Editor’s note: Our Mind Upon Mind series is a nod to a 1937 Chips from the Chisel column (also featured in “Honest Labour: The Charles H. Hayward Years”), in which Hayward wrote, “The influence of mind upon mind is extraordinary.” The idea being there’s often room for improvement.To that end, we’ve asked you what else you have thought of, tried out and improved upon after building projects from our books. To submit your own idea, email [email protected]. You can read more about the submission process here.
From time to time, I get minor gaps around the stick and leg tenons. (I am not the only one, right?) These gaps become more apparent with the finish on, because they don’t reflect light in the same way as the surrounding area.
I read about filling small holes with cyanoacrylate (CA) glue and decided to give it a try.
Does it work? Kind of. But I accidentally discovered that its biggest effect is something else entirely.
Without CA glue.
With CA glue.
You see, it’s relatively easy to plane, scrape or sand the glue residue from the face grain. But it soaks deep into the end grain and darkens it a lot. I don’t know how deep exactly, but I wasn’t able to remove it without making the whole arm thinner.
Owning my mistake, I decided that I like this look.
If you want to replicate it, smear a thin layer of CA glue across the tenon. Even coverage is important to avoid visible streaks. You can go outside the tenon to fill gaps and scrape the area later to clean it up. I would avoid doing this on deeply scooped seats, because some of the end grain is exposed around the leg mortises and can get stained as well.
Try at your own risk on important pieces because it’s hard to undo!
For reference, the illustration shows chairs made from European beech and finished with eight coats of shellac.
The following is excerpted from Michael Pekovich’s book “Benchwork,” which we expect in our warehouse any day now. And because the words alone don’t fully do justice to introducing book, I’ve included a screen shot of each page from wich the text below is excerpted, so you can see the gorgeous design (also by Mike). You’ll find the Table of Contents below the excerpt.
While some of these planes are designed to create joinery from scratch, their biggest value often lies in fine-tuning the fit of machine-cut joints. At least this is where they earn their keep in my shop. My formal furniture making education in college led me to a machine-centric view of the craft. I had just enough hand tools – backsaw, chisels and a mallet – to cut a dovetail. A block plane and card scraper filled out my collection. My first experience with a dull bench plane was so distressing that it was many years before I revisited them. While I built a fair amount of furniture in that time, when I finally began to introduce more hand tools into my routine, my progress took a huge leap forward. Not only did my work improve, my mind-set and relationship to my tools changed as well. As I became familiar with using more hand tools (and sharpening them properly!), they integrated themselves into a seamless way of working. Hand versus power is not an either-or proposition in my work. Each tool and machine exists to do a job, and both complement each other in working toward the results I’m hoping for. That said, in spite of my professed adherence to efficiency, I find myself picking up a hand tool on occasion to cut a rabbet or groove that a tablesaw could tackle just as easily. The joy of the journey is at times more important than the speed at which we reach our destination.
Screenshot
Router Plane This is one of those tools where, while you can live without it quite happily, once you have it you’ll wonder how you ever got by without one. Available in different sizes, the larger versions typically feature a fine depth adjustment, while the smaller versions come without it. For tasks like cleaning out the bottom of hinge mortises, the small router plane is the way to go. For larger-scale tasks, the increased size of the base and outspread handles of the large router plane is a benefit. In addition to clearing out the bottoms of dadoes and grooves, a large router plane can be used to size tenons as well. I’ll often make stopped cuts at the tablesaw for non-through dadoes, and a router plane is the perfect tool for cleaning out the scalloped portion of the cut.
Shoulder Plane As its name implies, you can certainly plane the shoulder of a tenon with a shoulder plane, but more often than not, I use it to plane the cheeks of the tenon. While this is not the only task suited to a shoulder plane, if that were all I used it for, it would still earn its keep in my collection. The unique feature of the plane is its blade, which runs the full width of the sole. This allows you to work into the corner of a rabbet or tenon. Most woodworkers opt for a medium-sized plane, but the large version has its merits. I find that its wider blade and increased mass is better suited to sizing tenons. That said, I’d get your hands on both before deciding which to buy. A smaller size can come in handy for more intricate tasks like fine-tuning the fit of a box top.
Inexpensive Option for Tenons A new shoulder plane can cost upwards of $300, making it understandably a significant purchase. A much cheaper alternative for tenon work is a rabbet plane. I consistently find vintage versions on sale for $30 to $50. For some reason they still represent a great value on the used market. Their open throat is not an issue on cross-grain cuts and the wide blade requires fewer passes and helps to ensure square tenons.
Tongue-and-groove Plane OK, this tool is just plain fun to use. Designed to cut mating tongues and grooves in 1⁄2 in. or 3⁄4 in. stock, this plane can make quick work of backboards in a bookcase or cabinet. The key to its functionality is a fence that pivots. In one orientation, the plane can cut a tongue along the edge of a board. Lifting a spring-release pin allows the fence to rotate 180°. In this position the plane will cut a centered groove to match the width of the tongue. Because the fence registers along the same face of the board for each cut, even if your stock is not to exact thickness, the joint will still align for a flat assembly. In harder woods I would likely opt to use my tablesaw when cutting the joint, but for the Eastern white pine I commonly use for the backs of my projects, the tongue-and-groove plane offers a pleasant respite from machine work and the accompanying roar of the dust collector. Lie-Nielsen makes a new version, but vintage versions can be found online.
Miter Plane Here is a somewhat guilty pleasure of mine. Is this an essential plane? You can easily argue that it is not. When shooting the ends of parts, a standard bench plane will serve well, and I’ve often used a jack plane for the task. A bevel-up plane with its low-angle blade is even better suited for planing end grain. While the bevel-up plane is a versatile tool that can also be used for a number of other tasks, the miter plane is a single-use tool, and not inexpensive at that. With all of that in mind, I have to say that this is a wonderful tool to use. Its length and mass, combined with a low-angle skewed blade, allow it to slice through end grain like butter. I often put it to use when sizing drawer fronts and case partitions, exacting procedures that require parts of a precise length. I typically get as close to a final fit as I dare at the tablesaw and then turn to the miter plane and shooting board to finish the task.
Side Rabbet Planes Another esoteric tool that may be hard to make a case for owning, the side rabbet plane often comes in pairs. It does exactly what its name implies, allowing you to dial in the width of a rabbet or dado. For the longest time, I assumed that they came in pairs with one for the right side of a groove and the other for the left side. The real reason is that the opposing blades allow you to work in either direction so that you are always planing with the grain. There are versions where a single plane is outfitted with blades on each end that serve the same purpose.
Table of Contents
Foreword 5 Introduction 8 Hand tools •Assembling a collection of tools •Essential chisels •The block plane is a good first plane •Where to begin with bench planes? •Planes for joinery •Tools for shaping •Handsaws •Filling out your kit
46 Benchwork •The unsung heroes of hand work •Shooting board is a shop staple •A pair of saw hooks •A shooting board for miters •Layout kit for dovetails •Give your work a lift •A nicer set of bench risers •Lock it down •Clamp-on vise for wide parts
94 Workbenches •Workbenches that work •Can’t I just buy a bench? •A bench worth building •Start with a solid foundation •Top off your bench •Finish the bench with a drawer case
154 A place for every tool •Tool storage sets the tone •A shop centerpiece •Getting off the ground •King-size twin •Plane till and gallery •Making a home for tools
196 Storage on the Go •A tale of two chests •Case joinery •A frame-and-panel lid •Pinned-rabbet drawers •Wrapped cord handles •Add a lock for the lid •Outfitting a tool chest •A minimalist tool chest •A useful tote
Cutting patterns and symbols in wood, and enhancing them with vibrant color, are folk traditions kept alive in the slöjd craft. Through decorations imbued with meaning, chip carving has given soul to slöjd woodcraft throughout history. Even today, chip carving offers a natural complement to an artfully crafted spoon, cutting board or shrink box – and it provides the opportunity to develop your own creativity and meaningful patterns.
This book teaches you techniques for cutting triangle chips, fingernail cuts, lines and letters — plus you’ll learn what kind of wood, knives and tools you need to get started, and techniques for painting your finished work. You’ll find 15 projects, from simple decorations on knife handles and signs to more demanding objects such as boxes and combs.
A good way to practice cutting patterns is to make a bunch of key fobs. The main purpose of a key fob is to indicate which lock the key is for. It should also be handy enough to fit in your pocket, but large enough to prevent the key from being lost. Some hotel key fobs are large and heavy so that the traveler won’t forget it in their pocket. The color and shape should be distinct, so that you don’t have to read the carved text every time you are looking for a key.
Material: Straight-grained birch, alder, willow or aspen. Metal wire or a small staple.
The blank should be 20-25cm (~8″) long. This makes it easier to quickly carve it smooth with a knife or in a shaving horse.
Choose the width and final length of your key fob. A standard size to start from is 6 x 30 x 80mm (1/4″ x 1-1/4″ x 3-1/8″).
METHOD From straight-grained, knot-free material, split out a blank and thin it down to a thickness of about 5-6mm (~1/4″). Carve it smooth with a drawknife or a long sheath knife on both sides.
Start by making a few sketches that you are happy with. Keep in mind that the letters should not be too small, otherwise they will be difficult to cut. Between 12 and 15mm (1/2″-9/16″ )is a good place to start.
There are different ways to attach the key. You can drill a 4mm (3/16″) hole for a string or strap, or you can insert a 19mm (3/4″) long staple into two 1.5mm (~1/16″) holes drilled into the end-grain wood.
Draw the outer contours onto the blank and saw it out a little roughly. Carve the sides and chamfer all the edges. Cut any concave surfaces with a gouge, such as grooves and shallow relief carvings.
Draw the text and any decorations as carefully as you can. Strop your chip carving knife, find good lighting and start cutting your pattern using the chip carving techniques.
When you are happy with the pattern, you can paint your key ring; see the chapter on painting.
There is little as an editor I dislike more than cutlists; I wish we could do away with them. No matter how many times and how many people check them, there are always cutlist errors. I always feel like a crap editor when readers point them out … as I should. (I offered to throw myself upon my mortise chisel this morning in shame, but thankfully, Chris dissuaded me.)
On the Pipe Box, which begins on page 63, we left out the shelf /divider between the top of the box and the drawer at the bottom. It is 3/8″ thick (though 1/4″ thick would work, too), 2-1/4″ wide and 3-1/4″ long. It is shown in the drawing though; hopefully, the cutlist omission won’t throw anyone off. (You do know to never blindly rely on cutlists…right?)
And on the Cat-ear Box, which begins on page 83, I added a x … for EXTREME CAT EARS, I guess. (I’d like to blame my cat Toby, who loves stepping on the keyboard while I’m working … but I did not work on this book at home, so I must take full and sole responsibility.)
Katherine Schwarz was born in April 2001. She grew up in Fort Mitchell, Kentucky, with her sister, Maddy (five years older), her mom, Lucy May, and her dad, Christopher Schwarz.
“Both of my parents have just been the best ever when it comes to raising us,” Katherine says. “My dad worked at the magazine for a while and those were long-ass days and so my mom, during the summer, she was the one who drove us to camp or whatever. She was just always there whenever we needed her. She’s always been the strong woman in my life.”
Katherine and her dad
Maddy (left), Lucy, Katherine and Chris
Formerly a print, TV and digital reporter, Lucy is now the host of “Cincinnati Edition” on 91.7, WVXU.
“She’s also very artistic,” Katherine says. “She sewed some rabbits for us and she would draw with us. I love her little drawings.”
Katherine says she’s always enjoyed art. Her favorite class in elementary school was art.
“My teacher, Ms. Mitchell, was kind of a badass,” Katherine says. “She’d yell at the other kids because they weren’t paying attention. But I was focused. I was like, ‘No, I need to do art.’ So she liked me.”
At home, Katherine enjoyed doing whatever her sister was doing.
Katherine (left) and her sister Maddy
“I looked up to her,” Katherine says. “We were really into Breyer Horses, these little plastic horses, and we’d make home movies with them. She would direct me and I would be the camera person. It was really fun. Being creative with her was a huge part of my childhood.”
Roy Underhill (left), Maddy and Katherine
She also has fond memories of working with her dad in his basement shop.
“I’d come down and be like, ‘What are you doing?’ and I’d drop a hammer on a piece of wood – definitely dented it – and he’d be like, ‘It’s fine.’ I think he enjoyed me being in the shop.”
Katherine working in her dad’s home shop in Fort Mitchell.
Chris never demanded or even asked Katherine or Maddy to help him in his home shop. Instead, he’d tell them what he was up to and let me know they were more than welcome to come down and learn.
Often, Katherine would take him up on the offer. She loved holding a saw at a young age. She carved a wax block into a duck (a duck her dad still has, all these years later). Her first dovetail was perfect.
“I remember him telling this story a couple times,” she says. “He’s like, ‘You cut a perfect dovetail the first time because you just weren’t nervous about it because you didn’t know it was something you should be nervous about.’”
Maddy (left), Chris and Katherine
In high school, Katherine took AP art classes, including painting and drawing, and a ceramics class. She loved working with clay, and took ceramics classes during the summer months, too.
“Pottery and clay traveled through high school with me,” she says.
She graduated in 2019.
Studying Art at Spalding
“To be honest, I did not want to go to college at all,” Katherine says. “But my parents, God bless them, helped me find Spalding.”
Spalding University, in Louisville, offered a class schedule Katherine liked – two classes for six weeks, then a week off, repeated. It was the only college Katherine applied to. During her senior year of high school, she got a call from Spalding in the middle of class. It was a personal call to let her know she had been accepted, with a scholarship.
Katherine took in this information and then asked, “Can I take a gap year?”
Surprised, the person on the phone told her they’d have to check. They called back and said yes.
“I told my parents that and they’re like, ‘What the hell?’ First, colleges never call you. That’s crazy. Second, you’re bold for asking for a gap year – you go, girl.’”
She didn’t take a gap year (“thank God,” she says). She accepted Spalding’s offer in 2019 with a major in art.
She lived in a dorm room during the week, and at her parents’ house on weekends. She met friends, people who she’s still close to today. She also navigated learning during the COVID-19 pandemic, which meant a year of only virtual classes, with professors mirroring their screens to teach drawing techniques and art critiques over Zoom.
Spalding’s art program is small, but she had professors who were smart and challenging.
“Josh was the one who challenged us the most and had deep conversations,” she says. “And then Sarah, she was awesome. She was an art history teacher and I actually hate history, but I learned from her because she made it interesting. She showed us so many controversial things in art.”
Documentaries, like the 1990 film “Paris Is Burning,” will stick with her for life, Katherine says.
“And then there was my painting and drawing teacher, Aaron. He was pretty cool. He was a really positive guy all the time, which was exhausting, but it was nice to be around that and he could still critique you while being a nice guy.’”
In 2023, Aaron convinced her to submit a painting for consideration in an exhibit at Spalding’s gallery. It was accepted. Chris and Lucy went to the exhibit and were surprised to find “Dad’s Work” – a still-life of some of Chris’s books, Crucible tools, and a Lost Art Press hat and apron. Today, the painting hangs in the Lost Art Press shop on Willard Street.
“For my senior year, I had to do a senior thesis that was a series of connected art pieces that you worked on for a whole year,” she says. “I did skeleton paintings on mirrors. It was really fun.”
This, too, was exhibited at Spalding.
“That was pretty crazy,” she says. “I had some friends that came. It felt like the real deal.”
Throughout college. Katherine earned money making, selling, packaging, labeling and shipping Soft Wax to Lost Art Press customers. Two batches would make about 60 jars of Soft Wax.
“That was something to keep me busy for sure,” she says. “But I’m glad it migrated into Lost Art Press because it was becoming a lot.”
She also began dating Gabe Gavre (who now works in the Lost Art Press warehouse along with Mark Gilsdorf). The two met on Tinder. At the time, he lived in Bradfordsville, Kentucky, about 2-1/2 hours south of Covington. She drove down to meet him, first at a local Walmart. Then they went fishing.
“It stuck,” she says.
And it has stuck, for the past six years. Today, Gabe lives in Covington with Katherine, along with Katherine’s two cats: Bean and Billy Butt Cheeks.
Gabe Gavre (right) and Mark Gilsdorf (left)
Working together hasn’t been an issue at all, she says.
“It’s really nice,” she says. “He’s such a goofball at home and quiet at work, but he’s slowly opening up at work.”
And yet, they never run out of things to talk about, she says, even if they spend time working together during the day.
Rookwood Pottery to Lost Art Press
After graduating from Spalding in 2023, Katherine moved out of her parents’ house and into her own place in Covington. She got a job at Rookwood Pottery, a Cincinnati ceramics company founded in 1880. (Her favorite tile is “Tree of Life.”)
“I was glad to get my hands back on clay,” she says.
She started in the press department, 7:30 a.m. to 3:30 p.m., pushing a button on a 30-ton machine that would press each tile. She’d remove the waste, slip a board underneath the tile and then press a pedal to release water in order to release the tile from the mold on the press.
Working at Rookwood Pottery
“It was so hot down there,” she says. “No AC. No fans because the clay comes first and fans would cause the clay to crack. Finally, I was like, ‘I can’t do it anymore.’”
She moved departments, cleaning up seam lines and fingerprints from pieces that hadn’t been fired yet. In the slip department, she’d pour liquid clay into molds, let it set, dump out the excess, let it dry and then take the mold apart.
Working at Rookwood Pottery
More than a decade ago, Chris planted the seed of working at Lost Art Press, casually mentioning to Katherine and Maddy that they were always welcome to work for him.
But Maddy loved science, earned her Ph.D. and is now a virologist in Philadelphia. Katherine loved art, went to art school and found a job working with clay.
Occasionally, during those long, hot days Katherine worked at Rookwood Pottery, Chris would remind her that she could always work for him.
“It came to the point where I was like, ‘Yeah, I think I am ready for something new, and it’d be awesome to work with my dad.’”
Jumping back into woodworking was a difficult start, Katherine says.
“I felt like I didn’t know how to use any of the tools or how to adjust anything,” she says. “Kale and my dad and Megan were really patient with me, explaining things a couple times, but I still made myself nervous. Wood is so different from clay. I know how to form clay but wood – you can’t squish it into a ball, you have to carve the ball into it. So it was a huge learning curve.”
But her dad’s teaching style is exactly how she likes to be taught.
“Me and Kale talk about it a lot,” she says. “He’ll give you at most five instructions and then walk away. And then he waits for you to ask a question. I think it’s really efficient. He’s able to keep everyone on the same page. And he doesn’t give up on a student if they’re running behind. He’ll always wait for everyone to be ready for the next step, which I really like. It’s like how math class should have been – no one gets left behind.”
Katherine signed her apprenticeship papers a few months after beginning her new gig working full time at Lost Art Press. (You can read Katherine’s posts about being an apprentice on The Anarchist’s Apprentice Substack.)
Katherine signing her apprenticeship papers
Katherine’s first apprenticeship chair was an Irish lowback.
“It was hard,” she says. “I remember hating saddling the seat, but now that’s one of my favorite parts. I didn’t know where to put the energy in my body, so I was just getting worn out. And that’s how I felt with a lot of the steps. With each chair, it got easier and I was like, ‘Oh yeah, I do know how to do that.’”
She built her second apprenticeship chair, the Lincolnshire, with her dad, Lee Runyan and Rudy Everts.
“I was building along with them, more experienced woodworkers, trying to get everything done that they were getting done and I ended up getting my chair all glued up. That was a really good experience. That chair is huge. It’s a monster, so it’s cool that I was able to build that.”
While working on her third chair, her dad handed her his book, “The Stick Chair Book.”
“He’s like, ‘You’re probably going to need this.’ And I did. I called the book “Book Dad.” I was like, ‘Oh, don’t worry – “Book Dad” got me.’ And I did build quite a lot on my own, which was awesome.”
Katherine still has one last chair to build as part of her apprenticeship.
“It has to be my own design,” she says. “I’ve been cooking up some stuff for sure. I’m excited to get started on it.”
Work outside of the apprenticeship differs every day. Katherine typically begins her day by checking email. Her dad keeps a list of tasks on a whiteboard. Random jobs may include cleaning an air filter, buying plywood to build a crate or creating a cutting list for a project Chris is building.
She and Kale make their “Hey Apprentices!” videos, which are silly and fun, she says, but can take a while to make.
“Kale’s awesome,” Katherine says. “We listen to each other’s music and laugh and talk about our weekends. It’s so nice catching up with Kale and I think it’s nice to have two young people in the shop who can be stupid together.”
Recently, Katherine and Kale built a clamshell bookcase for the storefront, a project they both loved. Around it, she painted “Collin the Colon Snake.” One of Katherine’s favorite things to do is paint the things she makes. Her Hare Chair is her favorite thing she’s ever made.
Katherine’s Hare Chair
A lot of people ask her what it’s like to work with her dad.
“I guess I was a little nervous, but I think I have a unique father-daughter relationship in that we’re both the quiet ones in the family,” she says. “So I’ve always gotten along with him. From what I can remember, him teaching me how to do stuff in the shop when I was younger, it was the least stressful thing ever. There’s absolutely zero issue working with him.”
A Full Circle
Katherine loves movies, especially thrillers. She loved John Carpenter’s “The Thing.” Art remains a constant in her life. She’s still taking pottery classes, now at Baker Hunt, which is within walking distance from where she lives.
Katherine is 25 years old. When asked about the future, she says that’s a question she’s hated her entire life.
“One time, my grandma asked me and I was like, ‘I just want to be alive in five years,’” she says. “Seriously. I just want to be alive. And I still want to be alive three, five, 10 years.”
She says she hopes to have her life together a little bit more.
“I think traveling more would be really fun,” she says. “Learning new skills. I want to keep up with my pottery. It would be awesome to find a way to have a wheel studio or something like that in my house.”
Katherine says she’s never seen herself as a teacher. But people she admires, including her dad, think she’d be great at it. Aaron, one of her art professors at Spalding, once said, “You, Katy, you’re going to be a great teacher. You’re good at teaching people.”
“That was nice,” Katherine says. “He made me talk about one of my painting techniques to my fellow students. I think I could see myself teaching some classes after seeing how my dad does it.”
Katherine went through a period of depression and anxiety that was pretty harsh, she says.
“But now I know it’s OK,” she says. “If I saw younger Katy, I’d be like, ‘Don’t worry. It’s OK.’”
And in the past five years, she says she’s started to stand up for herself.
“The world’s been crazy the past five years,” she says. “Everyone went a little cuckoo in lockdown. But I don’t know. I got really comfortable in my skin. I’ve learned to be fine with myself.”
An excerpt from a blog post Chris wrote in June 2009:
I’m just about ready to assemble a drawer, so my daughter Katy lays down her saw and heads to the pickle bucket below the drill press. She dumps the cool water down the drain outside the shop door and refills the bucket with hot.
She drops the liquid hide glue bottle into the bucket then comes over to the bench, where I’m paring out the last little bit of the floor of my half-blind dovetails. I’m using a fishtail chisel, which she’s never seen before, so Katy asks if she can give it a try. I show her how I hold the tool to wiggle it into the acute corners, then I put the tool in her hands.
After a couple shavings we knock the drawer side into the dovetail sockets. It fits fine, so Katy shakes the glue bottle and fetches the deadblow mallet. I hold the drawer front and Katy paints the sockets with hide glue using an artist’s paintbrush I’ve owned since college.
I show her how I drive the joint together with a block of wood by spreading out the blows all along the joint line. Two taps. Move the mallet. After the first joint is home, Katy takes over gluing and assembly. We put the assembled drawer on the table saw and check it for square. We press the corners of the assembly against the rip fence until the box is square.
Then Katy goes back to the small bench I’ve rigged up for her and lines up the two handplanes on the end of the bench. She asks when she can start cleaning up the shop.
It’s at that moment that I realize I’m living in a book. It feels a bit like the time I visited Graceland and descended the stairwell to Elvis’s basement. Both walls are completely mirrored and the thousand reflections of your every move are both familiar and disorienting.
Katy has been working alongside me through most of the chest of drawers. When I don’t need her help, she’s off doing her own thing, trying out the different saws, messing with the planes and asking me questions. Such as this one she asked on father’s day:
“Dad, when I grow up, do you think I’ll be a woodworker?”
