the woodworkers bible

A lifetime ago when starting my apprenticeship we were told by one of the tutors that we would need two things, one was the best set of chisels we could afford, I went for a set eight Boxwood handled Marples, and the other was a book by Ernest Joyce called 'The technique of furniture making'. It was good advice becouse thirty years later I still use both constantly.

Many books refer to themselves as 'the woodworkers bible' some even go by that title,but for my money their is only Joyce. Don't get me wrong there are a lot of great books out there, expertly written and packed with information, but Joyce's book works on so many levels. For the beginner it is clear and simple in its text and illustrations, yet it still has a lot to offer to the seasoned woodworker. For me it holds all that basic information that over time slips the ageing memory, a quick check with Joyce and the correct way to approach a compound miter is confirmed, it's like having an 'old boy' sitting in the corner of the workshop, cup of strong tea in hand and an answer for every question.

First published in 1970 by Batsford ltd, and not out of print since, The technique of furniture making was given a revamp by the late great Alan Peters to include a few modern production methods in the 90's, but apart from that welcome update it's still the same book. As well as covering all of the basics of furniture making as you would expect, Joyce is rare in having a very good chapter on running a workshop. 

It is probably clear that I have a love of this text, as well as being a companion throughout my career I have had the great fortune to chat to Alan Peters a few times when exhibiting together, he was one of the greats and a lovely humble man. Also some years back a discoverd by chance that an old friend is in fact the granddaughter of Ernest Joyce, she shared some of her childhood memories of the man and showed me a few pieces of his work still in possession of the family.

 There are two things you will need, the best chisels you can afford and a copy of The techniques of furniture making.

'a four legged friend'

It is a constant challenge in the workshop to come up with new ideas that either improve the quality of the work, or make the producing of it a little easer. From something as simple as a bench stop, to a whole new pice of machinery, these innovations can in a moment change the way you make your furniture. As well as enhancing production, it's a great motivator to see new schemes and plans making a difference.

An example of this is a very simple set of  trestle's I made with connecting bars. Cutting up components from 8x4 sheets in the past was a two person operation. Each board was loaded onto the panel saw to be rough cut into oversize sections, one person 'steering' from the end pushing the board onto the blade, the other person working to keep the board tight to the fence and then removing it from the end of the saw table. Board cutting for a large project could keep two people tied up for hours. 

That was before we struck on the idea of connecting two trestles together with wooden battern's. Useing trestles alone leaves the board unstable when cutting, and smaller sections fall to the floor, and on the toes, when separated. Placing an old board on top of the trestles still causes issues with stability.

After a bit of refining we came up with this design. Two trestles made up of 2 inch pine stock with opposing tops haunched out to take three 2x3 inch x 6 foot long rails. When slotted into place the rails keep the structure rigid as well as creating a large flat working area. The weight of the trestle construction keeps the whole thing grounded when working. Boards are manoverd onto the trestles, marked up oversize and then ripped down using a Circular saw, these sections are then trimmed to size on the table saw, by one person!

As you can see from the pictures the trestles double up as a great finishing platform, assembly bench or just somewhere to stack components. An asset to any workshop.

review: Strauss work wear

Delivering a restored chair to a client some weeks back, I caught sight of myself in a full length dress mirror. Looking back at me was a wild man who looked like he had spent the last few months sleeping rough in the woods scavenging for timber. It's all very well having the dress code of Ben Gunn when alone in the workshop, but when out in public or worse at a customers house, you need to make some effort. People will expect to see a craft worker looking the part, but to knock on the door looking like an extra from a disaster movie can be a little off putting. 

I decided there and then it was high time I kitted myself out in a new work wardrobe. My first stop was my local trade shops, I like to support these small enterprises in tough times, unfortunately the choice on offer was very small. Next I checked out what Amazon had to offer. I saw a pair of trousers that looked the part, however when they arrived the quality was very disappointing, the material was so rough when wearing them I felt I had severe sunburn!

At this point I remembered a company http://www.engelbert-strauss.co.uk/ . I had some work boots from them some years ago that served me well. Their online shop was clear and easy to use, with each garment available a range of mixed sizes. When my order arrived within a few days I was reaily impressed with the products quality for the reasonable cost.

Now I feel I can walk out with pride, cutting a dash in my new threads,without terrifying young children.

On the subject of terrifying have a look at this chap. http://www.youtube.com/watch?v=dyXFE_biEwc&sns=em

    

the woodfair

One date that is clearly marked and religiously set aside in both mine and my son's calendar is the annual Woodfair held at Bentley Wildfowl and Motor Museum in Halland East Sussex. Last year we along with many other enthusiasts of all things timber, tolerated driving rain and high winds all day. Which for an open air event dedicated to timber, tools and electric machinery was far from ideal. Thankfuly the weather this year was glorious with a blue sky that was filled with nothing more than a few silent white gliders from a nearby air strip. 

Covering three fields and a small woodland inhabited with Oak, Ash and Beech trees, the Woodfair is a place to try out new tools and machines, watch demonstrations of wood crafts new and old, and just catch up with friends to share a passion for what we do.  There is even a chance to fire a few arrows ( my son's favourite part of the show ) from bow's beautifully hand crafted by a bunch of local enthusiasts. Half way through the day we took a break to take a trip on a miniature steam railway that winds through the woods, I should explain that my son is only five, although I think I had a larger grin on my face.

In the woods, bodgers have set up their pole lathes, charcoal makers their fire pits and everybody has the common sence to let the chainsaw carves work were ever they wish. As you make your way through the trees you come apon small camps where these wood folk have fires to brew strong tea, a bivouac to spend the night and beautiful collections of well used and well loved woodworking tools. Heaven.

the secret formula

After spending the best part of last week having my mind bent with working out quotes this week has thankfully been spent machining timber. That is apart from a day on site fitting two ledge and brace doors. 

With my head clear of figures I feel happy to share with you all my formula for working out a quotation. Although far from perfect it's a good starting point for costing any handmade object. The first equation is easy, simply add up all of the material cost you foresee useing when making the project. Work through the job in your head thinking of each process in turn, it's easy to forget to add things like screws for hinges or oil to finish. With each item listed and costed add them together and then add 10%, remember if you are buying from trade suppliers you should be getting a trade discount which is for you not the client. Also this 10% gives the cost of materials some room to flex if prices happen to change. On this same point always clearly state on any quotation that the price quoted is only good for four weeks. As we all know prices can change quickly, and when they do change its only one way.

So you now have your material costs plus a 10% profit, so now we turn to the less straightforward issue of your daily rate.

In the same way that you listed the materials, draw up a list of all of your monthly out goings both at home and in the workshop. Remember this should include everything from food, insurance, phone/broadband, pension to a clothes allowance. If you are expecting your trade to support you then you must have a clear idea of what you need to earn. However simple your lifestyle this figure will come as a shock. When you are happy that the figure you have in front of you is correct add on 10% because I bet you haven't allowed for savings. Now multiply this number by 12 for months in the year, and then divide this by 240, which gives you a five day working week with six weeks holiday and sick time a year. You now have your daily rate.

ledge and brace

Work seems to be rolling in a pace, which is great, although most of this week has been spent at the drawing board and working out quotes. The drawing I like, the quotes I don't. Even though I been doing this for over twenty five years now I still find working out a quote hard work. How do you know how long a pice of furniture will take you to make when you have never made it before! OK looking back on past work you can get an idea of how much time a set of dovetails will take, or machining up 5 cube of timber, but the very nature of bespoke work means that each new project is a one off. At some point I will commit to this blog my own secret formula for working a quote, it's not perfect but it's a good place to start. 

However after a week spent slaving over a hot calculator the thought of setting out more equation's here holds no interest. Instead I'll tell you about a trip to my local and favourite timber yard to pick out some boards of European Oak and American Popular. The yard is W.L. West & sons in Petworth East Sussex. It's a hour and a half drive from the workshop, and as I set off, the sun was busy burning off a dawn mist that hung the dips of the South Downs. I probably spent a little longer than nesasery catching up with the guy's at the yard and finding the right wood for the job. Back at the workshop I turned my chosen planks of Oak into a pair of ledge and brace doors. 

I'm glad I'm a woodworker and not an accountant.

the bird feeder

This week an event took place which I had began to despair never would, I finally deliverd the Bird Feeder! 

It has stood unfinished in the workshop for so long I half expected to find that it had grown roots and anchored itself to the floor. 

I blame the clients for this, I have worked for them for many years and over time a friendship has grown up that prevents them from doing what they have every right to do, which is phone up and shout "Where is our stuff"! Knowing this I of course take full advantage, and take too long to finish their commissions. These clients have a habit of both setting me a challenge and letting my design ideas run wild, both of which I am so grateful for, which makes my constant lateness inexcusable. My only defence is that working on commissions for them is so enjoyable that I don't want the job to end. Lame excuse, I know.

The best thing was to see the clients faces when finally the Bird Feeder was set up in their garden. Having lived with the thing for so long in the workshop, I was taken aback by the positive reaction and pure pleasure from the people who had paid for it. If only all customers could be this much fun to work for.

As a foot note, after my prediction of doom and gloom for the furniture making trade last week, this week has seen no less than four decent sized project's come in! 

Maybe things aren't so bad?