While I was an editor at a woodworking magazine, I received a lot of questions about the projects we published. Here are two questions that were tricky to answer:
How much does that project weigh?
How much does that project cost to build?
These aren’t really questions that I ask myself as a builder unless I’m making something for NASA or a customer on a crazy tight budget. But readers deserve an answer better than, “I dunno.”
So here’s how to spitball both.
Weight There are lots of published statistics of the average weight of each species. Usually this is listed as the “weight per cubic foot” of that wood. Let’s take koa as an example. A cubic foot of koa is 38 lbs. If you divide that by 12, then you know the weight of one board foot of koa – 3.16 lbs.
Note that this an average weight at an average moisture content.
Here’s a list of species and their weights that I like to use.
Now you need to know how much board footage of wood is in the project. Luckily, there are lots of nice web-based board-footage calculators out there. You simply punch in the dimensions of each part and they spit out how much board footage is in there.
For example, a tabletop that is 3/4” x 26” x 96” is 17.33 board feet.
So if I build that tabletop out of koa, it will weigh 17.33 x 3.16 or 54.88 lbs.
Cost This is tricky, because every lumberyard is different. I can buy ash for $1/board foot. Perhaps you cannot. So I use WoodFinder to look up average prices. Type in the species and it will call up places that carry that species. One of the places I looked at tonight had koa at $36/board foot.
So I can use the board footage calculator to determine that 17.33 board feet of koa will cost me $623.88.
Joshua Klein during a visit to Jonathan Fisher’s Maine home.
Joshua Klein, a woodworker and conservator in Maine, is now accepting pre-publication orders for the first issue of Mortise & Tenon Magazine, which looks to be very interesting reading.
You might have heard of Klein through his blog, The Workbench Diary, or some of the stories I’ve written about his research of Jonathan Fisher (Klein is writing a book about Fisher for us, by the way).
In addition to his conservation work, a young family, taking apart a house for later reconstruction and writing a book for us, Klein has poured an enormous amount of energy into Mortise & Tenon Magazine to make sure it is a high-quality, well-made publication.
Take a look at the table of contents for the first issue here.
Then click on the “Pre-order Now” button. The first issue is just $24 – a bargain for such a labor of love. I ordered mine as soon as I got up this morning.
Whether you like old furniture, handwork or conservation, you’ll find a lot in the first issue to love.
Because I’m not teaching anytime in the near future (and because I quite enjoy eating), I have time to film three new DVDs with the crew at Popular Woodworking Magazine.
The first one, which we begin filming Monday morning, is the bookcase project from my upcoming book “The Anarchist’s Design Book.” It’s a contemporary bookcase built entirely by hand using nails, dados, rabbets, tongue-and-groove joinery and hide glue.
I spent a lot of time rethinking book storage when designing this piece. As a publisher, book collector and woodworker, I have a lot of things I like and dislike about book storage. I hate sagging shelves. And I think a lot of our choices when using adjustable shelves are ill-conceived.
This project is as much a treatise on bookshelves as a lesson in building something by hand.
The second project is on making chairs without chairmaking tools. It was inspired by the stick chair I built for “The Anarchist’s Design Book,” but I’ll be designing a new (but similar) chair for the DVD.
Many woodworkers are intimidated by chairmaking because of the angles, tools required and the tradition of using green wood. After building chairs for almost 12 years now for customers, I have developed methods for building chairs using cabinetmaking tools.
I don’t have a shavehorse, froe or many other traditional tools. And you can make a gorgeous chair without those tools if you use your noggin.
The third project is the my ambitious yet.
After many years of putting it off, I’ve decided to do a DVD on building “The Anarchist’s Tool Chest” from start to finish on DVD. This project will probably eat up a month of time to do right – and I will do it right. During the last five years of building this chest over and over in classes, I’ve learned a few things about making it easier for beginners to build.
And because people actually seem interested in making this chest – which I love as much as my bench – I feel obligated to do this for all those who cannot afford to take a class and need a little help in getting started.
Those of you who know me personally know that I really dislike being on camera. I’d rather have a double colonoscopy. (What’s that? From both ends? Shudder.) But I’ll take a stiff drink in the morning and muddle my way through.
It has been about three months since I became a blog minion so it must be time to lob a mudball towards Chris. Afterall, in my first post I revealed Chris’ “special” relationship with a certain jack plane. You can read about Schwarzlandiahere.
The Harry Potter-Chris Schwarz connection came to me while working on the post Fear and Anarchy in Fort Mitchell (and thanks to all of you who joined in and twisted some literature with me). The opening sentence to the first Harry Potter book just didn’t work for that post. Next, I tried the second chapter and things got a bit more interesting and uncanny.
“Nearly ten years had passed since the Dursleys had woken up to find their anarchist on the front step…” And a few more pages into Chapter 2 we find this passage, “…Chris had a thin face, knobby knees, black hair and bright brown eyes. He wore roundish glasses held together with a lot of hide glue because of all the times Wally the cat had punched him on the nose. The only thing Chris liked about his own appearance was a very thin scar on his forehead that was shaped like a swooping A.”
When I showed the Harry Potter photo comparison to Chris his response was not about his resembleance to Harry but about his smile. His exact comment was, “Oy, I look so manic in that photo. I hate smiling with teeth.” My response to that nonsense:
A little tilt to his head and Chris and the Cheshire Cat are simpatico.
Chris, there is nothing wrong with smiling with teeth. There is no mania, or at least not very much. Smile, Chris, smile.
Now, I must get back to reading (and preparing to index) the portion of “The Anarchist’s Design Book” that Chris sent me a few days ago. Except for some artwork the first two-thirds of the book are done. As for the first two chapters, Chris is….feisty.
–Suzo Ellison
P.S. Thank you to whoevertook the smiley photo of Chris.
Edward Prince, Carpenter, Aged 73 by John Walters painted in 1792.
I follow one of Britain’s National Trust blogs that specializes in chinoiserie. Through the blog I was familiar with Erddig, a very popular National Trust site, outside of Wrexham in Wales. What I didn’t know was how the painting above was related to Erdigg and the extraordinary relationship between the Yorke family, Edward Prince and his successors.
The painting of Edward Prince has been in my file for a while but until I could decipher the writing on the scroll, Edward had to wait. Last night I found the poem and much more about the carpenters of Erddig.
Erdigg was built in the 1680s and passed into the Yorke family in 1733. Phillip Yorke I (1743-1804) commissioned portraits of six estate servants and composed poems to be included in the paintings. The paintings were completed between 1791-1796 and in addition to the carpenter, included an elderly housemaid, the blacksmith, the gamekeeper, the kitchen porter and the butcher and publican in Wrexham. Except for the butcher, all the servants were middle aged or elderly and had been in service from a young age. The series of paintings and the poems started a Yorke family tradition of acknowledging and honoring the servants of Erdigg. This remarkable and unique tradition continued for almost 200 years with the paintings, and later photos, displayed in the Servants Hall.
Phillip Yorke I by Gainsborough, late 1770s; the West front view of Erddig.
John Prince, father of Charles and grandfather to Edward, was the first recorded carpenter at Erddig. Charles Prince, known as “The Black Prince” because of his dark complexion, succeeded John. Edward became his father’s apprentice. As head carpenter Charles was paid 1 shilling 6 pence per day for a 6 day week; Edward the apprentice was paid 1 shilling per day for a 6 day week. In 1779 Edward succeeded his father as Head Carpenter and we learn a bit more about him from the poem in the painting:
Phillip York called these little compositions of his “Crude-Ditties” and actually published a volume of them. It isn’t a poem meant for a collection of classics, but a message of warm regard for the Prince family as a mainstay of Erddig and an affectionate thank you to Edward for his long service. And four wives! With each new wife I can just imagine what kind of greeting Phillip gave Edward, can’t you?
In 1830 Thomas Rodgers was the carpenter at Erddig and at age 48 he was painted at his workbench. Simon Yorke II wrote the inscription at the bottom.
Thomas Rodgers, Carpenter, 1830 by William Jones of Chester.
Rodgers started working at Erddig in 1798 first as a pig-boy and later as a thatcher’s assistant and a slater. After working at Erddig for over 65 years he was made a pensioner at age 90 and died in 1875 at age 94. Twenty-two years after the painting we find Thomas in a photograph taken in 1852. He is holding his saw with his son and successor James Rodgers next to him.
Erddig servants on the front steps in 1852. Thomas Rodgers is front row, second from right holding his saw; his son James is next to him.
The Yorke family documentaion of their domestic staff gives us a rare look at a 19th-century craftsman in a painting and a photograph. It is a reminder of how much life was changing mid-century. Although the pace of change was slower on a country estate, the traditional ways of life and of making things by hand was being challenged and changed by new technologies and machines.
John Jones, a descendant of Erddig servants, was the head carpenter at age 56 in 1911 when his photo was taken. He entered service in 1872.
John Jones, Erddig Carpenter, 1911.
Thanks to the Yorke family’s respect for their staff we have a glimpse into the lives of multiple generations of carpenters at one country estate. Hands down, this beats Gosford Park (except for Clive Owen) and Downton Abbey any day.
In 1973 Erddig became a National Trust property. Not long after that a local mine collapsed threatening the stability of the main house and out buildings and a major job of shoring up was undertaken. Although I couldn’t find any photographs of the carpenter’s shop taken in the 19th century I did find a few photos taken prior to and during the 1970s renovations, and a few current photos. Except for the current photos of the workshop all images in this post are from the National Trust.
If you would like to learn more about Erddig go here.
Rona Walker from New Zealand wrote “A Brief Story of the Prince Family” for a family reunion. I wonder if there are any Prince woodworkers in New Zealand?
–Suzanne Ellison
P.S. If you would like to see the original six paintings by John Walters, including the blacksmith, go here.
Interior of the Carpenter’s Workshop before restoration, 1974.
Interior of the Carpenter’s Workshop before restoration.
Interior of the Carpenter’s Workshop before restoration.
View of interior of the Carpenters’ Workshop during restoration.
