OverDrive bits (left) work for shallow angles. Bits with longer lead points can tilt much more.
One of the most common questions I get is why I don’t use Forstner bits much in chairmaking. The bits are readily available, make flat-bottomed holes and cut cleanly.
The answer is basically this: The Forstner’s lead point is too short*. That means if I want to drill anything other than a shallow angle I need to start the bit nearly vertical then tilt my drill to get to the desired angle. It’s do-able, but it’s easy to over- or under-shoot things.
So most of the bits I use in chairmaking have a long lead point. This long lead point allows me to tilt the bit to the right angle, lock my elbows then drill. Here are the three bits I use the most, with their advantages and disadvantages.
Star-M F-Style bit.
Star-M F-Type Bit, 16mm, by WoodOwl
This is my favorite bit, but good luck finding it. Most reliable sources are regularly sold out. This bit can handle just about any common chairmaking angle. I can tilt up to 30° off vertical if I make a small starter divot with an awl for the bit’s point.
Other advantages: It cuts clean holes without any splintering on the exit side. This makes drilling through the arm and seat a quick and painless operation.
Disadvantages: The side flutes are sharp. So if you move your drill sideways while boring, you will end up with an overly oval hole. The solution is to practice (sanding down the flutes doesn’t seem to help much).
The bit is metric and drills a 0.629”-diameter hole. So you’ll need to adjust your tenon-cutter to get a snug fit.
Finally, the bit seems to dull faster than my other WoodOwl bits. This is a problem with the other two bits discussed below. I get about five chairs out of one of these bits, and I haven’t found a way to sharpen them (yet).
WoodOwl’s OverDrive bit.
WoodOwl OverDrive Bit, 5/8”
This bit is much easier to find than the Star-M. So keep searching. Lots of little suppliers have them in stock. The bit makes a true 5/8” hole (0.625”). And it also leaves a clean exit hole.
So what’s the catch? The lead tip isn’t long, so you are limited in the chair angles you can bore. I can easily bore 11° off vertical. And 14° when I am pushing things (and if I make a small starter divot with an awl for the bit’s point). That range of angles will get you through most dining chairs without too much trouble.
Like the Star-M’s, the side flutes are sharp – so practice makes round. And the bit doesn’t last as long as its big auger cousins from WoodOwl, which seem to last forever.
WoodOwl’s spade bit.
WoodOwl 5/8” Spade Bit
Really, any spade bit will do. The WoodOwl just happens to come sharper than most cheap bits. Another good option is to look for vintage (meaning ye olde 2020) Irwin bits that have the rim cutters. Other people have had luck with Milwaukee and Makita bits. Basically, look for spades that look like the WoodOwls. The bit needs two rim cutters (the little cat ears). The bit’s faces need to be surface ground (otherwise the bit will fail to bore gouda). And the lead point should *not* be a screw. These lead-screw spades are a sin against the Chair Gods.
Spades can handle almost any angle – up to 34° off vertical with ease. They can be resharpened. You can adjust their diameter on a grinder in seconds. They are cheap and plentiful. And they don’t have the side-cutting problems that the two above bits do.
But they blow out the backside like an American tourist after 10 currywursts. So you need to clamp backing blocks below the arm and seat when you make through-mortises.
— Christopher Schwarz
*There are Forstners out there that have a long lead point – usually a replaceable brad-point bit. But they are hard to find. And expensive when you do.
On the left are shades of blue (surprise!) from Heron Linseed Oil Paint. Stacked in the center are two shades from Allbäck Paint. The small bottle is “blown” linseed oil from Heron; the large bottle is “purified” linseed oil from Heron. At back is the naughty stuff: odorless mineral spirits.
Chris and I have been experimenting with linseed oil paint for about a year now, since he started working on his next book, “The American Peasant,” and we’ve both painted a lot of wooden stuff with it – from large flat surfaces on chests to fiddly roundish bits on stick chairs to decorative curves and pointy things. We’ve used it on ring-porous woods including oak, ash and elm (looks great; it is a pain in the posterior, like all paints on ring-porous woods) and closed-pore woods such as poplar, linden and white pine (looks great, easy to apply). We have not used it on other material, but I’ve read that it will stick to many other building materials (plaster, metal, masonry and more). I’ve even read claims that it will stick to anything. But I know for a fact only that it sticks to wood (and fabric).
What we have not done is tried every color, brand or brush available. And, all of the stuff we’ve painted is indoor stuff. We have no personal experience with this paint on exterior work…though I am hoping to have some in the near future, if I can find someone to use it on my house for less than the going rate for a kidney*.
A hand detail of a red oak stick chair with one brushed coat (plus a few touch-ups) of Allbäck Linseed Oil Paint in Holkham Green.
This is what we know, thus far.
Most linseed oil paint is made from raw linseed oil and ground natural pigments – no added binders, driers, solvent or synthetic emulsifiers – so it’s far more environmentally friendly than most hardware store paints. (Milk paint is also environmentally friendly – my hardware store doesn’t carry it or linseed oil paint.)
Linseed oil paint is more expensive than latex, acrylic or milk paint (the other paints we know well). However, it takes fewer coats for full coverage – so penny for penny, it ends up not so expensive after all (plus it takes less of your active time – and no sanding! – if you’re including the human factor in your price calculations). Depending on the wood, we have found that it takes one coat (closed-pore woods) or one coat plus a touch-up here and there (ring-porous woods) for coverage that fully colors the surface and allows the grain to show through (which is what we want). Neither of us has had to apply two full coats to achieve our desired coverage – though if you want to cover the grain a second coat will do it, in our experience. (The hanging cupboard that is now the Anthe bathroom cupboard has two full coats of paint only because Chris decided he didn’t like the green of the first coat on that project, so it’s topped with one coat of blue – and on that piece, the grain no longer shows through. NB: He likes the green, just not on that project. He’s a mystery.)
Spell carvings in linden, that were painted (with a 4″ shed-resistant woven 1/4″ nap roller) with Allbäck Linseed Oil Paint in Old Blue.
Linseed oil paint is a lot thicker than any other paint we use, and with a good (or at least decent brush), a lot will remain in the bristles, and you should “draw it out” quite a ways from the initial strokes. That is, deposit the paint from the brush onto the project, and make long strokes, pulling the paint with as you go, then go back to the original deposit of paint and draw it out again, overlapping the first stroke. I don’t have to dip the brush back in the paint as often as I do with latex, acrylic or milk paint. But because of its low viscosity, you might find the linseed oil paint more difficult to use at first – or at least different than what you’re used to. Be sure to draw it out a lot and not leave it too thick, or it will drip and/or sag as it dries (and take longer than it ought to dry). It’s kind of like spreading a crumb coat on a cake – you want full coverage, but nothing extra.
Some instructions say to wipe on a coat of washed linseed oil and let it dry before painting, others say to use the paint on bare wood. We’ve done both, and both have worked for us. For what it’s worth, I am now a convert to a base coat of linseed oil. It makes it easier to draw out the paint (much like a second coat of most brushed finishes are easier to apply than the first coat).
At left are very nice brushes given to me by Mattias Hallin, made by Gnesta Penseln. The ones on the right are more readily available: Wooster “Yachtsman.” Both kinds have natural-bristle brushes.
I’ve tried out a number of brushes, and Mattias Hallin, a long-time user of linseed oil paint, says his favorite are the Gnesta Penselns shown above. Hardware store brushes that are decent are the Wooster Yachtsmans. I think you can see from the picture, though, that the brushes on the left will hold a heavier paint load. However…then you have to clean them; they’re too nice to toss. (More on that at the bottom.) Travis at Heron paint recommended to me Escoda Natural Chungking Bristle Brushes, but I’ve not yet tried them (also too expensive to not wash!).
Most of the instructions I’ve read say to use the paint as it comes…but we’re good at disobeying. To make it a little easier to draw out and to make it lay out better with less effort – that is, dry without brush marks (without having to “tip off”) – we sometimes add about 10 percent low-odor mineral spirits and mix it (yes…this makes it less environmentally friendly – and I would not dilute it for exterior work). I cannot stress enough to mix it well…whether or not you add mineral spirits (or turpentine, which the owner of Heron Paint said he uses when he needs to thin the paint a bit). The pigment settles fairly quickly, and you want it to be evenly suspended in the mixture. So, I have made friends with every hardware and paint store between my house and the shop; they are kind enough to shake up the paint as needed in their fancy paint shaker machines. I try not to abuse the privilege…which is why I spread my mixing asks among four locations. (I want a fancy paint shaker machine for our shop – preferably the old kind that clamps top and bottom, and runs the risk of spraying paint everywhere should the top come off the can. The newfangled fully contained ones are no fun – not enough risk. Plus they’re a lot more expensive.)
The poplar top of this stool is painted with one coat in a custom shade of full-test linseed oil paint from Heron Paints. I shook this can by hand, since I was confident it hadn’t been sitting on a shelf for weeks/months/years.
Linseed oil paint takes a lot longer to dry than any other paint we use. So while it takes only one coat, or one coat and some spot touch-ups (either while the first coat is still wet enough to easily work, or after it’s completely dry), it will be dry to the touch after about 24 hours at average room temperature and low to mild humidity – and even then, there will still be some areas where it might have been applied a little too thickly that will transfer to the white shirt you shouldn’t have worn while leaning up against it. We have found it takes two or three days to completely dry (longer in cold and/or humid conditions) to the point where it’s “carveable” without making a small mess (in case you, too, are covering your work in spells). If you have curious pets or curious kids, keep them away from the work for a while. And you do need to be mindful of kicking up dust around a freshly painted piece for 24 or so hours, as it can stick to the wet paint. You can speed up the drying by exposing the work to UV light – but do not put it in direct sunlight to dry (that resulted in a pimply surface when we tried it). Update: This might be due to the thinner; the full-strength stuff dries just fine in the sun, I’m told by several log-time users.
Here, I’m painting an elm coat rack in a custom shade of linseed oil paint from Heron Paints (a close match to Benjamin Moore 2060-30). First, I wiped on a coat of washed linseed oil (as recommended by the paint maker) and let it dry overnight. I then poured some of the paint into a Mason jar, added a splash of low-odor mineral spirits and shook it up by hand for maybe 10 minutes. It was easier to brush than the non-diluted paint I used on the stool, but the color is not as saturated on the surface (that is, more of the wood is showing through, and it will need a touch up in a few places. But also, elm is a ring-porous wood, and doesn’t take paint as well as the poplar. So there are a lot of variables going on. Whatever. We’re happy with the way it looks, and that’s the goal.
About the “easily work” I mentioned above: I’ve found I have about two hours in which I can manipulate the fresh paint and still have it lay out flat as it dries. Any longer, and it’s already dry enough that the brush marks remain where I’ve gone back and retouched an area.
Here, Wally is showing the contrast between velvety black and Allbäck Linseed Oil Paint in Antique Gold (Chris carved through it after it was dry). I added a topcoat of washed linseed oil, which added a little depth to the sheen, and added a bit of protection to the carved (and thus de-painted) areas.
More coats of paint will make the finished item shinier – so if you like shiny (we prefer no more than a soft sheen), consider more than one coat. After the piece is completely dry, you can add a topcoat to adjust the sheen a bit to your liking, and to blend areas where the paint looks more flat and/or more shiny (which I think might be a result of adding mineral spirits…though I haven’t yet done enough “experiments” to back up that statement). We use soft wax or simply a coat of washed linseed oil.
Allbäck Linseed Oil Paint in Old Red (with spells added afterward, obviously), with a topcoat of purified linseed oil.
So what is this “washed” or “refined” or “purified” linseed oil? It’s a purified version of raw linseed oil, and all we know for sure is that it is lighter in weight, lighter in color (and so results in less yellowing) and dries faster than plain ol’ raw linseed oil. There is also “blown” linseed oil, which is another method of purification that involves air, and is even lighter in weight and dries faster still. We hope to have expert information on these processes in the future, and more experience with the various purified/cleaned/washed/blown/magically delicious versions of the stuff. But for now, we can tell you that “purified” dries faster and yellows less.
What about cleanup? Well…here’s where my argument for using this paint falls apart (a little bit). Linseed oil soap is what everyone says to use for cleanup. And it works. But it does not work quickly or easily. I cleaned one brush and it took three intense rounds of soaping, combing and rinsing…and I still wouldn’t call that brush perfectly clean. I’ve read that the easy solution is to simply suspend the brush in linseed oil, and it remains at the ready for the next use! OK…but the number of blues I have alone…I don’t have room for suspending five brushes, and I have cats. So I use the relatively cheap Yachtsman brushes, and throw them away. (Yes, in this I am a bad person.) And because it’s linseed oil, I let the brush dry hard before putting it in the trash (ditto on any rags I’ve used).
So when would I use linseed oil paint vs. acrylic (faux milk paint) vs. actual milk paint? Well, they all result in different looks, so that’s my first consideration.
Linseed oil paint gives it an old-world look, and, after a topcoat of oil, has a low sheen that I like. And it “feels” like the right choice for any project of Scandinavian or Eastern European origin (but that’s probably because we started using it on American Peasant projects). I have yet to try it on a tool chest – and won’t offer it for commission chest builds until I’ve road-tested it (which I will do soon). Plus it’s harder to clean up afterward…so I have to be a lot more careful when using it than I do with “milk paint” or milk paint. That would be factored into the finishing cost (along with the one-use paint brush). But I’d use it on a personal project for which I had ample dry time during which I could keep any cats away (two scenarios that almost never coincide!).
General Finishes “Milk Paint” is my long-time favorite for ease of use, price and cleanup. It dries with an almost-flat finish, cleans up with water, goes on easily, lays out nicely, dries quickly and typically takes two coats. And because it dries quickly, I can recoat late in the day if my first coat was early that morning. Plus it needs no topcoat – so two coats and done, then easy cleanup. I can apply it with a cheap chip brush and toss it, or use then easily clean one of my long-beloved Purdys. (Sherwin-Williams bought Purdy in 2004 – I don’t remember exactly when the brushes changed, but change they did. I haven’t liked any I’ve bought since.) However, last year, General Finishes severely curtailed the color choices, and got rid of my two favorites, Twilight and Blue Moon. (Yes, I know I sound like the old fart that I am.) And no local paint store carries it – so I’d have to buy it one place, then pay another for the privilege of mixing it to a custom color. Boo. (And that’s high on the reasons why I’m planning a road test soon on the linseed oil paint.)
Actual milk paint is a lot of fun to use. But it’s also a bit of fuss. It takes many coats, and while it dries quickly and cleans up easily, it doesn’t always behave as I might expect, and each color I’ve used performs a bit differently. So, there are a lot of test boards and a lot of time involved in getting a good finish (for me) from milk paint. (Peter Galbert and Travis Curtis both produce gorgeous milk paint finishes – and I think they would agree that it’s not a fast process…even when you use it all the time!) Plus most people prefer it with a topcoat (though I love the dead-flat look it imparts), and that can’t be done until the paint is fully cured – and the more layers there are, the longer that takes (after a few bad experiences, I don’t even think about a topcoat until a week has passed after my final paint coat). But there are a lot of gorgeous colors available, and I love the variegated look I can achieve with it. (Plus, kids can chew on it safely. Not that I encourage such behavior.)
And that’s all the topics I can think of for which have answers…but I expect we’ll have more info to come.
Happy painting!
– Fitz
*A bourbon-loving-person-of-Irish-heritage kidney – so, not worth a paint job.
The same stool from above, now with a coat of linseed oil on top of both the painted and unpainted surfaces. Olivia looks good there.
When I purchased our storefront here on Willard Street in Covington in 2015, I was certain of two things: 1) It was the final old building that I was going to bring back to life; 2) It would be the final resting place of Lost Art Press.
Until this month, I’ve never given more than 2 seconds of thought about what will happen to this company after John and I die. We’ll be dead, so we won’t care.
But this month, it looks like everything I wrote in the first sentence of this blog entry is incorrect. We have just purchased an old woodworking tool factory at 407 Madison Ave. in downtown Covington. This building housed the Anthe Machine Works, which made woodworking cutters from the time the company started in 1897 until it closed in 2019.
The first floor of the Anthe building behind the office. Note the lineshaft, which powers the elevator.
The building is a time capsule, with few modern improvements. Original floors, mouldings, elevator, windows, lineshaft and (yikes) toilets. It is a gorgeous space that is flooded with light. And it has no modern amenities.
The Anthe building has more than 5,000 square feet of space that is in need of preservation and restoration. And it is big enough that it now helps us see Lost Art Press as a multi-generational enterprise.
This building will allow us to bring our fulfillment operations here to Covington and have room to grow (if we want to). By June, all of our inventory will be on the floor of the Anthe building. And we will be able to mail out orders to customers with the same personal touch we bring to everything else we do.
We are thrilled by all this. But we are also a bit terrified.
In order to buy the building, we agreed to take on debt for the first time in our history. It’s not a huge loan. In fact, we will save money by transferring our inventory to Covington. But it is a debt.
More important is that we have taken on an obligation to this building, which is a historic structure with virtually no alterations. The storefront is all frame-and-panel woodwork surrounded by cast iron. The doors – all original. The trim around the windows? The original Greek key steel trim.
Though the building is in decent shape, it needs an almost endless amount of love. It needs a plan for its sensitive restoration. And it needs a lot of skilled help.
So this is the part of the blog entry where I do something I never wanted to do: show my ass.
The purchase of a huge building is something we’ve never done. And here is the other thing we’ve never done: ask for your help to restore it.
The first stage of restoring the Anthe building is to make the first floor a safe and comfortable working space. Plus maintain humidity levels to protect our books in inventory. That means we need to:
Add HVAC to the first floor (with plans for systems on the other two floors).
Pave the gravel drive to our loading dock to allow us to receive and send shipments.
Provide basic amenities. Offer a working bathroom. Add locks on doors that work. Fix the original stairs. Remove some modern “improvements” to the front office.
Get the freight elevator running.
The gravel drive that allows us to load in and out. This needs to be paved.
The building’s original freight elevator. We love it.
To help pay for these initial projects, we are asking for your help. We have four tiers of support, and each tier offers something useful or beautiful in return. You can purchase any of these tiers in our store now. Links below and here.
* A special one-week stick chair class in February 2024 here in Covington. This will also be a food tour as all your meals and drinks will be included. Together we’ll each make a stick chair (you’ll get to pick the design) from some premium wood (not bog oak – I don’t have enough; think maple, white oak, walnut). We’ll have nice lunches brought in to the shop. And we’ll go out every night to one of our favorite places in Cincinnati or Covington. Oh, and there will be a Sunday bluegrass night the evening before. The exact date will be decided by the six students, so it is a little flexible.
* Signed copy of “The American Peasant” made out to you when it is released in December
* Invitation to our Opening Day Party in early 2024
* Signed copy of “The American Peasant” made out to you when it is released in December
* Invitation to our Opening Day Party in early 2024
If you can help, thank you. If you cannot, we totally understand. Simply being a customer of Lost Art Press helps support and sustain our work.
In the coming weeks I’ll write more about the building and our plans for the future of Lost Art Press – beyond this current generation. I can tell you one thing right now: We would sooner give it away than sell it to a venture capital firm.
So if you have children, start feeding them a steady diet of Roy Underhill and Charles Hayward. We might need them here in Covington.
— Christopher Schwarz
The top floor of the Anthe building. Everything is original. And everything needs love.
If you have questions, concerns or declarations to make about the Dutch tool chest, read on.
We have upgraded our video and audio equipment during the last six months and are ready to attempt another livestream. The host will be our own Megan Fitzpatrick. The topic will be “Dutch Tool Chests: Design, Construction & Use.”
The livestream will begin at 3 p.m. Saturday (Oct. 30) and go for about an hour. We are on Eastern time here in Covington, Ky. On Saturday, I will post an entry here where the livestream will be broadcast. You can also go here to watch it: https://vimeo.com/638790876.
If you can’t tune in live, we will post the video here on the blog so you can watch the question-and-answer session.
To submit a question for Megan, send her an email at fitz@lostartpress.com before 5 p.m. Friday. We’ll pick the best questions and provide the answers on the livestream. We’ll also have two or three Dutch chests here in the shop to use as props.
I hope you can join us, and I also hope we can get Bean the three-legged shop cat to make an appearance (he almost has enough screen time for a SAG card).
Though we’ve dialed back the number of classes we’re offering at the storefront, we do have a few scheduled for the first half of next year (mostly because Chris is kind to me and – despite the havoc a class wreaks on his shop and life in general – knows I a) love teaching and b) need to feed my cat). We might be adding no more than two classes in the upcoming weeks…but I didn’t want to hold off any longer on announcing these.
The classes will go on sale on Monday, Nov. 29 at 10 a.m. Eastern, through our Ticket Tailor portal. Even though there’s a big “Register Now” button alongside each class at that link, you cannot register until 10 a.m. on Nov. 29. But you can read more about each class, see the estimated stock price, etc., if you click through.
Notes: 1) You must have had the Covid vaccine to attend a class at our shop 2) Please email covingtonmechanicals@gmail.com – not the LAP help desk – if you have questions about classes.
• Build the Anarchist’s Tool Chest with Megan Fitzpatrick; February 21-25, 2022 ($975 + stock fee) • Make a Carved Oak Box with Peter Follansbee; March 28-April 1 ($1,400 + stock fee) • Build a Dutch Tool Chest with Megan Fitzpatrick; May 6-8 ($425 + stock fee) • Make a Dovetailed Shaker Tray with Megan Fitzpatrick; June 4-5 ($320 + stock fee)
