My kids complain when we draw together, they say all I draw is patterns & designs. (Here’s them painting; I can’t find them drawing right now…)

kids painting

 

I’ve been doing some drawings lately. It’s somewhat new for me to draw before I build something, usually I make it first, then I draw it… 

I’m finishing up a few projects, which means it’s time to start the next ones…I’m real good at starting them…it’s easy. I always have more ideas than time. A further challenge is when one thing leads to another, and a project comes up out of nowhere, and jumps the queue. I’m right now struggling to keep that from happening. I’m losing that struggle. But that’s OK.

brittany

I had a visit from Chris Pinnell from Montreal recently, and we were talking about joinery in New France. I had remembered some photos sent to me from a reader, and dug out pictures of joined work from Brittany. [It was Maurice Pommier, author of Grandpa’s Workshop – here’s my original post from a few years back –   http://pfollansbee.wordpress.com/2010/03/27/bretagne-joinery-an-english-book-stand/ and the book is here http://lostartpress.com/products/grandpas-workshop  ]

 

Afterwards, I went back & started drawing this carving over & over. I’ve probably drawn five versions of it since yesterday. I plan on carving it just to get it out of my system, so I can get on with the other stuff I really should be doing.

bowdoin chair panel

One of the projects I have to do next is a wainscot chair. For this project, I’ll be using some of that really wide riven oak I just got in. The panel is 14” wide x 16 3/4” high. I decided I’d draw this design a few times before picking up the tools, that way I know the shapes I’m after. Those size panels don’t grow on trees, you know. This is slightly different from my usual approach. Typically, with this Ipswich/Devon stuff I carve my own versions of the panels…it’s easy enough to make them up using various elements from existing patterns. This time, I’m trying to copy the existing chair …)

dennis wainscot panel no grid

Dennis wainscot panel

 

 

I’ve drawn it about 3 times, including one that’s half the panel, full size. I won’t lay out a grid on the panel, but I will work from the scaled full size drawing. I want it to have irregularities in it, and those are easy to get. 

 

One last drawing – this thing jumped in front others, should be done this week. A bretstuhl – in walnut. Here’s the carving design I made up for the shaped back board to this chair. the chair is based on one Drew Langsner wrote about in Fine Woodworking in the early 1980s, from Switzerland. The carving designs I adapted from Dutch work of the 17th century. 

bretstuhl stabelle

No sooner did I mention making a wainscot chair, than I got an email from Lie-Nielsen’s youtube channel – they’ve posted a preview of the new DVD, (as well as a couple of others)

here’s the chair one – you can order it from them, or I have a few left as well. But from them, you can get the disc and all that other good stuff too.

https://www.lie-nielsen.com/

http://pfollansbee.wordpress.com/book-dvds/

When I left Plimoth Plantation in June, I wrote that I would be pursuing other aspects of woodworking beyond 17th-century joined oak furniture. But I also laid out that I wasn’t giving up the oak stuff, just adding to it. Bowls, spoons, baskets, weirdo boxes (coming soon) and more…

test only a test

And I have had the best summer ever, picking away at aspects of woodworking both old and new to me…but now it’s time to bring back to the blog some joined oak furniture, carved all over.

I dug my “real” workbench out of storage, and some tools and borrowed a work-space from my friend Ted Curtin – who thankfully almost never makes joined furniture anymore, (he’s a school teacher now – that’s good, because he’s better than me at oak stuff!)

Today I shuffled some stuff around, and will start in soon on shooting carved boxes, chests and more for an upcoming book on joinery.

Between travels that is…

I greatly appreciate the notes & emails, etc that I get from readers, students and more. It’s nice to hear that my work inspires some folks to go shave wood. Woodworking has saved many a man’s life (woman’s too…) – and I am glad that my work sometimes gives others a nudge. Likewise, when I hear these things, it inspires me to keep posting my stuff here – someone might get something from it. Co-inspiration.

I’m very late as usual with this post. I owe some of you answers; and had promised to show your stuff to the blog readers. Keep ‘em coming, I like to show this stuff you folks are making. That way, someone else might be inspired to have a go at it. How hard can it be?

In absolutely no particular order – here’s a stool-in-progress from Jason Estes of Iowa. Look at his details; nice chamfers; and square “turned” decoration. Great work, Jason.

Jason Estes Iowa

 

Jason had a question about seats = it’s probably too late now (sorry Jason)  - but for next time here goes.

“If two boards are used for a seat, are they fastened to each other in any way, or just to the aprons or stiles?”

Alexander & I did them just butted up against each other in the book, but in period work, usually they are glued edge-to-edge, sometimes with registration pins between them. I have seen chest lids done with splines in grooved edges of mating boards. No tongue & groove in chest lids, table tops, etc –  they are used in chest bottoms, however.

When I make a wainscot chair seat, I usually edge glue two narrow riven boards together. sometimes w 5/16″ pins between them; maybe 2 in the whole seat.

“If I elect to go with a single board of quartersawn oak, it will likely be kiln-dried – does that require any accommodation, or can it go on like a tree-wet board?”

Nope – if it’s well-quartersawn, it should behave perfectly well.

 

Sean Fitzgerald (I think I got that right) of parts unknown made a joined & chamfered dish rack…why didn’t I make one of these? Here’s a case I often talk about – my work is 17th-century reproduction, but you can adapt these construction and decoration ideas in new formats; designs, etc – the mortise & tenon is timeless, as is oak.

sean fitzgerald chamfered dish rack

 

Here’s a bunch from Matthew LeBlanc – we finally met this past July up in Maine. We had corresponded many times, then finally connected. Matt’s made a slew of stuff – great going. For a teacher to have students like these, I’m a lucky person.

Matt stretched out his stool, made it wider side-to-side. Poplar & sawn oak. If you have no green wood, don’t let that stop you!

 

Matthew Leblanc stool_edited-1

 

Matt also made one of Jennie Alexander’s post & rung chairs – or maybe it’s from Drew Langsner’s book. either way, all the same gene pool. Nice chair. Looks like red oak to me.

 

Matthew leblanc JA chair

 

And then he sent along this trestle table w carved stretcher. & these were a while ago – I bet he’s kept on going. Nice work, Matt.

matthew leBlanc table

Here’s Matthew making a pile of shavings while we were at Lie-Nielsen this summer..

It quickly became apparent that we needed to hustle if we were to get anywhere in this class. Roy found a way to speed things up.

I once had a t-shirt I got at an Arlo Guthrie concert that read “we know it’s stupid, that’s why we’re here.” goodness only knows what it meant, but a similar notion must have run through the minds of these students -a very good-natured group of would-be joiners who came down to Roy Underhill’s school to attempt to make a joined chest in a week. 10 students means 10 chests. each chest with about 25 pieces of riven oak in it. Plus extras in case something goes wrong…

more oak 2

Roy & I dreamed up this idiotic course, “let’s make a joined chest in a week!” And we booked it & it filled up. well, it became a reality (of sorts) and on the first day, these students split, crosscut, & rived out over 200 piece of oak for said chests. That’s a lot of oak. Here’s the beginning of just one small pile of parts:

growing piles of oak

 

We tried to sort and count them as we went, but it was doomed.

more oak

 

We need over 70 panels; about 8″ wide by 12-14″ long. SEVENTY!

panels

We scurried back to the woods to get more of this amazingly straight-grained oak. what a tree!

cross cut 2

I don’t know who this is, but he was not alone.

creature

Thankfully, we found that with proper supervision, it only took Kat a short while to bust out all the oak. it’s not that hard, really.

it's not that hard really

 

Next, they plane all the long rails, layout the joinery, chop mortises, plow grooves & cut tenons.

PF fore plane

PF fore plane

Our friend Martha is studying local ceramic history for some degree or other. She sent this note the other day. Me, I’m a vegetarian. But I do use a fore plane from time to time, so in the interest of tool-use, I will post it here…

 

“I was reading in an 1851 New England Farmer journal (as they frequently preach against the evils of lead glaze there). There was a sausage recipe submitted by “a subscriber” who makes sausage meat by freezing it, then “I take a fore plane, set rank, and plane it to shavings” Apparently the meat needs very little chopping after that.  It wouldn’t hurt the blade, only add some grease- rust prevention through sausage! Yikes! They didn’t actually leave a name so you don’t really know if it’s by a man or woman, but they put the recipe in the “Ladies Department.”  What exactly is a “fore plane” ? 

Martha”

So – we all use Moxon’s description to understand this tool:

It is called the Fore Plain because it is used before you come to work either with the Smooth Plane, or with the Joynter. The edge of its Iron is not ground upon the straight, as the Smooth Plane, and the Joynter are, but rises with a Convex-Arch in the middle of it; for its Office being to prepare the Stuff for either the Smoothing Plane, or the Joynter, Workmen set the edge of it Ranker than the edge either of the Smoothing Plane or the Joynter; and should the Iron of the Plane be ground to a straight edge, and it be set never so little Ranker on one end of the edge than the other, the Ranker end would (bearing as then upon a point) in working, dig Gutters on Surface of the Stuff; but this Iron (being ground to a Convex- Arch) though it should be set a little Ranker on one end of its edge than on the other, would not make Gutters on the Surface of the Stuff, but (at the most) little hollow dawks on the Stuff, and that more or less, according as the Plane is ground more or less Arching.  Nor is it the Office of this Plane to smooth the Stuff, but only (as I said) to prepare it, that is, to take off the irregular Risings, whether on the sides, or in the middle, and therefore it is set somewhat Ranker, that it may take the irregularities the sooner off the Stuff, that the Smoothing Plane, or the Joynter, may afterwards the easier work it Try. The manner of Trying shall be taught, when I come to Treat of the use of the Rule. 

 

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