Last call for Otw tees

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I’m down to my last seven OtW tees of print run No.4 – six assorted sizes in Cardinal Red, along with a single XXL in British Racing Green. This is likely to be the last print run of tees for some time, so if you’ve been thinking of ordering one now is the time to let me know. I also have plenty of stickers and button pins in stock.

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Tees are priced at £20, stickers are £3 per set, and button pins are also £3 (all prices exclusive of shipping). I’ll also do some bundle deals for folk who order a tee with stickers and/ or button pin. As always, to order or make an enquiry, drop me an email at kieran at over the wireless dot com.

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A Welsh Stick Chair for the Apprentice – Part 5

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Trimming the leg tenons flush

The Apprentice’s Stick Chair is now looking quite chair-like, and there’s now only four sticks left to make along with the comb, before I’m ready to break open the milk paint.

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Paring the flush to the seat

 

Once the glue had cured on the legs, I cleaned up the surface of the seat and flushed up the tenons. Chris recently wrote a useful blog post about getting good results from a flush cut saw. I take a slightly different approach, although the gist of it is the same. First, I surround the tenon with a web of blue tape to protect the surface of the seat. I then hog off the bulk of the tenon with a flush cut saw. The tape means that there is a small amount of tenon left protruding from the seat, and I remove this with a sharp paring chisel (I use a 2″ Ashley Isles butt chisel which I keep honed to a shallow angle for paring tasks). Push the chisel with one hand, and with your off hand press down on the back of the chisel to keep it co-planar with the seat. This way the chisel won’t dive into the seat, and will also resist the temptation to ride over the tenon. If your chisel is sharp enough it is possible to remove a complete cross section of the tenon in one pass.

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A complete wafer thin tenon shaving!

Once the tenons were pared flush I turned my attention to the other small details on the seat. Those crisp corners and edges are helpful for laying out the legs, but won’t be comfortable for little people sitting on the chair. I rounded over each corner using a fine (13 grain) rasp, and a sharp block plane rounded over the aris on each side of the chair. I haven’t saddled the seat of this chair, but I did want to add a bit of extra comfort to the front edge of the seat. To this end, I rounded over the front edge with a block plane, but took progressively more strokes in the centre third of the front edge than I did at each end. The result is a gentle radius to the front edge, and a subtle dishing to part of that edge, which will stop the seat digging into the backs of the Apprentice’s legs.

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Rounding the corners with an Auriou 13 grain rasp

With the top of the seat now ship shape, I turned my attention to below the seat. On the original chair that this build is based on, the top edge of the seat is 11″ from the floor. To level the chair I set it on a sheet of 3/4″ ply which was dead level and flat. I then placed wedges under each foot of the chair until it was level side to side, and had a finger’s width of slope to the back of the seat. Then it was a case of hunting through the scrap bin until I found an offcut which was the right thickness to be 11″ from top edge of the seat. To the scrap I taped a Hock Tools marking knife – I keep this knife especially for scribing legs to length. It is sold without a handle, and has a single bevel to the blade. By keeping it un-handled I have a razor sharp knife that registers true on whatever scrap block I need to tape it to.

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Cutting the legs to length

After selecting the right offcut, it was a simple case of knifing in the correct position of the feet, and then cutting to lose lines with my Bad Axe 12″ carcase saw. Cutting legs to length is one of my favourite elements of a legged build – while the angles look screwy, if you follow the lines it always works out ok. I finished up by chamfering the bottom edge of each leg with the same 13 grain rasp.

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Dividers make for easy layout of the sticks

While I was working on the seat I decided to drill the mortises for the sticks. These are 1/2″ in diameter, and centered 3/4″ from the edge of the rear edge of the seat. I stepped the position of all five seats off wih dividers, and ater experimenting with bevel angles I settled on a back stick angle of 11.5 degrees – it looks close to my photos of the original chair, and more importantly, should provide plenty of back support and comfort.

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Doing my finest Chairman Brown impersonation

The thing about drilling mortises is that you need to hold the workpiece securely. Chairs don’t give you much to clamp, and so I decided to follow John Brown’s example from Welsh Stick Chairs, and put the chair on the floor, and drill the mortises while sitting on  a saw bench, holding the chair in place with my feet which gripped the legs. After gravity, your body is the best clamp you own. A 1/2″ diameter auger bit in my North Bros brace made quick work of the mortises – this is another task I real enjoy, as it doesn’t take long to dial your eye in to the angles, and drilling with a brace is a very relaxing affair. The mortises go all the way through the seat, so I clamped a scrap to the underside to avoid blowing out the exit side of the mortise.

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You can see the dished and roudned over edge of the seat

Once the mortises were drilled, I couldn’t resist test fitting the first stick to see what the completed chair would look like. So far, I’m quite pleased with how this one is turning out.

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Test fit! The chair is looking quite handsome.

Rising to the Occasion

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Furniture & Cabinetmaking issue 274 is now in stores, and features my in-depth review of the new panel raising plane by Philly Planes. Also included is Nancy Hiller’s article on the history and social significance of the Hoosier Cabinet, and part 3 of Steve Cashmore’s on-going series of WoodRat techniques, along with plenty of excellent content and inspiration.

Roubo is Coming

Roubo is coming, and he’s a heavy dude. I know this, because on Monday night I unloaded an oak slab that is destined to become the top of my new workbench. It’s hard to believe that over two years have passed since I last wrote about the ideas and options for a new workbench. While I may not have written about benches since then, I’ve spent a lot of the intervening period thinking about what I wanted from a workbench. Often when I was straining the capabilities of my current Sjoberg bench. In that time, I’ve refined my plans, settled on the design, and given some serious thought to how I’m going to approach the build. This is a big project to undertake, and so I wanted a narrative arc to carry me through. I think I’ve found one.

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Stretchers, planing stop, and slab all stickered. The legs and vise chop are stacked up separately.

It was Ethan who convinced me at the start of this year to stop putting this project off for another day, and to get to building. Since then I’ve been trying to source the timber – no small endeavour for a project like this, but which came to fruition on Monday, when a very heavily laden truck arrived at the workshop. But what exactly am I going to build with all of this oak?

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My instruction manual for this buld – Roubo’s desciption of the work bench, and the Pied du Roi ruler

Well, as you’ve probably guessed by now the new workbench will be Roubo-orientated. In my last workbench posts I was considering a dovetailed end cap, sliding deadman, wagon vise. Lots of accoutrements that Roubo would not have recognised. Instead, I’ve decided against doing a modern interpretation of a Roubo bench, and will follow Roubo’s description of the workbench (and in the excellent Lost Art Press translation of With All the Precision Possible) together with the illustration in Plate 11. So no sliding deadman, tail vise, or other modern additions. This is going to be as close to the illustration in Plate 11, and Roubo’s description, as I can make it – including the grease pot and drawer.

And this extends to the basic unit of measurement. In an effort to follow Roubo’s description faithfully I will be using the period appropriate Pied du Roi as my unit of measurement, in preference to the modern inch, with the aid of Brendan Gaffney’s excellent rulers. One of the practical research questions that I’m interested in exploring with this build is whether using a different unit of measurement has any practical implications once the bench is in use.

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Benchcrafted Glide C vise – the texture of the casting, and beech knobs, work really nicely with the oak. And who doesn’t want a steampunk ship’s wheel on theit workbench?

So a slab top oak bench, with the iconic sliding dovetail leg joint. That sounds pretty good. For work holding I have a traditional planing stop made by Peter Ross and my one concession to modernity – the Benchcrafted Glide C vise. To supplement the planing stop I’ll be using 1″ diameter holdfasts and Does’ feet. At this stage I’m not convinced by the need for a crotchet, so will be omitting that from the build. But it is always something I can add at a later date if it becomes useful.

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Peter Ross planing stop

How about the dimensions of the bench? As it currently sits in my ‘shop, the slab top is 6″ x 22″ x 110’ in the rough. Ultimately. I’m shooting for a top that is 8 Pied du Roi long (in the region of 102 modern inches). This should be long enough that I’ll never outgrow it, but short enough that it is easily housed. My hope is that this will be the only bench I ever build. Sourcing oak of this size has not been an easy task, but Matthew Platt of Workshop Heaven kindly put me in touch with Acremans Timber, who were very helpful in supplying oak in what is an unusual set of dimensions.

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The slab top – 110″ of green oak ready to be transformed into a workbench

The oak is now stacked up and stickered in the ‘shop while I wrap up a few projects. Towards the end of the year I’ll start the build in earnest – that will have given the legs and stretchers time to acclimatise. As for the slab top, well, given that it is both air dried and huge, it will take decades to dry out. My moisture meter tells me the end of the slab is at 16% moisture content, but the middle of the slab is likely to be much, much wetter. One of the other learning experiences of this build will be working with a monolithic slab which is, to all intents and purposes, still green. It promises to be a very interesting (and exciting) build, and I hope you all join me for the ride.

Help Fund Auriou Tool Works

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Forge de Saint Juey, home to Auriou Tool Works

Last week a mailshot landed in my inbox from Classic Hand Tools about a crowdsourced funding drive Auriou Tool Works are undertaking. I was fortunate to visit Auriou back in 2016, and it is a truly special place steeped in over a century and a half of dedication to craftsmanship. Michel Auriou, the 4th generation of his family to work at the forge, has an encyclopedic knowledge of his craft, and a real passion for building on the Auriou legacy. It would be a real tragedy if Auriou were unable to continue trading

The crowdfunding site can be found here, and the newsletter from Classic Hand Tools is reproduced below (with kind permission of CHT). If you want to invest in a woodworking institution, and help ensure the survival of an incredibly important family business, then click through to read more.

Auriou Toolworks is just 162 years old. It survived the 2008 financial crash through assistance from 2 altruistically inclined investors who worked hard to keep this historic forge going when the proverbial hit the pan several years ago.
The order book for Auriou tools has always been full this last decade with great demand from North America and the UK in particular. However,  retiring skilled workers, worn out spring hammers, tooling and other essential equipment plus lack of credible government funded training schemes for apprentices have always constantly undermined the drive to get the forge on an even keel.
Funds are now needed for capital investment to keep the company going.
The ownership fully returned to Michel Auriou last summer and he is seeking help through crowd funding to help secure the future of toolmaking at Forge de Saint Juery (home of Auriou Toolworks).
We are happy to direct potential funders to this cause as at Classic Hand Tools, we do believe that Forge de Saint Juery is alone in its forging and rasp/riffler techniques which makes them appreciated by hobbyist and professional woodworkers worldwide.
Commercially, as their UK retailer, we would like to see them continue for decades to come.  Of greater concern to the wider woodworking world would be the loss to the hand tool making fraternity should Auriou tools disappear from the marketplace for ever despite their healthy order book.
As a matter of disclosure Classic Hand Tools Ltd does not (since September 2017) have any share capital in Forge de Saint Juery – home of Auriou Toolworks. Consequently we cannot comment on the financial well being of the company but can confirm we have recently received 2 large stock orders and have large orders placed with Forge de St Juery for delivery this year.
Michel Auriou is unaware of the posting of this newsletter. We feel his crowd funding initiative deserves as wider audience as possible. Any correspondence can be directed to Michel at michel-auriou-fsj@orange.fr
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A stitcher uses the barley corn pick and hammer to cut each tooth individually