We’ve just received our shipment of the first printing of “From Truths to Tools” by Jim Tolpin and George Walker. We’ll start shipping out the people who placed pre-publication orders in the next seven days.
So this is the last call for people who would like to order the book and receive a free download of the book. Order by Oct. 30 so you can get the free pdf download with your printed copy of the book. After that date the pdf will cost extra.
— Christopher Schwarz
The only thing that disappoints me about my Saalburg workbench is the finish. It’s not jet black like the original I studied in Germany in June.
Of course, when the bench was thrown down a well circa 200 A.D., it probably wasn’t jet black then. But still, the black looks correct to me because I’ve been staring at photos of a black workbench for months now.
Today I figured out how to reproduce it.
I’m at Larry Barrett’s house this week taking a chairmaking class with four other friends. We’re building the Jennie Alexander Chair (with a few modifications) made famous in the book and DVD “Make a Chair From a Tree.”
Today we split out the long back posts from green oak and began by sorting through the oak stacked in Larry’s yard. Some of it looked exactly like the oak Saalburg workbench. And I do mean exact.
This oak had been stored in a giant steel tub in the side yard of Larry’s house and the steel had rusted through, releasing a continuous supply of iron into the water. The result: jet black oak that wasn’t just on the surface. The wood was jet black as much as 1/2” into the wood.
This makes complete sense. At Saalburg, The wooden objects were thrown into wells along with lots of iron objects. It made the same stew in Larry’s log tank.
I have no plans to reproduce the finish on my bench, however, but I know how to achieve it.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
The following is excerpted from A Home of Her Own
Every so often she passed the striking limestone house and wondered what was going on there. Friends and colleagues knew that she and Tim had been interested in the place, and one day a coworker, who happened to live behind the house, mentioned that he had not seen the owner in some time. Margaret made some inquiries and discovered the owner had died. After a respectful delay, she contacted the owner’s daughter, who said she was still too attached to her mother’s home to imagine parting with it. But a few months later she contacted Margaret and arranged to show her the property.
“It was cavernous,” Margaret recalls. “You’d walk into one room and it would open onto another. There was a wonderful feel of continuousness.” There was also a captivating element of surprise; where any other house might have had an exterior wall, this house had a sunroom, a patio, or a porch, producing a rare sense of communion between inside and out. As she went from room to room, Margaret felt what she describes as “a selfish giddiness — something like, ‘This house can’t be true!'” Did the owners know what they had?
Even the lot behind the house was magical. Just beyond the garage, stone steps led into a sunken garden surrounded by a tangle of vines, in the midst of which stood a limestone sundial. Near the rear property line a majestic tree of heaven and a cluster of ancient conifers watched over the house and its garden like a convocation of druid priests.
After that first visit, she felt compelled to return. The house was still not on the market. One day, while looking around the back, she discovered an unlocked door. Could she go in?
The question was rather, could she not? She felt drawn.–Nancy Hiller, author of Making Things Work
Early on as a woodworker I visited a successful professional cabinetmaker in Indiana who also sold wood on the side. After picking out some ash boards, he offered me a tour of his shop and showroom.
His cavernous barn was filled with heavy machinery. For someone whose sole machine was his grandfather’s contractor saw, his shop was impressive. His showroom was filled with country pieces: pie safes, potato bins, kitchen tables and the like.
He opened a door of a pie safe where the door’s panel had split. With a vexed look on his face he said, “No matter how many nails I put into these panels, they always split.”
We then moved to his office where he told me how he had become a professional woodworker 30 years prior. He was a Vietnam veteran, like my dad. After leaving the service, he’d bought a set of six woodworking books, which perched on a shelf behind his desk. He’d read the books, opened his business and built furniture using the plans in those books.
For me, it was remarkable that he had run a thriving furniture business for 30 years and didn’t think wood movement was something that could be mastered. Maybe he skipped the section on wood movement in the six books he owned. Perhaps his books didn’t cover the topic.
Honestly, this story isn’t a criticism of the guy. We all get stuck at different points in the craft. We get comfortable with our tools and processes. We design our projects around those constraints. We accept the consequences of our tools and knowledge.
I myself have been stuck at least 50 times since 1993.
The Exit Sign
The only way out of this condition is to regularly throw yourself into the briar patch. Play punk rock at a country and western bar. Take off all your clothes at a family reunion. Or attend a class about something you haven’t done before.
I try to take a class every year. The class could be on woodworking (such as the class on veneering I took from David Savage two years ago). Or it could be on leather work. Rebuilding a carburetor. Taxidermy.
Tomorrow I head to Maryland to learn to build a post-and-rung chair with Larry Barrett, a chairmaker who has worked with Jennie Alexander and is helping edit the third edition of “Make a Chair From a Tree.” Larry has made a lot of the “Jennie Chairs” (with some of his modifications). And I wanted to make one of these chairs before I edit the book. It will help me understand the construction process and master the technical details of this incredible chair.
I’m bringing a few friends for the week-long class, and together we will absorb everything Larry has to give. We will (I hope) pay Jennie a visit in her Baltimore home. And we will all become unstuck.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Registration is now open for 2018 classes with Megan Fitzpatrick and Brendan Gaffney. The classes will be held in our storefront and are limited to six participants.
To register for Megan’s April 7-8 class on building a Dovetailed Silverware tray, click here. The class is $250 plus a small materials fee.
To register for Brendan’s April 21-22 class on making a Cabinetmaker’s Sector, click here. The class is $300, which includes all materials.
Full details on the classes can be found here.