All morning John and I struggled to get “The Anarchist’s Design Book” from the bindery and into our hands. Then this afternoon we got a simple message: “The Woodworker: The Charles H. Hayward Years” (the other book we’re working on) has shipped from the printer and is on its way to our warehouse.
With any luck, “The Woodworker” books will arrive in the warehouse tomorrow and we can begin shipping our pre-publication orders on Friday or Monday.
Plus we should have copies of both volumes at the Lie-Nielsen Hand Tool Event and the opening of our storefront on March 11-12.
Setting my ego aside, “The Woodworker: The Charles H. Hayward Years” is a tie with our Roubo translation for the most important work we’ve published. The two volumes of “The Woodworker” are more than 800 pages of detailed information you simply will not find anywhere else.
Editing this project was both an obligation and a delight during these last eight years. And I cannot wait for you to see them.
The last few weeks have been a death march of painting, trim and general freaking out to get the Lost Art Press storefront ready for the March 12 opening and book-release party.
This week I hope to share details of some of the cool stuff we have in store (literally) for the opening: a special store-only T-shirt, stickers, a poster that just arrived on my doorstep today and the copperplate prints from Briony-Morrow Cribbs from “The Anarchist’s Design Book.”
Oh, and my daughter Katy is launching her own line of soft wax under the name “The Anarchist’s Daughter.”
Some of these items will make it onto the LAP website; but some are too nichey, weird or in tiny quantities. Some are experiments that will fail.
For those of you who want to crap on my finish carpentry skills, I offer these photos. Installing the casing was easy with a nail gun. But the baseboard has been making me hate bricks.
Our building is a rare example of North American masonry construction. No studs. So installing the baseboard has been tricky. Typical masonry construction has “wooden bricks” every 24″ or so to allow you to install baseboard. But because of the plaster restoration and a variety of other complications, I’ve located only about a dozen wooden bricks.
So the baseboard has been installed with a combination of long finish nails, Tapcon screws and construction adhesive. It’s a laborious process to do well on plaster walls that wave like your grandma.
Luckily my eyesight gets worse every year, so it will look fine (to me).
— Christopher Schwarz
P.S. Special thanks to Megan Fitzpatrick who painted the interior facade white and gray during the weekend. Friends are good things to have.
Our printer informed us this morning that “The Anarchist’s Design Book” has been delayed (again) at the Michigan bindery. The book was supposed to ship last week. Now it looks like the first 1,000 copies will ship to our warehouse on March 8 and the remainder will ship about March 11.
The delay is a result of us staining the edges of the book’s pages black. To do this, we had to send the books to a bindery we’ve not used before. Our usual bindery is reliable….
What does this mean?
First off, we’re sorry for the delay.
We plan to have books for sale and for pickup at the Lie-Nielsen Hand Tool Event and the book-release party on March 11-12 (even if we have to drive to the bindery with a truck). On March 15 (the first day I can get to our Indianapolis warehouse), I’ll personally sign the first 1,000 copies and then our warehouse will mail out all the pre-publication orders.
Apologies again for the delay. I hope you find the book was worth the wait.
Woodworker, photographer and writer Andrew Sleigh kicked of his second series of podcasts on making last weekend for Resonance FM, a London radio station. The episodes are available for a free listen through the program’s website lookingsideways.net. You can subscribe to the podcast or simply listen to select episodes.
In the first episode, Sleigh interviews Deb Chachra, an associate professor of materials science at the Olin College of Engineering. It’s an interesting talk with someone who studies, teaches and classifies makers. (Be sure to read her thoughtful article in The Atlantic before listening; it will add an extra dimension to the conversation between Sleigh and Chachra.)
Sleigh has interviewed a list of interesting people for this second season of his podcast (he hasn’t posted the list, so I’ll let him do that). He also interviewed me about the Lost Art Press approach to creating books for makers – why we look backwards in time for our information. And why I think making simple, well-made furniture is a radical act.
From what I know about the other guests on Looking Sideways, I suspect my interview will represent the oddball, somewhat anti-intellectual view. We’ll see!
So if you need something to listen to on your commute to wage-slavery, Looking Sideways will make you think.
From “Painter’s and Colourman’s Guide” 3rd ed. 1830 by P. F. Tingry
In “The Anarchist’s Design Book,” one appendix is devoted to milk paint. As Chris notes there are plenty of milk paint recipes from the 1800s and provides a reference from 1836, “The Painter’s, Guilder’s and Varnisher’s Manuel…” by Henry Carey Baird. I thought 1836 was rather a late date. And I wondered if there was a recipe that was accepted as a standard and when the recipe came into use in America.
In 1774, an updated edition of “L’Art du Peinture, Doreur, Vernisseur” by Watin was published. This book took an orderly approach to the painting arts compared to the many ragtag publications that covered trade secrets that ranged from royal cake recipes to how to do your laundry.
About 20 years later, Antoine-Alexis Cadet de Vaux, a French chemist (and friend to Ben Franklin), was experimenting with the distemper recipes in Watin’s book. He published his findings in “Feuille de Cultivateur” around 1793. This was followed by “Memoire sur la peinture au lait” published in 1800 or 1801 (depending on which month it was in the French Republic Calendar at the time of publication). Cadet de Vaux noted that his previous recipe was published at a time of public misfortune (the Revolution) and a time of shortages. Although distemper paint was inexpensive the cost and shortages of linseed oil led him to use milk instead.
In “Memoire,” Cadet de Vaux describes the advantages of milk paint compared to distemper: milk paint was cheaper, the recipe was not heated, it dried fast, did not smell of size or oil and when rubbed with a coarse cloth the paint did not come off. The recipe consisted of skimmed milk, fresh slaked lime, oil of caraway, linseed or nut oil and Spanish white. He explains that the “skimmed milk has lost its butyraceous part, but retains its cheesy part.” The cheesy part acts as a kind of glue and gives the mixture an elasticity.
Cadet de Vaux also provides a milk paint recipe for exterior work. In 1801, “Memoire” was translated and published in London in “The Repertory of Arts and Manufacters,” and you can read the recipe and the butyraceous remark here.
Cadet de Vaux’s recipe was repeated in “The Painter’s and Varnisher’s Guide…” by P. F. Tingry (a Swiss chemist) in 1804. Many more editions of painting and varnishing manuals with various titles and translations followed. Cadet de Vaux’s recipe appears to be the standard.
Somewhere around 1803-1808, milk paint recipes appeared in articles and almanacs in New York and New England and for the most part were from the English translation of Cadet de Vaux’s “Memoire.”
Now I get to write my favorite command in Franglish, “Fetchez la vache!”
Our printer informed us this morning that “The Anarchist’s Design Book” has been delayed (again) at the Michigan bindery. The book was supposed to ship last week. Now it looks like the first 1,000 copies will ship to our warehouse on March 8 and the remainder will ship about March 11.
Woodworker, photographer and writer 
