After making a test joint with Haribo Gummy Bears, I let it sit overnight then subjected the joint to all sorts of abuse with a nail hammer. The joint held as well as any joint I’ve made. And the red squeeze-out had turned from a jelly to rock hard.
So Megan Fitzpatrick agreed to a real-world test: Gluing up a Dutch tool chest with Gummy Glue. I bought some less expensive gummy worms (59 cents) at the gas station up the block (I also got some lovely Indian food there). I melted the worms into the goo left from the bears and added a bit of water until the mixture was like good hot hide glue.
Together, Megan and I glued up the carcase. I was a little worried we would run out of glue because Roy Underhill and the other students kept sampling it.
Bam, bam, bam. And the case went together. We put clamps on it and let it sit.
Some observations: the stuff sets up slower than traditional hot hide. It took an hour for the gummy squeeze-out to gel to the same point where the hot hide gets in 30 minutes.
But after sitting overnight, the gummy stuff was hard as glass.
After posting our original experiment here and on Instagram, we got a lot of comments saying things like: The glue won’t hold. It will only last a couple seasons of moisture exchange. You’ll get ants. Bugs will eat the glue.
To all this I say: Shut up. You don’t know. You just love to hear your tongue rattle in your cake hole.
The finished tool chest is now owned by Roy. He’s going to fill it with his favorite tools and leave it to his daughters. If you really want to know how the glue fared, ask them in 50 years.
In today’s glimpse at the Covington Mechanical Library (CML), let’s have a look at some books compiled from magazine articles and by magazine authors, an old “must have,” woodworking humor and the first of our fiction books.
I remember seeing a few volumes from the Fine Woodworking Techniques series (above on the left) on the hard-to-reach shelves in my grandfather’s tiny workshop, tucked behind his Shopsmith Mark V. The series began in 1978, with articles pulled from the first seven issues of Fine Woodworking magazine, and ran through 1987’s Volume 9, featuring articles from issues 50-55. Tucked in among them is Fine Woodworking magazine’s 1970 “Design Book Two,” which, according to the cover features “1,150 photographs of the best work in wood by 1,000 craftsmen.”
I ought to swap the positions of Michael Pekovich’s “The Why & How of Woodworking” (Taunton, 2018) and Glen Huey’s “Building Fine Furniture” (Popular Woodworking, 2003) – and move Garrett Hack’s “The Handplane Book” (Taunton, 1997), Dennis Zongker’s “Wooden Boxes (Taunton 2013) and Thomas J. MacDonald’s “Rough Cut Woodworking with Tommy Mac” (Taunton, 2011) to the far left. Oh – and move John L. Feirer’s “Furniture & Cabinet Making” (Scribner’s, 1983 – a must-have at one time, but now perhaps a bit musty in its technique instruction…but not so old-school as to qualify as a classic) to the far right. That would pull together all the Fine Woodworking Magazine-related titles, and collect the Popular WoodworkingMagazine-related books in a row (well – all the ones on this shelf, anyway).
The following, until otherwise noted, are from Popular Woodworking – and we have them because – as you may know – Chris and I both spent some time on that magazine’s staff. As noted above, we start with Huey’s “Building Fine Furniture,” followed by his “Building 18th-century American Furniture” (2009) and “Fine Furniture for a Lifetime” (2002). (If you want to know what Huey is up to these days, click here.)
Then we have Jeff Miller’s “The Foundations of Better Woodworking” (2012), Jim Tolpin’s “The New Traditional Woodworker” (2011), and a reprint of two vintage books in one volume: “The Art of Mitring” and “Carpentry and Joinery for Amateurs” – and gosh does that one simultaneously raise my hackles and sadden me. (The short story: It was supposed to be a Smythe-sewn binding with a cloth cover, such as Lost Art Press produces. When it came in, the cover was “cloth-like” and the binding was glued. Someone above me at PW’s parent company had decided, without even the courtesy of telling me, to “save money.” I’m still mad as heck about it. But I digress…)
I’ve already mentioned Feirer, so we’ll skip to Tolpin’s “Table Saw Magic” (1999) – a long-time woodworking hot seller (and a title that, in light of his current work in hand tools and artisan geometry, never fails to surprise me anew when I see it.) And I see now a Sterling book that needs to move to the far right: “Great Folk Instruments to Make & Play” by Dennis Waring (1999) – I’m not sure why we have that one; perhaps Chris went through an instrument-making phase that I don’t know about?
It’s back to Popular Woodworking books with “Build Your Own Contemporary Furniture” (2002) – a title lead-in that I’ve always found a bit silly…as if you might otherwise inadvertently build your neighbor’s contemporary furniture. Alongside those now-not-contemporary designs, we have “Building Beautiful Boxes With Your Band Saw” (2015) by Lois Keener Ventura – and with one book between is her “Sculpted Band Saw Boxes” (2008) – I’ll have to put those together on Monday.
Separating Ventura’s Books is another not-PW book, “Nomadic Furniture 2” by James Hennessey and Victor Papenak (moving that to the right, too!). It’s a 1974 delight from Pantheon Books, featuring hand-drawn plans for simple furniture made from inexpensive and recycled materials – stuff that folds flat or breaks down for easy moving. Then we have “Mid-century Modern Furniture” by Michael Crow (PW 2015) followed by “Nick Engler’s Woodworking Wisdom” (Rodale, 1999). Though it’s not published by PW, I feel it’s in the right place; Engler wrote for PW for years.
Tom Fidgen’s “Made by Hand” (PW 2009) is next; I liked his clever traveling toolbox therein. And for some reason, we then have a second copy of Tolpin’s “New Traditional Woodworker” (it might make its way to the blems/used shelf – it’s a good book, but we don’t need two copies). Then I’ll ignore the interloper in favor of “Building Traditional Country Furniture” (2001), which was compiled from PW.
And that completes – until we get to the fiction title – the PW books in this bay. That “interloper” above is Rick Mastelli and John Kelsey’s “Tradition in Contemporary Furniture” from the Furniture Society (2001). We also have our friend Vic Tesolin’s “The Minimalist Woodworker” (Spring House Press, 2015) and “Projects from The Minimalist Woodworker” (Blue Hills Press, 2021). Those are followed by a Sterling edition (2000) of David Finck’s “Making & Mastering Wood Planes” (we offer the revised edition).
At the end of the non-fiction section is Nick Offerman’s delightful “Good Clean Fun” (Dutton, 2016) – a book that I think likely got more formerly non-woodworkers interested in the craft than any other, because of Offerman’s massive fan base. And it’s a hilarious read (seriously – I’ve never laughed so much while reading a woodworking book – highly recommended).
And finally, that fiction title: Sal Maccarone’s “How to Make $40,000 a Year with Your Woodworking” (PW 1998). In today’s dollar’s, that title would be “How to Make $73,000 a Year with Your Woodworking.” More hilarity!
– Fitz
p.s. This is the seventh post in the Covington Mechanical Library tour. To see the earlier ones, click on “Categories” on the right rail, and drop down to “Mechanical Library.” Or click here.
Roy Underhill announced he will close his Woodwright’s School in Pittsboro, N.C., at the end of the 2023 season. But this is not the end of the school or his career as a woodworking educator.
There is a new television show under discussion. Plus his school may appear in another location or in another guise. The most we can say right now is to stay tuned.
— Christopher Schwarz
P.S. Ed Lebetkin’s tool store (upstairs from the school) will also close its doors, so it’s time to make that pilgrimage to complete your tool kit.
“Ingenious Mechanicks” is my worst-selling book. Since it was released in 2016, we’ve sold about 4,000 copies. But I don’t care. That book changed my workshop life more than any other project I’ve been involved in.
Roman workbenches are insanely useful creatures. The only operations I don’t use them much for are dovetailing large casework and planing large tabletops. Otherwise, I can always find a way to hold my work and get the job done.
Since I built my first Roman bench, we’ve had one or two of them in the shop constantly. And when someone else is teaching in our bench room, I take a seat on the Roman bench and get to work on my personal stuff.
Last week, I built a stick chair plus the base of a dining table on my Roman bench while Megan Fitzpatrick taught a tool chest class.
Most of the work is secured by my body or by pressing it against the Hulot block at one end of the bench. Or I pressed the work into one of the holdfast holes in the bench with one hand and planed the stock with the other hand.
For complex shaping operations, I used my carver’s vise to hold the odd pieces then could freely plane, rasp and scrape my work. Carving the legs of the dining table was easy with my body holding the work against the benchtop (though I wish I had more padding in my rear end for this job).
One thing I cannot overstate is how much energy you save while using these benches. Sitting down and working allows me to work longer hours, and I’m less whupped at the end of the day.
Heck, you don’t even really need to build a Roman bench using the plans from my book. This bench is a sitting bench from Skansen I made years ago. Then I made a few holes in it. Any sitting bench will do.
If you have limited mobility, or you have a tiny shop space, limited funds for a bench or you work in the living room, a Roman workbench is a good thing.
Furniture maker Phil Lowe once showed me two 55-gallon barrels filled with clear stuff that looked like sand. He got the barrels from a factory that made gummy bears (I think he said the factory went out of business). Anyway, he used the stuff in the barrels – gelatin – to make his hide glue.
Since that day I’ve had the following stuck in my head: gummy bears = hide glue.
Today I decided to see if I could reverse-engineer the process and turn gummy bears into hide glue.
I bought a package of Haribo Goldbears gummy bears from the gas station up the block from Roy Underhill’s school. I put them in a cup with a little water and put the cup into his hide glue pot.
An hour later, the bears had melted and stirred like thin hide glue (I might have added a little too much water). Gummy bears are not just pure gelatin, of course. They have a lot of sugar and other stuff in them. But despite all this negative information running through my head, I had a question…
Does it stick?
I painted some Gummy Glue on a piece of poplar and performed a rub joint. The glue tacked right up with some nice pink squeeze-out. After 10 minutes, the stuff gelled up. The joint looks promising (right now).
I’ll let the joint sit overnight to see how strong it is.
