For more than two weeks, our blog has been hobbled by problems with our Domain Name Servers (DNS). Basically, the majority of our email subscribers weren’t receiving updates when we posted something new.
Also, our RSS feed took a dump. So even fewer people knew we were posting anything.
We still have tickets available for this magical event on June 2 in Berea. Andy Glenn, the author of the book “Backwoods Chairmakers,” is bringing more than a dozen of the chairmakers featured in his book to Berea for a day of live demonstrations, displays of backwoods chairs and discussions about the craft. Tickets are only $33 for the entire day. This is a not-for-profit event we have put together with Berea Student Craft and Andy.
Chairmakers attending include:
Brian Boggs @brianboggschairmakers Terry Ratliff Michael Houston Drew Langsner Randy Ogle Lyle Wheeler Mike & Kelly Angel Tom Lynch Mark Newberry James Cooper Patrick Cecil
An event like this has never taken place, and considering the ages of some of the participants, it might never happen again. If you can make it to Berea on June 2, please do. We will be there with books to sell. Tickets here.
I am teaching two additional stick chair classes here at our storefront. One in August and one in September. Registration for these classes opens on Wednesday. Details here.
Our DNS problems are not completely resolved (it can take a few days for things to sort themselves out). Thanks for your patience and know we are trying to get everything back to the way it was.
This stick-back armchair is designed for reading and relaxing. It is based on Irish examples I’ve studied during my travels, and I have gradually tweaked this design to get it right where I want it.
I’m offering it for sale for $1,700 via a random drawing. The price includes crating and shipping to your door anywhere in the lower 48 states of the U.S. Details on the sale are at the bottom of this entry. First, some details about the chair.
While the chair has a spartan appearance, it is remarkably stout. That’s thanks to the fact that the legs and sticks are rived out of tenacious Southern red oak. All the joints are assembled with animal glue, which is reversible, and wedged with black ash wedges selected for arrow-straight grain.
Design-wise, this chair is different from Irish armchairs I’ve made before. The legs are double-tapered with a jack plane. The sticks are also double-tapered and faceted with planes. The arms are rasped and scraped to shape to resemble those of Gibson chairs. And the backrest is curved and positioned to support your shoulders.
The seat is tilted 3°, with the chair’s back tilted 33° off the seat, making this a great chair for sitting by the fire or on the porch. The seat is 16″ off the floor, making it comfortable for almost all sitters.
It is finished in General Finishes Milk Paint in Twilight (which is an acrylic). Like all my chairs, I make them as best I can, but most of the work is by hand. So you will find an occasional stray tool mark or tiny imperfection. These are not left intentionally, but they are the result of hand work.
How to Buy the Chair
The chair is being sold via a random drawing. If you wish to buy the chair, send an email to lapdrawing@lostartpress.com before 3 p.m. (Eastern) on Tuesday, May 7. Please use the subject line: “Irish Chair.” In the email please include your:
U.S. shipping address
Daytime phone number (this is for the trucking quote only)
If you are the “winner,” the chair will be shipped to your door. The price includes the crate and all shipping charges. Alternatively, the chair can be picked up at our storefront. (I’m sorry but the chair cannot be shipped outside the U.S.)
— Christopher Schwarz
P.S. Soon we will offer full-size plans for this chair.
Several people have asked my permission to teach classes in making stick chairs using my designs.
My answer is always: Please do. All my designs I give freely to the public for any purpose, including commercial uses. My book on the topic, “The Stick Chair Book,” is a free download for everyone (you don’t even have to register or give away your email).
So here is what students find on their bench when they start a five-day class in making a stick chair. After years of teaching these classes, we’ve struck a balance between “too much Donkey work” and “not enough Donkey work.” We call that balance: Donkey work.
If you want to teach a class of students (or just your neighbor), I hope this is useful.
A red oak seat glued up from two boards.
1 Seat: 1-3/4“ x 16″ x 20″ The seat is glued up and cut to shape on the band saw.
Legs: Still lots of work to do on these.
4 Legs: 1-3/4″ x 1-3/4″ x 20″ All four legs are octagonalized. Three of them have been tapered. Students will taper the fourth leg using a jack plane. All four legs need tenons, so there is lots of work there.
Stretchers: Over-long for practice.
3 Stretchers: 1-1/8″ x 1-1/8″ x 27″ These have been octagonalized. They are overlong (way overlong) because the stretchers are the students’ first encounter with a power tenon cutter. So they practice on one end of the stretchers until they get the hang of it.
Long sticks: Sized for a variety of chair designs.
7 Long sticks: 3/4″ x 3/4″ x 27″ These have been octagonalized. Seven sticks allow for a wide variety of comb-back designs. And their lengths permit students to make anything from a Shortback chair to a too-tall comb-back.
Short sticks.
6 Short sticks: 3/4″ x 3/4″ x 12-1/2″ Our tenon cutters make a 2-1/4″-long tenon, so these lengths create a short stick with two tenons that can be trimmed (or not) to do lots of things. They can go through the seat if the students wants. They can be proud of the arm. They can also be used in a lowback chair (which requires a long tenon for strength.
Arms: I trace my recommendations on the pieces. But students don’t have to take them.
3 Arm pieces: 1″ x 8″ x 20″ These three hunks of wood allow for a four-piece arm that can be wide or narrow. And they accommodate a variety of hand shapes.
The comb and the scraps for measuring for stretchers.
1 Comb: 2″ x 8″ x 24″ This chunk of 8/4 is enough for a student to make two combs to experiment with.
4 Triangular scraps (off-fall from octagonalizing the legs) These scraps help us measure the length of our side and medial stretchers (this is covered in the book in detail).
Power Poultry: Don’t build chairs without it.
Oh, one more thing for the bench: Usually my daughter Katherine leaves each student a squishy power animal to help them through the week. Never forget your power animal when chairmaking.
Plate 278. The Way to Split Veneer Wood, and Its Explanation
The following is excerpted from “To Make as Perfectly as Possible: Roubo on Marquetry,” translated by By Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. It is the first English-language translation of the most important woodworking book of the 18th century.
While the title of this work implies that it is about marquetry alone, that is not the case. “To Make as Perfectly as Possible” covers a wide range of topics of interest to woodworkers who are interested in hand-tool woodworking or history.
In addition to veneer and marquetry, this volume contains sections on grinding, sharpening, staining, finishing, wood selection, a German workbench, clock-case construction, engraving and casting brasses.
But most of all, “To Make as Perfectly as Possible” provides a window into the woodworking world of the 18th century, a world that is both strangely familiar and foreign.
Roubo laments the decline of the craft in the 18th century. He decries the secrecy many masters employed to protect craft knowledge. He bemoans the cheapening of both goods and the taste of customers.
And he speaks to the reader as a woodworker who is talking to a fellow woodworker. Unlike many chroniclers of his time, Roubo was a journeyman joiner (later a master) who interviewed his fellow tradesmen to produce this stunning work. He engraved many of the plates himself. And he produced this work after many years of study.
As the wood that one uses for cabinetmaking is for the most part very expensive, because it costs roughly 10 sols up to 30 sols, and sometimes even one crown per pound, according to the different types of wood, we have great interest in using these woods sparingly; that is why instead of making furniture or other pieces of cabinetry in solid wood, we have tried to execute splitting [sawing] wood into laminates, or very thin sheets, that one applies on the furniture cases made of ordinary wood.
It is not the carpenter-cabinetmakers who split [saw] their wood, but the workers [sawyers] who do only this work, and who saw not only for the cabinetmakers, but also for the musical instrument makers, and generally all those who use thin wood. These workers or sawyers are paid by the pound, that is to say, according to the weight of the piece of wood that they use, including the waste-wood and sawdust, rendering the wood close to two-thirds more expensive, which makes a piece made in this manner very important.
Veneer wood is split [sawn] at about a thickness of 1 line at most [1/12″ to 1/14″]; when one wants to spare it, one makes from 10 to 11 leaves from a thumb-thickness [inch], which is worthless because even before the veneer is polished, it has left only a half-blade of thickness [1/24″ to 1/32″], which is then reduced almost to nothing when the piece is finished; it is absolutely necessary to avoid making veneers this thin, although that is used a lot at the present. When one wants to cut up a piece of wood to make a veneer, one begins by choosing the side of the log that allows for the easiest sawing, the goal being to orient the wood for the best advantage, and to yield the largest sheets of the veneer; then one puts the piece of wood in the vise, and with a standing saw [a saw to be used while standing, and a vise designed to facilitate that action], one saws it to a thickness that one judges appropriate (which I am going to explain, after having provided the description of the bench or vise with a standing saw, and of the saw appropriate for this task).
The saw appropriate for cutting wood from India, which we name also the saw with vise, Figs. 1 and 2 [to increase or decrease the tension on the blade] is a little bit similar to the saw for cutting used by the woodworking builders [often known in the modern era as a frame saw]. It is composed of two verticals and of two crosswise or crossbeam elements, of which the ends project out and are round ed, so that the two sawyers can hold the saw easily. The middle of these crosspieces is convex on the outside, in order to give them more strength, and that they not bend while one increases the tension on the saw blade.
The inside [interior] of the vise saw is from 15 to 18 thumbs [inches] wide [or approximately 9 inches on either side of the blade], is about 3 feet long, as measured from within the crosspieces or support piece. The blade of the saw has a 4–thumbs [inches] depth, at least, and is held at each end by a frame of iron, through which passes the crosspieces of the saw, or, better said, of its chassis. These frames of iron, represented by Figs. 4, 5, 8 and 9, are made of iron plate, and the largest possible, so that the saw cannot turn easily, and one tightens a nut to that above, for putting there a screw a b, Figs. 4 and 5, which serves to control the tension of the saw blade.
On the outside of the cross-members one insets a steel contact plate attached with some screws, which prevents the pressure of the screw of the frame to not ruin anything nor to make any holes. See Fig. 3.
The blade of the saw, as I just said, is 4 thumbs [inches] size at least, tapering barely toward the back [away from the teeth]. We do not put a set on these sorts of saws, because that would eat up the wood excessively with an unnecessarily wide kerf, and one takes great care that the teeth be perfectly straight on the horizontal, and that their teeth be also perfectly equal in height, so that they grab all equally, and that they do not chatter, resulting in uneven thickness of the wood, which is also to be feared, which ruins so many sheets of veneer. The teeth of these saws should be spaced equally, about 5 to 6 lines from one tooth to the next one at least, and should be positioned in such a way that the bottom [what we now call the tip] of each tooth is level with one another, because being so arranged, they are less subject to become dull, which would happen unfailingly if they were made ordinarily, as is seen that almost all wood from India is hard, and consequently causes more resistance to the teeth of the saw. See Figs. 6 and 7, which represent one part of the saw blade viewed from the front and side, half-size.
The standing saw vise, represented in Fig. 11, is one type of small bench, about 3 to 3.5 feet long, by 2 feet high, at the base of which one puts the vise, which serves to hold in place the piece that one wishes to saw.
In order for this vise to be solid [a stout twin-screw face vise], it is good that the brace [the jaw] A, Fig. 11, have about 6 thumbs [inches] thickness, as well as the top of the bench, in which the screws enter, which to be good, should have at least 2.5 to 3 thumbs [inches] in thickness, and the threads be long enough so that when there is a piece of wood8 to 10 thumbs [inches] thickness placed in the vise, there remains at least enough length of the screw in the bench, as observed in this figure. As this bench is very short, and is subject to vibration by the movement of the saw, one loads stones on the bottom shelf to make it more solid; but I believe it would be better to make the legs of the bench long enough to be anchored to the floor of the shop, then one makes a hole in front of the bench to set in the piece of wood to be sawn in order to not extend upwards more than 3 feet above the top of the vise, locating it thus both for the comfort of the sawyers and for maximizing the yield of the piece being sawn. Not all the standing saw vises are part of an overall bench, such as the one represented here, in Figs. 10 and 11; this is why ordinary vises attached to a little bench are less solid than making them as I propose here.
When one wishes to saw with the vise, one begins by placing the piece to saw in the vise, of which the screws tighten with an iron lever, that one removes after being worked, so that it is not in the way; then, with an ordinary saw, one begins to mark all the lines to be sawn on the end of the workpiece, just up to 2 to 3 lines deep [3/16″], then one uses the frame saw, Fig. 1, which is guided horizontally by two men, observing the advantageous slight incline on the side of the tooth rake, and of the lifting up of the blade while pulling back, so as to relieve it, and that it not bind in the wood, or at least that the sawdust does not obstruct it. See Figs. 10 and 11, which represents a vise press upright, viewed in perspective, with the sawyers located as they should be.
When one saws with a vise, one begins with the outside edge of the log, so that the first sheets sawn bend away from the log and facilitate the passage of the saw, which could not be the case if one sawed in the middle; as one does when one saws large pieces of wood being used by carpenters or by ordinary woodworkers, given that the frame saw blade is very thin, and that it has no set. Sawyers at a vise do not lay out or mark a line on the side of the piece that they wish to saw; but after having begun on the end with an ordinary saw, they continue the rest by eye, which they do very well, for the most part; they are very sure to saw their veneers not only very straight, but still perfectly of equal thickness, as well. See Fig. 11, which represents the cut of the bench or upright vise saw, and a piece of wood sawn into sheets just up to the middle.
To finish what this looks like at the cutting of wood appropriate to the cabinetmaker I have represented in Fig. 12, a saw named the carving saw, which serves to cut up not only hard wood, whether wood with the grain or cross-grain, or standing wood, but also coral, ivory and mother-of-pearl. The framework of these sorts of saws is all iron, of which the upper branch is widened on the outside, so that one can adapt the blade and set it as one judges appropriate, which is done in the following manner.
After having pierced a hole in the blade of the saw, b, corresponding with that of the lower arm of the frame of the saw, you put this one [arm], and the one that is opposite, in a vise or other thing capable of bending them [squeezing them together], in a manner that they tend to meet one against the other, and tightens them as much as is judged appropriate, to give the saw all the tension necessary; then the blade of the saw, being stopped at point b, one makes it enter in the upper arm of the frame, and one traces the place for the hole at point a, which one pierces to place there a peg; this being done, one again bends the arms of the frame, just until it gives liberty to pass the peg below, and which serves to hold the peg in place, as one can see in this figure.
The blades for these sorts of saws are very thin, and one does not give them a set, so they have a very narrow kerf and lose less material, and they pass easily; one thins them on the back [away from the teeth], which one does with a file that one passes down the length just until they are thinned enough as one judges appropriate; then one rubs them with sand to remove the unevenness that the filing could have made; this operation is called “demaigrir” [thinning], a worker’s term.
We’ve gotten many requests for more stick chair classes this year, so we added two more to the calendar. Both classes will be held at our Covington, Kentucky, storefront and the cost includes all materials and hearty lunches – plus pastries, coffee and tea each day.
Some students have remarked that my classes are equal parts food tour and chair class. You will not leave hungry.
Registration for these classes opens at noon (Eastern) on Wednesday, May 8, through our page at TicketTailor. If you fail to get into a class, I encourage you to get on the waiting list. A couple spots usually open up.
This chair is one of the two most comfortable forms that I build. Based on Irish examples I’ve studied on my travels, this chair is great fun to build and very strong. Though Irish chairs are not traditionally saddled, we will saddle these chairs for extra comfort. You’ll make every component of the chair, cut all the joints and even have time to apply finish to the chair.
This is the most popular chair I make for customers. It is comfortable and versatile, and it can be configured as a dining chair, an office chair or for relaxing. This comb-back design is based on historical examples I’ve measured and studied on my trips to Wales. Students will be encouraged to customize their chairs with different designs for the hands, shoe and comb. Plus you’ll be able to fit the chair for sitters who are short or tall.
— Christopher Schwarz
Editor’s note: The Ticket Tailor page reads “Register Now”…But you can’t do that. As noted above, the ticket link will be live at noon, Eastern, on May 8.
