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Drivel Starved Nation!
After spending three weeks in China, my jet lag back here in Oregon is something else. I must be getting really old…
The day before I departed back to the States, my Chinese business associate Jack and his daughter Jessica accompanied me to Beijing for a special dinner.
It’s not a big secret that I am an Iowa son, born and raised until my graduation from Iowa State when I headed off to my teaching job in Oregon. Wow, that was 45 years ago! Ouch.
While living in Ames, I would occasionally get my hair cut–about once every three years. (I liked being a hippie where I learned that you could accomplish so much more in a day if you skipped bathing.) The place I frequented was called the Head Shop and it was owned by Al Thompson who was my barber. We have remained friends all these years and whenever he FaceTimes me he tells me my hair looks like it was cut with a Weed Eater…
Some things never change.
Al learned how to cut hair from a famed LA hair stylist and his Head Shop quickly became the most popular barber joint in central Iowa. Then he got a crazy idea…
In 1971, when hot pants and mini skirts were at their peak (did I just write that?), Al decided it was a good idea to shave ISU coeds legs for a buck. What do you think happened?
Back then, if a story was picked up on the AP wire, it went viral and yes it did! He has clippings of his exploits from around the world. The 1971 NPR radio story is now enshrined in their archives.
It wasn’t long before Al would make a monthly trip to Des Moines to cut the hair of the Governor. And now, whenever I go to Tennessee, or Al comes to Oregon, my haircuts are free. After each hair cut he proclaims, “Now, you no longer look like an idiot!” How cool is that?
So, what does this have to do with Charlie Manson? Al’s teacher in LA was Jay Sebring who was one of the seven people murdered by the Manson clan. But the crazy part is just beginning…
That Iowa Governor? Mr. Terry Branstad. Turns out he is the longest serving Governor in US history with 22 years of public service. He too stays in touch with Al from his new residence as the Ambassador to China in Beijing. See where this is headed?.
We were supposed to meet for dinner on Nov. 3rd, but got bumped by none other than Bill Gates. However, on Nov. 2rd, Jack, Jessica and your favorite tool Potentate took a cab over to the Ambassador’s residence where we were greeted at the gate by 4 or 5 Chinese army dudes. They asked, “What do you want?”
“We are here for dinner with the Branstads” I said.
“Who are you?”
“John” I replied.
About 5 minutes passed and the gate opened. It is about a 50 meter walk to the entry and awaiting us was Mr. Branstad’s wife Chris. We were there for almost 4 hours and had a great time (not once did politics get discussed). Here was our menu;
For a Chinese business man and his daughter, this was an amazing life experience. I probably won’t be invited back (it’s a trend I have noticed over the years…) but really had a great time. Mrs. Branstad actually made the ice cream on the menu. How cool is that?
BUT WAIT–THERE IS MORE! I have even more crazy friends! Michael Hosaluk, one of the most famous woodturners in the world claims that he used to play hockey like me. No, not as bad as me, but hockey…. you get it. This dude won the Canadian equivalent of the the MacArthur Genius Award which means he got free money!
So I begged Michael to make me something special that I could give Mr. Yang the Hong Mu Master, Jack and the Branstads as a gift. He said sure, then in order to bring the price down (even though he got all this free money, he has to charge me because he is flippin’ famous, which is always expensive) I ordered ten sets of these;
They are ceremonial rice bowls, one with red lacquer, the other with gold leaf. And yes, that is actual rice you see. How cool! We will offer 5 of these limited edition sets in our upcoming holiday email.
The next day I walked over to the American Embassy because I have never been to an American Embassy before and was given a private tour by a docent. Not once did I spot a spy.
And that brings my latest China adventure to a close. It was a great trip… Until I received this email from Chris Branstad;
“John, are those rice bowls dishwasher safe?”
I knew it was a joke so now I have yet another crazy friend!
Drivel Starved Nation,
This is a long post, and it is full of pics. So there DSN, lots of Drivel! (If you have slow internet, you may have to wait a bit for all the pics to download).
Our last day together on the Epic Bridge City China Field Trip was spent at the Hong Mu Arts Museum. This 30,000 square meter facility was built specifically to honor Mr. Yang, the Hong Mu Master. He is China’s most famous woodworker and is a national treasure. The museum was privately funded (just under $40 million USD) by a wealthy real estate mogul who is living the giving chapter of his life. The museum is private and when complete next year, the grounds will include the now finished museum, a tea garden and a brand new private residence for Mr. Yang and his lovely wife. Attendance is by invitation only.
Mr. Yang and I are the same age (old) and share a ready sense of humor. (While at dinner, he commented that when he visited New York city he had no money. I quickly gave him $2 bucks for his next trip which was a good for a long 5 minute laugh.) More important, his passion for his work is unrelenting and his productivity is actually unbelievable. He is one of “those guys” that does not have an enemy in the world, and it is really an honor to call him a friend.
All of his furniture is made out of an Asian dalbergia species (rosewood). All of it. And get this, in his pieces you are going to see below, NONE of them have a finish. That is not a typo, NO FINISH. It is simply the luster of the wood rubbed to a lacquer-like finish. Incredible.
If you turn to the right, there is an entire floor dedicated to student work.The pieces you see below are made from ONE piece of wood (no joinery). This is just a sample of the incredible work. The students spent one year on their projects.
What follows below are examples from the three floors of Mr. Yang’s work. Many of the pieces are grouped as they might appear in a residence. The “paintings” interspersed in the images below are all silk embroideries. They are all worth fortune! Even more amazing, this furniture was all crammed into his house on my visit last year!
Enjoy the images.
This is a our equivalent of a “love seat”. The center section is for tea, and the couple sit cross-legged facing each other. The flexibility needed to sit like this does not exist in my body. Anywhere.
This is Mr. Yang’s bed and it took him 5 years to make it. Most of the pieces you see here took over a year and the reason is simple, the rosewood was not kiln dried. He would work on a piece, let is sit for a month or two, do more work, repeat.
I don’t know about you, but I feel really insignificant in the shadow of the Hong Mu Master. What an experience.
The post Bridge City Field Trip Report #4: The Hong Mu Arts Museum Tour appeared first on John's Blog.
Drivel Starved Nation;
Nothing quiets prejudice, hatred and biases more efficiently than travel. Only until one sees, smells, hears and learns from different cultures and their people can you intelligently grow as a citizen of planet Earth. Over the past 4 years, my 8-9 trips to China have been filled with wonderment, awe, disgust, dismay and joy. I thought this field trip idea would be an equally fun learning experience for Bridge City customers. And it was.
We all had a great time in Shanghai so it was time to see Nanjing! To get there, we took the bullet train.
The Chinese government is fully committed to connecting all corners of China with bullet train service. These sleek, all electric vehicles with bodies of extruded aluminum, shuttle passengers at an amazing 300 km/hr. (That is a Nascar speed of approx. 186 miles per hour!) The ride is incredibly smooth so of course I had to ask how that was possible.
In order to go that fast, and that smooth, the tracks need to be smooth. How smooth you ask? They are actually surface ground once in place and the tolerance is 1mm every 16 meters. How accurate is that you pesky knowledge seeker? 0.00075 inches per foot! That is crazy. How crazy? That is flatter than our precision straight edge!
I then inquired about heat and cold and expansion joints. I was told the rails are not welded but joined with a special alloy that keeps them “on track” during extreme temperature swings. There is no clickety clack, clickety clack, unlike my experiences on Amtrak here in the States. I would say that on average, the bullet train is smoother than air travel. That’s is simply amazing to me. It is also relatively inexpensive.
The train stations are nothing short of enormous. With the exception of the Boeing assembly building in Everett, WA (do put that on your bucket list of places to see), these train stations are the largest buildings I have ever been in. They are sleek, modern, and so damn big they disguise the fact that at any given moment, there are thousands of people waiting to catch a train. Here’s a pic of the Nanjing station;
This pic was taken in the middle of the station, and those windows down yonder are at least three football fields away. It is the same going the other direction. The place is huge, shiney, new and unbelievably impressive. AND, this is just the UPSTAIRS! You take an escalator down to the train terminal to an equally large space to catch one of the many trains, which like German trains, operate to the minute. I was also told that this year, for the first time, bullet train travel was profitable.
Here’s a little video of a train coming into the station;
What 180 mph looks like from a window seat…
Once in Nanjing we had a guided tour of the Harvey Industries facility, and were able to see the new Gyro Air Dust Collector in production as well as the Bridge City Tool Works assembly area. We had a fascinating time culminating that evening with a BCTW hosted dinner, our last dinner together.
The next day was the highlight of the trip…
… To Be Continued.
The post Bridge City China Field Trip Report #3; Shanghai to Nanjing… appeared first on John's Blog.
I am pleased to announce that Mary May and George Walker will be at the Lost Art Press storefront on Dec. 9 to celebrate the release of their new books.
Mary, the author of “Carving the Acanthus Leaf,” and George, one of the authors of “From Truths to Tools,” will each give a short presentation on their work that evening, answer your questions and sign books. Lost Art Press will provide drinks and snacks for this free event.
Only a limited number of people can attend (fire marshal’s orders), so we will offer free tickets to this event starting at Friday at noon Eastern time.
Note that Saturday, Dec. 9, is also the last open day for 2017. So if you need books signed by me (note: I am happy to fake any signature, including: Tommy Mac, Roy Underhill and André Roubo) that’s the day to do it.
We hope you can come!
— Christopher Schwarz
Filed under: Carve the Acanthus with Mary May, From Truths to Tools, Lost Art Press Storefront, Uncategorized
After ripping fifty feet of 6/4 Southern yellow pine by hand the other day I sat down to give my arm a rest and I snap a picture for social media. It wasn’t long before a friend commented on my post that there is, in fact, such a thing as electricity these days and I was welcome to use his table saw. Curiously, I had no urge to take him up on it.
I’m the first to admit that my shop is hand-tool centered, but not exclusive. I have a few machines for specific purposes - a powered lathe, drill press and bandsaw. The lathe and drill press I make no apologies for. I love them. I am sometimes tempted to equivocate about owning a bandsaw, but I find it very useful in processing green wood for bowl turning and the occasional resaw. Most everything else is hand work.
At Mortise & Tenon we are unabashedly about exploring the possibilities of hand tools and hand work. We try not to be pretentious. We know we don’t live in the 18th century and freely admit that we wouldn’t be able to publish as we do without modern technology, but at the same time we want to encourage people to discover the joy of pre-industrial woodworking and to understand that these tools and techniques aren’t necessarily as slow as we moderns make them out to be. If anything, pre-industrial woodworking is full of efficiencies we might readily overlook.
The fore plane is a great example of this sort of efficiency, but admittedly, the rip saw is not.
I’m generally not working to anyone’s timetable but my own, and I enjoy the exercise of ripping down boards when I’m not in a rush, but there are still times I look at a pile of lumber and sigh, knowing what’s ahead. Practice equals speed with many hand tool techniques, but this is one place where almost anyone will admit that hand tools earn their reputation as slower than their mechanical counterparts. Sawing is work, and no matter how ripped you are, ripping a pile of long boards, even with the sharpest of hand saws, is not as efficient as running lumber through a bandsaw or table saw. At least, not in the way that we generally think of efficiency.
Standardized tests train you to think in hours per person per units of work, and this kind of equation makes it feel like picking up a hand saw is the equivalent of wasting one of the above variables. This logic may make sense in professional cabinet shops today, and even in pre-industrial shops of centuries past, but if you’re not totaling person/work/hours to write out paychecks or feed your family, what’s an extra day on a project intended to last decades? And honestly, of all the things that slow most of us down (or keep us from finishing projects entirely), ripping stock by hand isn’t very high on the list.
In my workshop I’m rarely on anyone’s payroll, and I welcome the challenge of handling rough stock in this way. I enjoy the test of sawing to the line. I relish the meditative rhythm of the teeth through the wood. I like feeling physically tired at the end of the day, because after hours of other stressful pursuits, it feels good for the soul.
Ripping stock by hand may represent an “inefficiency” in some ways, but once I admitted that to myself and decided that I wasn’t at all bothered by the idea, it was a short path to finding joy in it. In any case, I’ll make up the time with the fore plane and that’s an equation I can live with.
- Jim McConnell, content editor
"Some people express their deep appreciation in different ways. But one of the ways that I believe..."
Although this primarily refers to Apple’s products, it could easily be about woodworking. At the very least, it dovetails nicely with his “When you’re a carpenter making a beautiful chest of drawers” quote.
Denne benken dukka tilfeldig opp under synfaring av eit vedlikehaldsprosjekt på eit stabbur i Hoftun, Suldal. Den stod stua vekk bak ein del ting på lemmen. Og det var eit heilt lite løft som måtte til, for å få den fram og ut i lyset for dokumentering.Strykbenken i Hoftun
Benken måler 4500mm i lengda og er 875mm frå gulv til øvre kant langbord. Benken føyer seg rett inn i rekka av andre benker frå Suldal i utforming og funksjon. I dette tilfellet er all materialen skoren på sirkelsag og det er berre innsida og øvre kanten av langborda som er høvla.Her ser me merkinga for plassering og uttaking til svalehalen.
Studerer me litt på oppmerkinga er det tydeleg nokre punkter som er avgjerande. Til dømes er dette øvre kanten på borda med svalehale som held beina saman. Denne høgda må vera lik på begge sider for at ikkje høgda på det lause langbordet skal endra seg ved forskjellige tjukner på arbedstykket. Dette er avgjerande for om den ferdighøvla kanten er vinkel i forhold til innsida på det faste langbordet. Vinkelen på svalehalen ser ut til å vera utført på frihand, då djupna på hakket ikkje er lik på nokon av dei.
Ser me tilbake på blogginlegget om Samanlikning av strykebenkar frå Suldal og studerer biletet av Nordmarkbenken, har den knektar spikra fast til beina på baksida. Restar av ein slik knekt er der og på eine foten på benken frå Hoftun. På den andre foten er der spor som fortel om at der har vore ein. På same måten som på Nordmarkbenken, ser det ut som om denne ikkje har gått heilt opp slik at den fluktar med øvre kant på beina. Det er fortsatt uklart for meg kva denne har vore nytta til. Det verkar for meg som om den vert for smal til å lagre materialar på (jf. Nordmarkbenken).
Krossbanda ser ut som om dei kan vera tilført ved eit seinare høve. Dette samsvarar med fleire andre benker eg har studert. Men dei er komt til før knektane forsvant, då borda er tilpassa spora etter knektane. Det er berre innfestinga av det faste langbordet som utgjer avstivinga i lengda om ein ikke har skrå- eller krossband. Dette er erfaringsvis nok, då benkane me brukar på museet ikkje har ekstra avstiving i lengda. Dette er Kolbeinstveitbenken som er i stålhallen pga lengda og ein nylaga, kortare variant av same som passar betre på verkstaden.Hoftunbenken på baksida
Når det gjeld oppmåling av benkane frå Suldal, har eg begynt å tenkje på kor nøye det er med å detaljteikne dei. Eg tolkar at benkane er noko som er laga til på plassen av til dømes ein omreisande snikkar. Han har nok ikkje hatt med seg strykebenken på trøsykkelen. Alle benkane eg har sett på til nå, er av forholdsvis grove og tildels vinne materialar. Det varierar og om rettsida på langborda vender inn eller ut. Det som er avgjerande for å få til ein strykebenk som fungerer etter intensjonen er:
- at lengda på langborda må stå i høve til arbeidstykka ein skal høvle.
- arbeidshøgda på benken må vera lageleg
- lik høgd i øvre kant, framme og bak, på samhaldet mellom beina
- at øvre kanten på samhaldet er vinkelrett med innsida på det faste langbordet.
- at øvre kanten på langborda er i vinkel til innsida på det faste bordet
- at langborda er beine etter lengda
Med dette i bakhovudet, og med tanke på samanlikningsgrunnlaget, har eg berre laga ei enkel skisse med nokre hovudmål om ein vil lage ein tilsvarande benk.
Alle foto er tekne av underteikna.
|I'll have to remember about the pullout|
|epoxy has set up|
|sawed it apart|
|flushing the proud on the ends|
|I'll be able to do lid banding tomorrow|
|hammer is done|
|continuous grain flow|
|the opposite corner|
This has four coats of shellac and I will put on about 3-5 more before I wax it and call it done. I'll fill this with candy and give it as a xmas present. I will have to make one more for xmas and fill with a different candy.
|layout for the square till box|
|ready for grooving almost|
What is an Aulos?
answer - an ancient Greek single or double reed wind instrument usually played in pairs
Thonet Chair Designs—What They Brought to the Table Michael Thonet chairs have on the one hand remained unchanged for almost two centuries and then enjoyed variations on the theme for decorative accentuation and individualising a design under Thonet’s concept. Working at my workbench I slipped into his entrepreneurial designer shoes as I embraced his commitment […]
An old task for me, but in a new context. For the Hardanger, I'll go as I generally do with violin ribs. For the viola, about 10% thicker. So 1 mm and 1.1 mm! Not much, but a difference.
I want y’all to know that you have adoring spouses and family members. Every year in mid-November we get flooded with requests from people who want to give you gifts with a little extra something special.
A few years ago, we got a request from a woodworker’s wife. She had bought one of our books at a used bookstore. She mailed it to us, and her request was something like this:
Please write an essay on the inside cover that will inspire my husband to continue woodworking. In your essay, I would like you to touch upon the following themes from his life:
- The death of his father at a young age and the lack of authority figures in his life.
- His two beloved dogs.
- The difficulty he has at work because of his boss and the need for him to find a hobby.
It was then that John and I designated November and December the “Lexapro” season – when we are regularly pulled into anxiety-provoking family situations.
During the 2015 Lexapro Season (or was it the 2012 season?), a spouse asked if we could include a day of woodworking lessons with the book she wanted to buy for her husband. We replied with, “We charge $700 a day for one-on-one lessons.” And then she became very incensed that we couldn’t do it for free.
I hear those white pills rattling, rat- rat- rattling for me…
If you do have an overachieving spouse, we recommend they stop by our storefront on one of our open days if they want a personal signature – that really is the only way we can fulfill unusual requests. (Our last open day of 2017 is Dec. 9.) Because I’m in Kentucky and our warehouse is two hours away in Indiana, there’s no way to pull certain orders, sign them in blood and repackage them.
I honestly wish we had the staff to honor requests such as these as they are an indication of how much you are loved. And who doesn’t love love? But we are just two guys, and I have bathrooms to clean.
— Christopher Schwarz
Filed under: Uncategorized
I will teach two classes in June 2018 at Dictum in Germany – one class on building a Roubo workbench and a second short course on building a staked three-legged stool.
The classes are held at Niederalteich, a gorgeous monastery in Bavaria. Students can stay in the comfortable guest rooms at the monastery or at one of the local bed and breakfasts in the town. The monastery has a really good restaurant and lively beer garden. It is a perfect setting if you want to disconnect from the outside world and focus on the craft.
The staked furniture class is June 9-10. During the class we’ll build a three-legged staked stool. This class is an excellent introduction to the world of chairmaking. We’ll discuss how to design and execute compound-angle joinery without math or trig tables. And we’ll explore the tapered mortise and tenon, the foundation of staked furniture.
For more details or to sign up for the course, visit this page.
The workbench class is an intense five day class from June 11-15. Each student will build a Roubo-style workbench. The class will focus on making the bench and helping you decide what vises or workholding you need in your shop. We will build the bench using traditional mortise-and-tenon construction and the massive sliding dovetail used on early French benches.
For more details or to sign up for the bench course, visit this page.
Note that these classes do not mark my return to a regular teaching schedule. Teaching these classes in Bavaria helps fund my research into early woodworking in Europe. Plus, I owe the people at Dictum a personal favor for which I will ever be grateful.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Uncategorized
We are not the first woodworkers who ever wanted to tweak the coloration of our pieces; the ancients routinely augmented their work with the addition of colorants to both unify overall tonality and accentuate details. Among the most common colorants of the past were asphalt, that useless contaminate that percolated up from the ground, and pitch, which is the residue from the fractional distillation of pine sap into turpentine solvent and colophony resin.
For this workshop I showed and the CW crew used asphalt as a toning glaze. My source for this was some non-fibered parging tar left over from the barn basement construction. The three gallons I have left are all I and a thousand friends need for decades. I thin the asphalt with mineral spirits, and occasionally add a bit of boiled linseed oil.
The asphalt glaze can be applied to the surface and manipulated with bristle brushes to achieve an overall uniform appearance. For carved surfaces it could be applied the same way with the highest points rubbed with rags to remove the colorant and emphasize the three-dimensionality of the surface.
Asphalt can be overcoated with shellac as soon as it is dry to the touch.
I’m behind on my podcast listening, but I’d like to thank Shannon Rogers for giving a shout out to my new video on Japanese tools on the Wood Talk podcast a couple of weeks ago.
|removed a stop|
|nail set box|
|what's left to do|
|the epoxy comes first|
|back to working the stops|
After I got this fixed I ran into two more hiccups with the 073 holder. The first was I initially screwed the holder too close to the edge plane holder. I had done that without the edge plane in the holder. Once the plane was in it I saw I was up too close to it with the 073.
So I moved the holder and I hit snag #3. The screws were sticking out of the bottom of the shelf and hitting the front brace. I could open and close it but I could feel the screws dragging on the front cross brace. I left the screws in place and filed the points off with a file.
|#5 - making a relief for the handle to clear the side|
|#6 - the pic says it all|
|3 frog hairs of clearance|
|no knob or handle|
|took the easy way out|
|Houston we are almost in double digit problem land|
The final hiccup, #9, is I had to take out the stops. With them gone I can pull the drawer out far enough and get access to the edge plane. The downside is there is nothing to stop the shelf and the tools on it from playing the bounce test with Mr Concrete Floor. I tried to place the stops closer to the opening but it wasn't helpful at all. If I place the stops as far forward as I can I still don't have access to the edge plane. I will have to live with this as is and try to remember I can't pull it out all the way.
|block plane storage idea|
|road testing Miles's hammer|
|made dividers for the block planes|
|dry fit looks and felt good|
|last divider dado needed some help|
|dividers glued, clamped, and cooking|
|first coat of shellac on Miles's hammer|
|plane stop for the violin plane|
|I'll glue these two together|
|then I'll glue it here|
|the 103 is longer|
|my OCD kicked in here|
|laid out a rabbet and chiseled it out|
|doing a small one is just like doing a big one|
|the 103 toe is buried a bit|
|cleaned and squared up|
|I'll wait for this|
|3 coats of shellac on the box|
What is nikhedonia?
answer - the pleasure from anticipating success or a victory (or finally finishing a project from hell)
Replacing the main beam of the Horse Garage has been hanging over my head for more than a month now. Every time I go in there I feel like Damocles and wonder if I will become buried in my work.
Last month, Brendan Gaffney, Megan Fitzpatrick and I jacked up the garage’s joists to relieve pressure on the rotted beam. Today was the day to replace the punky thing.
Lucky for me, woodworker Jeremy Hanson was in town, and I hired him to help. Jeremy is a cabinet maker, carpenter, tattoo artist and art teacher from Seattle, Wash., who is traveling around the country with his charming family in a Toyota Tacoma that is outfitted with a camper. They stopped by the open house yesterday, and Jeremy volunteered to lend a hand.
It took us about four hours of dirty work, but at about 2 p.m. we lowered the joists back on the new beam. All the pieces returned to their proper places without complaint.
Now comes the rush to button the place up before winter comes. I have a roofing company prepared to add a membrane roof. And I am starting to build the new doors tomorrow.
The doors will be lightweight pine, joined with mortise-and-tenon joints and painted for protection. After all the wacky repairs we’ve been making to the Horse Garage, doors will be a cakewalk.
Then I will be out of money – again. After I complete a couple furniture commissions I should have enough money to add electricity to the building. (And, if I’m fortunate, enough money for a mini-split as well.)
There is still a long way to go, but the Horse Garage might be in business before the end of 2017.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Lost Art Press Storefront, Uncategorized
Note: No deer were harmed in the making of this project. These antlers were shed by a buck and retrieved from the woods by a so-called “shed collector.”
Getting the antlers fastened to the chair was straightforward in the end. But I’ve spent many nights pondering the possibilities. Rejected ideas:
- Bore a hole for the irregular antler and pack epoxy and maple shavings around the antler.
- Use a staked furniture joint: Use a tapered tenon cutter to shape the antler. Ream a matching hole in the chair.
- Build a mounting board – like a taxidermist would – that would be fastened to the chair.
In the end, I decided to use hanger bolts. One end is threaded like a machine screw – that goes into the antler side. The other end is a wood screw and goes into the chair.
We also decided to cut a shallow counterbore in the chair to obscure the joint between the antler and the chair. This worked brilliantly.
Because you’ll never see a project such as this in a woodworking (or deerworking) magazine, here are a couple tips.
- If you don’t own a tap for the machine screw, the hanger bolt is strong enough to form threads in the hole in the antler.
- A dab of quick-set epoxy on the machine threads is a good idea.
- Have a spotter (or two) help you drill the holes in the irregular chair and antler. It’s more difficult to do alone and make it look right.
After we installed the antlers, most of our customers that day asked to sit in the chair and have their picture taken with it. So either the project is a success, or I’ve created something so ugly that people want a photo to warn others not to do this.
— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com
Filed under: Uncategorized
Yup! My parents owned a set of six Thonet dining chairs and it was indeed Thonet who designed a chair that brought a truly democratised and radical product in chair form to our world of wooden seating. Dining chairs, office chairs and even rocking chairs of many a hundred thousand gradually came into full mass-production […]