft Wax 2.0 is not intended to be used over a film finish (such as lacquer, shellac or varnish). It is best used on bare wood. However, you can apply it over a porous finish, such as milk paint.
APPLICATION INSTRUCTIONS (VERY IMPORTANT): Applying Soft Wax 2.0 is easy if you follow the simple instructions. On bare wood, apply a thin coat of soft wax using a rag, applicator pad, 3M gray pad or steel wool. Allow the finish to soak in about 15 minutes. Then, with a clean rag or towel, wipe the entire surface until it feels dry. Do not leave any excess finish on the surface. If you do leave some behind, the wood will get gummy and sticky.
The finish will be dry enough to use in a couple hours. After a couple weeks, the oil will be fully cured. After that, you can add a second coat (or not). A second coat will add more sheen and a little more protection to the wood.
Soft Wax 2.0 is made in small batches in Covington, Kentucky. Each glass jar contains 8 oz. of soft wax, enough for about five chairs.
With the release of our 1:4 Dovetail Template, which is now in the shop alongside our slightly older 1:6 & 1:8 combo Dovetail Template, I’ve received a few emails from folks lamenting there’s no way on our site to tell the difference both in how they look and how the resulting dovetails perform.
The second is easily answered: they perform the same – or close enough. Each of those three angles – and just about anything in that general vicinity, will outlast you – even if relatively poorly cut. Just look at pre-industrial drawers if you don’t believe me; on drawers that are still working just fine after more than a century, some of the dovetails look as if they were gnawed out by a beaver.
The first is fairly easily – if not particularly elegantly – answered, too. Above is a corner of joints, two each per angle, that I hurriedly cut using some scraps from the burn bin. Note that there isn’t a whole lot of difference between the look of the 1:6 (9.5°) and 1:8 (around 7°) joints. I prefer the 1:6, simply because it’s what I first cut, and have done so pretty much ever since; my wrist now has that angle ingrained. So while it felt weird to cut the 1:4 (around 14°) and 1:8, it’s certainly doable. If you can mark the line, you can saw a line.
But I also think it’s kinda funny that we sometimes fret over those angles. Do you always cut exactly on your lines? I don’t – not for the first half of the joint (in my world, that’s usually tails). The second half of the joint must (ideally) perfectly match the first half, no matter what the angle. So if my wrist tilts to, say 10° or 8° instead of 9.5° on one side of a tail, oh well. (That said, to me, the 1:4 looks a bit hefty…’cause I’m such a delicate flower.)
Anyway, above, you can see the difference in the template angles we offer. Both templates are in stock as of the moment I published this (and if we run out, I’ll order more!). Click here for the 1:6/1:8 (my favorite), and here for the 1:4 (Chris’s favorite).
– Fitz
p.s. Why doesn’t the 1:4 offer, say, 1:5 on the other end? The square end of the tool allows you to also use it as a saddle square (and to not get turned around by two similar-looking angles).
Here I’m using a zig-zag rule and a carpenter’s pencil to lay out the cuts on the pine stock for the Packing Box. I dislike zig-zags for this work because they don’t lay flat. They have the precision of a hand grenade.
The following is excerpted from “The Joiner and Cabinet Maker,” by Anonymous, Christopher Schwarz and Joel Moskowitz.
It begins in 1839. In that year, an English publisher issued a small book on woodworking that has – until now – escaped detection by scholars, historians and woodworkers.Titled “The Joiner and Cabinet Maker,” this short book was written by an anonymous tradesman and tells the fictional tale of Thomas, a lad of 13 or 14 who is apprenticed to a rural shop that builds everything from built-ins to more elaborate veneered casework. The book was written to guide young people who might be considering a life in the joinery or cabinetmaking trades, and every page is filled with surprises.
Unlike other woodworking books of the time, “The Joiner and Cabinet Maker” focuses on how apprentices can obtain the basic skills needed to work in a hand-tool shop. It begins with Thomas tending the fire to keep the hide glue warm, and it details how he learns stock preparation, many forms of joinery and casework construction. It ends with Thomas building a veneered mahogany chest of drawers that is French polished. However, this is not a book for children. It is a book for anyone exploring hand-tool woodworking.
Thanks to this book, we can stop guessing at how some operations were performed by hand and read first-hand how joints were cut and casework was assembled in one rural England shop.
Here’s what you’ll find in our expanded edition of this book:
• A historical snapshot of early 19th-century England. Moskowitz, a book collector and avid history buff, explains what England was like at the time this book was written, including the state of the labor force and woodworking technology. This dip into the historical record will expand your enjoyment of Thomas’s tale.
• The complete text of “The Joiner and Cabinet Maker,” unabridged and unaltered. We present every word of the 1839 original (plus a chapter on so-called “modern tools” added in a later edition), with footnotes from Moskowitz that will help you understand the significance of the story.
• Chapters on the construction of the three projects from “The Joiner and Cabinet Maker.” Schwarz built all three projects – a Packing Box, a dovetailed Schoolbox and a Chest of Drawers – using hand tools. The construction chapters in this new edition of “The Joiner and Cabinet Maker” show the operations in the book, explain details on construction and discuss the hand-tool methods that have arisen since this book was originally published.
• Complete construction drawings. Lost Art Press drafted all three projects in SketchUp to create detailed drawings and cutting lists for the modern woodworker.
The two-foot rule was the standard measuring device for woodworking for hundreds of years. The steel tape was likely invented in the 19th century. Its invention is sometimes credited to Alvin J. Fellows of New Haven, Conn., who patented his device in 1868, though the patent states that several kinds of tape measures were already on the market.
Tape measures didn’t become ubiquitous, however, until the 1930s or so. The tool production of Stanley Works points this out nicely. The company had made folding rules almost since the company’s inception in 1843. The company’s production of tape measures appears to have cranked up in the late 1920s, according to John Walter’s book “Stanley Tools” (Tool Merchant).
The disadvantage of steel tapes is also their prime advantage: They are flexible. So they sag and can be wildly inaccurate thanks to the sliding tab at the end, which is easily bent out of calibration.
What’s worse, steel tapes don’t lay flat on your work. They curl across their width enough to function a bit like a gutter. So you’re always pressing the tape flat to the work to make an accurate mark.
Folding two-foot rules are ideal for most cabinet-scale work. They are stiff. They lay flat. They fold up to take up little space. When you place them on edge on your work you can make an accurate mark.
They do have disadvantages. You have to switch to a different tool after you get to lengths that exceed 24″, which is a common occurrence in woodworking. Or you have to switch techniques. When I lay out joinery on a 30″-long leg with a 24″-long rule I’ll tick off most of the dimensions by aligning the rule to the top of the leg. Then – if I have to – I’ll shift the rule to the bottom of the leg and align off that. This technique allows me to work with stock 48″ long – which covers about 95 percent of the work.
Other disadvantages: The good folding rules are vintage and typically need some restoration. When I fixed up my grandfather’s folding rule, two of the rule’s three joints were loose – they flopped around like when my youngest sister broke her arm. To fix this, I put the rule on my shop’s concrete floor and tapped the pins in the ruler’s hinges using a nail set and a hammer. About six taps peened the steel pins a bit, spreading them out to tighten up the hinge.
Another problem with vintage folding rules is that the scales have become grimy or dark after years of use. You can clean the rules with a lanolin-based cleaner such as Boraxo. This helps. Or you can go whole hog and lighten the boxwood using oxalic acid (a mild acidic solution sold as “wood bleach” at every hardware store).
One leg of this scale has been cleaned with lanolin. The other has been wiped with wood bleach, which lightened the boxwood but didn’t affect the markings.
Vintage folding rules are so common that there is no reason to purchase a bad one. Look for a folding rule where the wooden scales are entirely bound in brass. These, I have found, are less likely to have warped. A common version of this vintage rule is the Stanley No. 62, which shows up on eBay just about every day and typically sells for $20 or less.
The folding rule was Thomas’s first tool purchase as soon as Mr. Jackson started paying him. I think that says a lot about how important these tools were to hand work.
When marking out his stock, Thomas uses chalk in conjunction with the rule. The author also notes that Thomas always has chalk in his pocket. What gives?
Chalk is ideal for marking out coarse measurements on boards because it won’t snap like a pencil lead on a rough-sawn wooden surface. It’s also far easier to see than pencil lead. In my shop, I’ve always used chalk at every stage in construction. You can make very bold (but easily removed) marks on your parts to keep them organized. I also use chalk to mark all the areas of tear-out that need to be addressed on a nearly finished piece of work. (Does chalk dull your edge tools? I haven’t had a problem.)
I also like how the chalk dust in my pocket absorbs excess moisture on my hands, which is a trick from the rock climbing and billiards set.
The third unfamiliar thing at this stage of the book is the way the author throws around the word “deal.” It’s easy to get the impression that deal is merely an English word for dimensional pine. But if you dig around, it can become confusing. “The Joiner and Cabinet Maker” instructs you to build one project using either “pine or deal.”
Huh? Let’s hit the books.
In my library, the accounts I dug up all agree that a “deal” is a plank of pine or spruce that is 9″ wide. But they disagree on the thickness. According to Bernard E. Jones’s “Practical Woodworker” (10 Speed Press), deal is 9″ wide and no more than 4″ thick. Charles H. Hayward’s “Carpentry for Beginners” (Drake) agrees that deal is 9″ wide, but says the thickness is between 2″ and 4″. And Paul N. Hasluck’s “The Handyman’s Book” (Senate) states that deal is 9″ wide and 2-1/2″ thick.
What is also helpful to know is that deal is just one word that English books use to describe standard sizes of wood. According to Hayward, a 20th-century author, here are some others:
Plank: A piece of wood that is 11″ wide or wider and 2″ to 4″ thick.
Batten: A piece of wood that is 5″ to 8″ wide and 2″ to 4″ thick.
Board: Anything that is more than 4″ wide and less than 2″ thick. This term is usually used with floorboards and tongued-and-grooved boards.
Scantling: Small bits that are 2″ to 4-1/2″ wide and 2″ to 4″ thick. Strip: Pieces that are less than 4″ wide and less than 2″ thick.
But that’s not all. There are different kinds of deal. Deal that is Northern pine (Pinus sylvestris) can be called Baltic red deal, Dantzic deal or yellow deal. And Spruce (Picea excelsa) shows up as white deal. And Canadian spruce (Picea nigra) can be called New Brunswick spruce deal.
Some of the “spell panels” we’ve been working on in the shop this week.
If you have a question about one of our books or tools, or something that has been bugging you about what we do here in the shop, this is the place to get an answer.
Every Saturday, I’ll post a new blog entry that calls for your questions. You can write them in the comments section below. I’ll do my best to answer them.
I do reserve the right to ignore questions that are obvious troll bait or cross the lines of decorum or reason. (One reader asked me for a list of every tool I own with an evaluation of how they had performed, plus links to competing tools he might consider purchasing. With notes on those tools, too. Questions such as this will be answered with: Get bent.)
So here we go…. Note that comments for this entry will close about 5 p.m. Eastern.
— Christopher Schwarz
Comments are now closed. See you next Saturday for more typing fun. Thanks to everyone who asked a question. And special thanks to those who pitched in to help answer questions I don’t know the answer to.
