Katherine has been busy as a full-time worker at Rookwood Pottery, and has just started taking classes at Covington Clay to exercise her creative side. But she had time this weekend to make a batch of Soft Wax 2.0, which is now in her etsy store.
This might be the last batch before Christmas – it’s hard to say.
Instructions for the wax are below. You can watch a video of how to use the wax here.
Instructions for Soft Wax 2.0 Soft Wax 2.0 is a safe finish for bare wood that is incredibly easy to apply and imparts a beautiful low luster to the wood.
The finish is made by cooking raw linseed oil (from the flax plant) and combining it with cosmetics-grade beeswax and a small amount of a citrus-based solvent. The result is that this finish can be applied without special safety equipment, such as a respirator. The only safety caution is to dry the rags out flat you used to apply before throwing them away. (All linseed oil generates heat as it cures, and there is a small but real chance of the rags catching fire if they are bunched up while wet.)
Soft Wax 2.0 is an ideal finish for pieces that will be touched a lot, such as chairs, turned objects and spoons. The finish does not build a film, so the wood feels like wood – not plastic. Because of this, the wax does not provide a strong barrier against water or alcohol. If you use it on countertops or a kitchen table, you will need to touch it up every once in a while. (I have it on our kitchen countertops and love it.) Simply add a little more Soft Wax to a deteriorated finish and the repair is done – no stripping or additional chemicals needed.
Soft Wax 2.0 is not intended to be used over a film finish (such as lacquer, shellac or varnish). It is best used on bare wood. However, you can apply it over a porous finish, such as milk paint.
APPLICATION INSTRUCTIONS (VERY IMPORTANT): Applying Soft Wax 2.0 is easy if you follow the simple instructions. On bare wood, apply a thin coat of soft wax using a rag, applicator pad, 3M gray pad or steel wool. Allow the finish to soak in about 15 minutes. Then, with a clean rag or towel, wipe the entire surface until it feels dry. Do not leave any excess finish on the surface. If you do leave some behind, the wood will get gummy and sticky.
The finish will be dry enough to use in a couple hours. After a couple weeks, the oil will be fully cured. After that, you can add a second coat (or not). A second coat will add more sheen and a little more protection to the wood.
Soft Wax 2.0 is made in small batches in Covington, Kentucky. Each glass jar contains 8 oz. of soft wax, enough for about five chairs.
Butter knives and cake slicers made of split birch wood. Decorated with chip carving and painted with linseed oil paint.
The following is excerpted from Jögge Sundqvist’s “Slöjd in Wood.” The first project (excerpted here) is a butter knife that will begin to unlock the world of slöjd for you. You will then learn to make bowls, a sheath for your knife, spoons, a place to hang your clothes, cutting boards and so many more things. In the end, you will look up into the branches of the trees around your home and see the things you need.
“Slöjd in Wood” is the first English translation of Jögge’s classic Swedish book. It’s a gorgeous peek into a work that is dominated by saturated colors, crisp bevels and handmade work. In addition to introducing you to the pieces you can make for your home, Jögge shows you how to grip the knife to produce the cuts shown in the book safely and efficiently. And shows you how to replicate the deep colors on your pieces that are positively mesmerizing.
Carving a butter knife is a good beginner project. It may seem to be an easy object to make, but the design requirements require some reflection. A tapered handle with a thin blade is important to work well.
Tools required: Axe, knife, drawknife (optional).
Carving direction for a butter knife.
Material: Juniper (Juniperus) is moisture resistant, dense and durable. Rowan (Sorbus) and maple (Acer) are excellent alternatives, as well as ring porous woods such as oak (Quercus) or ash (Fraxinus). My preference is to use birch (Betula) because it is convenient to make butter knives and spatulas from straight-grained leftovers from splitting green logs. It is also possible to split out blanks from naturally crooked blanks, if you wish.
Rough-finished and rough-carved blanks. It is important the handle fits the hand well and the blade is thin and flexible.
Select a straight-grain, knot-free piece of wood approximately 25cm to 30cm (9-1/2″ to 11-3/4″) long by 10 or more centimeters (3-15/16″) in diameter. Split it right through the pith of the wood. From one half, use your axe to rough out a piece 5cm (2″) wide by 2cm (3/4″) thick. Hew carefully along the wood grain, working down the grain so you don’t split the piece apart.
Roughing the blank.
If you need to remove a lot of material, use the axe to hew relief or scoring cuts nearly to your line. Start at the bottom and work your way up the blank. Then come down with the axe to chop this waste away. Taper the handle gradually toward the blade. If you have access to a shaving horse, it is a good idea to use a drawknife to quickly shape the form and create even bevels, or you can use a knife.
Taper the blade’s thickness from 6mm (1/4″) along the back to 3mm (1/8″) toward the edge. Feel the thickness with your fingers. A butter knife must be flexible or it will be too stiff to use. Cut or saw off the excess handle material and carve the bevels. The handle should be 16mm to 22mm (5/8″ to 7/8″) thick and have a total length of 170mm to 180mm (6-3/4″ to 7-1/16″).
Carving Away from Yourself Apart from the common elbow grip, there are some powerful and safe grips known as the power grip and the scissor grip.
Note that safety is important. The grips must be safe in your hand to give you the confidence to use the knife with the strength that is needed to cut through the wood. There are several tricks to get strength and controlled cuts, depending on the object you are making and the carving challenges. On page 102 you will find a list of 10 basic grips.
Power grip.
Power grip Hold the knife close to the blade. Drive the knife powerfully with a straight arm, without bending your elbow. Use the muscles in your shoulder and back. Lift your shoulder and carve downward with a smooth and firm movement. Tilt the tip of the blade upwards and skew the knife as you slice. The slicing action is from the handle toward the tip. Be sure that the bevel is riding on the wood. The concave bevel is supporting the cutting edge. This is one of the most common grips.
Scissor grip.
Scissor grip This is a grip providing good strength and, above all, control. Hold the knife in your hand with your palm facing upward and with the edge facing outward. Be sure that your thumb is on top of the handle. Take the material in one hand and the knife in the other, forming a pair of scissors in front of your chest. Curl your shoulders in a little and press your hands to your chest. Start the cut from the base toward the tip while you pull both the blank and the knife.
Slide your forearms along your body and feel how your shoulder blades and your shoulders pull back. This action helps your forearms to lever the cut, using large muscles. Press your knuckles onto your body. It is a combination of pulling the blank and slicing with the knife that makes the cut. If you want to make short stops, for example in the transition between the bowl and stem, press your knife hand firmly to your body, adding friction to stop. This is a strong grip.
CarvingTowardYourself
Pull grip.
Pull grip Hold the far end of the blank with your off hand and support it against your chest. The thumb of the knife hand rests on top of the handle and the tip of the knife is tilted away from the body. This way the base of the thumb hits the body before the knife releases from the wood. To provide safety, tuck your forearms against your ribs. Pull the knife toward your body and let the edge run from base to tip. While pressing and sliding with the forearm of the carving hand toward your chest, your wrist remains stiff. Press the bevel into the wood while you carve. This provides good support and a nice surface.
The crossed thumb grip (see page 108 [see below]) is necessary to smooth out the surface. Decorate and paint the handle with linseed oil paint, but don’t paint the blade or you will paint your food! Once the paint is dry, place the spatula blade in linseed oil and soak for a couple hours. The linseed oil must be food-grade – raw, cold-pressed and sun-thickened. (In the U.S., food-grade linseed oil is usually labeled as flaxseed oil.) Wipe off the excess oil with a rag or paper towel. Dispose of oily rags properly.
CROSSED THUMB GRIP Cutting direction – hybrid. Hand position – palm down, finger grip. Type of cut – shaping, clean-cutting. This grip is based on the can opener and thumb grips. You alternately carve from different directions on the work, first in a pushing phase (10a), then a pulling phase (10b). It is particularly useful when you need to control the area where straight grain and cross grain wood meet. For example, when smoothing a concave form.
10a. Crossed thumbs, pushing.
10a PUSHING – Grip the knife in your fingers so the back of the handle rests at the point where your fingers meet your palm. Be sure to position your index finger so it is about ¼” above the handle. The blade edge should line up with your fingernails. Stretch out the thumb of the knife hand to rest on the blank and act as a pivot point.
Slice across the work from tip to base. From the top view, the knife moves at a 90° angle to the work. The power for this cut comes from the shoulder and elbow moving in an arc with the thumb as the pivot point.
At the same time, place the other hand’s thumb to the back of the blade to add power. This also presses the bevel into the wood for added friction and control. As in the can opener grip, the safety stop is the index finger of the knife hand meeting the blank.
10b. Crossed thumbs, pulling (on a knob).
10b PULLING – When the pushing phase is complete, the knife edge is positioned next to the handle. Keeping this position and the thumb on the back of the blade, flip the knife so the edge is now facing away from you.
The elbow and shoulder have a pulling motion as the knife slices from base to tip. The non-knife thumb once again presses the knife’s bevel into the wood by pushing against the back of the blade.
From the top view, the knife slices across the work at a 90° angle in this phase as well. You are now back to the starting position to repeat the cycle. Remember that the blade’s edge is meant to slice into the wood, not to push it away!
This grip is very useful for carving V-shaped notches or bevels on knobs or pegs. When you are cutting V-shaped notches, first make a relief cut. Position the blade vertically at 90° to the work, and slice across the blank at the notch’s center point. If you are cutting a notch into an octagonal spindle, make the relief cut on all faces so the center mark will be properly aligned.
Proceed to cut the sides of the notches to the desired angle. For deep notches, repeat the push pull cycle until you reach the desired depth.
Carving repetitive, precise bevels is more controlled and effective with this grip.
We have just received stock of our newest bandana design; this one is navy blue and features a line drawing of the Anthe building (aka the new Lost Art Press shipping location and headquarters), plus a bunch of woodworking machine cutterheads (made by Anthe for more than a century) and bees. The bandanas were made by One Feather Press.
These are the nicest, softest, well-printed bandanas we’ve ever encountered. They are made one at a time by one guy in his shop. Pre-washed. Ready to become a good friend on the first day.
The bandanas are 22” x 22” and cost $33. More details in our store.
I bought this stock tank at Tractor Supply. The stove is from France. Yin and yang indeed.
During the summer my steam box took its last hot breath. The interior bits had rotted away, as had the door and its hinges. I pitched the thing, planning to build a replacement.
Then I thought: Am I really happy with the Earlex wallpaper steamer that powers it? It’s fine for small chair parts, but I probably need an additional steamer to keep the temperature constant when dealing with thick armbows.
I did some math in my head and decided to try something different.
I bought a stock tank – a steel watering trough for farm animals – that measures 1’ x 2’ x 6’. Then I put it on my gas stove in the kitchen to heat the water.
Filling the stock tank at the sink.
Boiling your bits is just as effective as steaming them. On Monday I bent my first two arms (1” x 1-3/8” x 51” in red oak) using the new setup. The tank is bigger than I really need, but I might teach a chair class in the future where we bend the arms.
How did it work? Fine, as expected. The only pain-in-the-butt part was removing the water from the stock tank. This one doesn’t have a drain (yet), so I had to scoop out the water into the sink.
Wally was interested in the operation – too interested. I ended up locking him in the spare bedroom so I didn’t make Wally Stew.
I also had a constant worry that the cats were going to jump in the hot tank, and I’d find three floating carcasses in there. (Actually, I was only worried about Wally. He’s both curious and dumb.)
So for the next batch of arms, I’m probably going to buy a propane camp stove ($150) and do the operation outside.
Bonus: For our next party, I’ll have a great place to chill the beer in the stock tank. And I’ll have additional cooking facilities for making chili (with black beans, not Wally-flavored) as I smoke some ribs.
The following is excerpted from Mary May’s “Carving the Acanthus Leaf.” Learning to carve the acanthus leaf is – for carvers – like a pianist learning a Chopin étude, a young oil painter studying the genius of Rembrandt or an aspiring furniture maker learning to cut dovetails by hand.
For carvers, especially those who focus on Classical Western ornament, there comes a time they will inevitably encounter the acanthus leaf, learn it, master it and finally incorporate it into their own designs.
“Carving the Acanthus Leaf” is a deep exploration into this iconic leaf, which has been a cornerstone of Western ornamentation for thousands of years. May, a professional carver and instructor, starts her book at the beginning. She covers carving tools and sharpening with the efficiency of someone who has taught for years. Then she plunges the reader directly into the work.
It begins with a simple leaf that requires just a few tools. The book then progresses through 13 variations of leaves up to the highly ornate Renaissance and Rococo forms. Each lesson builds on the earlier ones as the complexity slowly increases.
Drawing the Details of the Leaf The details in the leaves can often be formed using geometric techniques, but not always. There is scant detailed instruction available on the specific techniques of drawing historical acanthus leaves, but the following step-by-step instructions explained in each project chapter work well for many designs. The process of drawing that I have shown in each chapter may not be the best technique for everyone, as we all think and design differently. The instructions are presented for the mathematical mind with a desire to discover the “formula” for designing and drawing the acanthus leaf. This is to satisfy those who have ruler and compass poised and ready for battle. There may be others who wish to learn to draw the designs freehand, discovering this leaf’s deep secrets by observing, studying, tracing and drawing the leaf multiple times. Refer to the drawing instruction shown in each chapter to understand the positioning of the different details of the leaf and the curvatures of the lines. If you choose to draw the leaf freehand, you may find it easier to identify the overlapping lobes first, before locating the eyes. The geometrical process I have shown is reversed where the eyes are positioned first and are based on various guidelines drawn.
Drawing a Symmetrical Leaf The following is an overview of how to use geometry and guidelines to draw a basic, symmetrical acanthus leaf. You can see a more detailed explanation of how to draw this particular leaf in Chapter 4. Some designs easily fit into this “formula,” while others vary depending on their shape and application. The main variation would be the number of lobes on the leaf, with the general rule being the longer and more stretched the leaf, the more lobes there are. Keep your eraser handy, as many of the guidelines used will need to be removed as the drawing progresses. Details such as eyes, pipes and overlapping lobes are discussed in more detail later in this chapter.
1. Draw a basic outline of the overall leaf with a midrib down the center that curves and splays out at the base of the leaf.
2. Draw four horizontal guidelines along the leaf, getting slightly closer together as they go toward the tip of the leaf.
3. Draw two straight guidelines starting at the tip of the leaf that angle out as they reach the base of the leaf.
4. Draw eyes at the intersection of the horizontal and angled guidelines.
5. Draw six circles, increasing in size as they reach the base of the leaf. These circles should touch the upper three horizontal lines, intersect with the outer edge of the leaf as shown, and touch the eyes at the approximate halfway point on the circle. These locate the upper, overlapping edges of the lobes. Once these are located, erase the parts of the circle that are no longer needed (dotted lines).
6. Draw curved lines to complete the lower edges of the lobes. These should start at the pointed end of the eye and finish at the outer edge of the leaf as shown, joining with the line drawn in STEP 5. The dotted lines represent the parts of the lobe that are positioned and hidden underneath. Read more about the “eyes” later in this chapter to understand these in more detail.
7. Draw the pipes that flow down from each eye and flow alongside and blend into the midrib. 8. Draw the primary vein lines on each lobe curving in the same direction as the pipes.
9. To help locate the position of the small serrations on each lobe, draw lines halfway between the eye and the tip of the lobe. Position these lines so they are angled and roughly perpendicular to the primary vein line of each lobe. 10. To help find the correct curvature of the serration edges, draw circles as shown on the left side of the leaf above. 11. Erase the parts of the circles that are not needed. The resulting curve should start at the edge of the lobe and end at the line drawn in STEP 9. The dotted lines show the correct direction these serration lines should aim, and should flow toward and blend with the primary vein line of each lobe.
12. Complete the edges of the leaf by drawing lines connecting the inside end of the serration edges with the tip of the leaf. 13. Draw any secondary veins flowing toward and running alongside the primary vein of that lobe. 14. Draw any wrinkle cuts on the pipes.
