The Difference Makers

New Book From Marc Adams

I have been very fortunate in my life to know many of the best woodworkers in the world.  Some have become good friends.  Others are a real inspiration to me personally.  I have learned something from each of them, and I want to believe I have provided something in return.

Since I live in Southern California and most of these artisans live either on the East Coast or in Europe, it has been necessary to leave the bench and seek them out.  I enjoy traveling and have done a good bit of it.  I do miss being at work, but when I am in the workshop of another sympathetic soul I feel that I am at home.

Marc Adams has just published his latest book, "The Difference Makers."  It was expertly put together by Christopher Schwartz at the Lost Art Press.  Very high quality product.  I strongly recommend you find a copy and support Christopher in his business, as well as investigate classes offered by Marc at his school.  My previous post listed the classes I will be offering soon.

Since I have been teaching for several years at MASW I have been able to meet new friends and other professional woodworking instructors who are gathered in one location.  Although the weather in Indianapolis cannot compare with San Diego, the intellectual environment is without equal.  Marc is always busy and personally supports his teachers, providing everything they might need to do a good job.  

And he keeps the ice cream machine working...

"The Difference Makers" is a book with stories about 30 instructors that Marc selected from the hundreds of well qualified teachers he has employed over the past quarter century.  Each chapter tells the story of that person, with personal comments from Marc, and samples of their portfolio.

Here is my chapter:

Mug Shot with Satinwood Pembroke Marquetry Table Top

Second Page:

My Early Work

Third Page:

After Paris: The Influence of Pierre Ramond

Fourth Page:

Was I Ever That Young?

As I read through the contents of this amazing collection, I am humbled and honored to be included.  I am pleased to see many of my good friends and compatriots included, and look forward to meeting others when I return to MASW in future years.

In my long career I have produced several television and video programs, instructed at dozens of adult education and institutions of higher learning, published professional articles, taught students from ecole Boulle in my workshop, held classes at Marc Adams, and enjoyed hundreds of students at my school, the American School of French Marquetry.

I am a woodworker and a teacher.  However, I think I am a better teacher than a woodworker.  I may retire some day from woodworking, but I will never retire from teaching.

Hungry young minds need to be fed to grow the future.

WPE and OBG and ASFM return to MASW!

A French Marquetry Atelier in Indianapolis

I am pleased to be invited back for another teaching period at Marc Adams School of Woodworking.

I enjoy the atmosphere and support by the staff at MASW.  It is an environment which is full of energy and ideas.  The students all work together and many of them seem to actually live there full time.  Some of them really do.  Others return again and again to share and learn more about different and diverse aspects of woodworking.

I also enjoy meeting other teachers who are working there at the same time.  These are professional woodworkers that I read about and follow online, but, without actually teaching at the school, I would never have the opportunity to spend quality time with them.

This year I am teaching three classes, and I welcome you to check out the schedule and see if there are any openings left.

The main class is, as usual, working a full week with the "chevalet de marqueterie."  Marc has made 8 of these tools, and it is exciting to see (and hear) a full class sawing away, cutting precise elements from marquetry packets.  I should mention that in North America there are only three schools where you can have this instruction.  Paul Miller, in Vancouver, is a past student of mine and has the Canadian School of French Marquetry, with 4 chevalets.  Of course, I was the first to open such a school, the American School of French Marquetry, in San Diego.  I have currently 8 such tools, and have ordered more from David Clark, in Missouri.

David Clark has set up a business making custom chevalets, following my blueprints, and builds tools that are cost effective and precise.  His website is www.chevaletkits.com.

A few years ago I convinced Marc to also build 8 such tools and he sets them up each year in a classroom for me to use.

Waiting for Students to Arrive

All instruction is following as close as possible the lesson plan developed by Dr. Pierre Ramond, who taught for decades at ecole Boulle, in Paris.  I was fortunate to have studied under Pierre for most of the 1990's, and have dedicated my teaching career to continuing his efforts.  French marquetry is the only method in the world which uses a horizontal blade, cutting the packet at 90 degrees on a special tool, the chevalet.

There is more information about this process in previous posts.

This year, from October 9 to 13, I will teach a 40 hour class on French marquetry, focusing on the Boulle process (tarsia a incastro) as well as the Painting in Wood variation of this process, depending on the student's experience and goals.  If there are any returning students I will be happy to include the Classic Method ("piece by piece").

Simple Method for Veneering Columns

On October 14 I will spend the entire day teaching about my method for gluing veneer onto turned wood elements, like columns.  Years ago I had such an article published in Fine Woodworking ("Master Class") and one of my pieces with veneered columns was on the back cover.  I have worked out a simple method which is easy and low tech.  You can turn the elements out of any wood you want and then veneer them with exotic veneer to match the rest of the project.

On October 15 I will follow up this with a full day discussing the properties of traditional protein glues.  For nearly 50 years I have used protein glues exclusively, and have researched them extensively.  I was involved in an international conservation group in Paris that did specialized research into these glues and I have developed my own liquid protein glue formula, Old Brown Glue. I will be sharing my knowledge and experience about how these different protein glue work and what you need to know to use them in your shop.

As they say, "It is worth the price of admission."

I look forward to meeting you there.  Contact www.MARCADAMS.COM for more.

Teaching at MASW Soon

Two years ago I was invited to teach at Marc Adams' school in Indianapolis.   It turned out to be a great experience for me and I got a lot of positive feedback from the students.

As I mentioned in this blog previously, I had some reservations about asking Marc to build 8 chevalets and thus limit the class size to 8 students.  I knew this would not be profitable for him and was surprised when he agreed to take a loss in order to introduce the process of French marquetry to his students.

The down side for me was transporting two 50 lb suitcases on the flight full of materials and tools for the class.  I wonder what the TSA people thought when they scanned those bags?

Now I have confirmed my flight and return to MASW next month.  I will be there for two weeks, starting Monday, August 17.  The first week will be French marquetry, Stage I, the Boulle method.  That class is full.

Over the weekend following I will offer two different classes.  Saturday, August 22, I will demonstrate methods to veneer turnings and columns, using protein glues.  Each student will be provided with materials and glue that they can take home for further practice.  Veneering columns is a valuable part of my furniture building and I have worked for years to perfect the process.  I think you will find this interesting and by adding veneering to your turned work, open up new avenues of design.  There is still room in this class.  Here is the link: Veneering a Column

Sunday, August 23, I will be teaching about geometrical marquetry, and that class is full.  I am excited to be able to show how the French were able to do amazing things with small pieces of veneer.  Also, this class will demonstrate how to make an assembly board.

Starting Monday, August 24, I will again return to the chevalet and offer a class in Stage II marquetry, the "piece by piece" method.  There are still openings in this class.  Note that the Stage I class does not require any previous experience with working on the chevalet, as you do not have to exactly follow the lines.  By contrast, Stage II requires a bit of experience as you have to accurately follow the lines when you cut for the pieces to fit.  There are many posts on this blog which explain the difference.

However, since the class is not full, I would also accept any student who wishes to start Stage I (since the first week is full), or wishes to do an exercise in Painting in Wood, since I am able to teach all these methods simultaneously.

Here is the link for that class: Piece by Piece Marquetry Class

Finally, I am very proud of the popularity of the tool, "chevalet de marqueterie."  I was the first to introduce it to the American woodworker some 15 years ago, and it has become a recognized fixture in many workshops.  To that end, MASW is offering, for the first time, a class on building your own chevalet.  Amazing!

Obviously, you need to plan for this and I believe bring your own wood.  However, it is a wonderful opportunity to use the facilities at his school (every woodworking machine ever made).

Here is the link:  Build Your Own Chevalet

Hope to see you there.

Exciting WIA Week in Winston Salem

Fortunately, I had decided to arrive several days in advance of the WIA conference and stay a few days after, so Kristen and I were able to spend some quality time in old Winston Salem.  In fact, the last time I visited Winston Salem and MESDA was in 1978, during one of my several trips to visit East coast museums and historic settlements.  I am sorry it took so long for me to return.

The weather was great, in fact, with only a slight spot of rain and moderate heat.  While I was away, on the other hand, San Diego had a heat wave, with several days above 100 degrees.  Poor Patrice had to work at the bench, building the top of our Treasure Box (Series 2) while I got to wander around from place to place, thinking perhaps I should have packed a sweater.

Last year, during this time, I was teaching at Marc Adams school, and only had a short time late on Saturday to get away.  I broke several speed limits driving from the school to Cincinnati to see the WIA event.  I got there about 30 minutes before it closed, with just enough time to get my signed copies of Roubo from Chris.  As it turned out, I also had to sign a few copies, since I wrote the Forward.  The best part was that I got to have a nice dinner with Roy later that evening.

This year, I was a speaker, and presented two lectures to a rather enthusiastic and supportive audience.  The first was a talk on "Historic Marquetry Procedures,"and went through basically 500 years of the traditional methods used to create this art form.  The second was "Building and Using a Chevalet."  At the start of this lecture, I mentioned that I have been working for nearly 20 years to introduce this unique tool to woodworkers in North America.  Then I foolishly asked if anyone in the audience knew about this tool.  When nobody raised their hand, a person in the back shouted, "You haven't been very successful!"  As they always say in law school, "Never ask a question if you don't already know the answer."

I shared the lecture room with Roy Underhill, which is always an experience.  As I was setting up my talk, he was putting his things away.  They had scheduled a half hour break between speakers.  Just about the time I was ready to start, Roy had the brilliant idea to "introduce" me. You probably already know he can be theatrical, to say the least.

He said the first time we met was at the Great Salt Lake, and there was a stampede of brine shrimp.  Tim Webster was sitting in the audience, and had the quick thinking to pull out his camera and video it, posting it on YouTube soon after.  I was speechless and had to hold my tongue, while he went on and on, creating a story that was more and more amazing.  My mike was turned up to the max and when I did comment it was way too loud.  Near the end I asked him to turn down the mike, and he crawled under the screen to adjust the volume.  I thought I had a quick wit, but there is no way I can keep up with Roy when he is "on."

Here is the video: Underhill introducing Edwards

While I was having fun in the lecture hall, Kristen was in the Trade Show, where we had a booth for both the ASFM school and OBG.  She is a master of working these shows, and I am very grateful for her talent, as I usually lose my voice and patience trying to compete with the noise.

Of course, Roy had to stop by and pick up some glue...

At the end of the show, they gave away a rather expensive band saw.  I wondered if it would fit in the overhead compartment on the plane, but fortunately I was not in the contest to win it.  However, they asked all the speakers at the show to sign it.  I asked, rather incredulously, if they really want me to sign a power tool?  They insisted, so I did.  You can see my name, with the comment added 

"Use hand tools."

After the show Kristen and I went to MESDA where we had a nice tour with Daniel Ackerman.  We also enjoyed a private home tour by Tom Sears, both of which are members of SAPFM.  We had dinner with Jerome Bias, who is the joiner at Old Salem, and then visited him at work, where he demonstrated his Roubo veneer saw.

Across the hall Brian Coe was using the foot power lathe to make some turnings.  That is a rather impressive tool, made from massive pieces of oak.

All of this activity was in the Brothers House, and it was full of woodworkers from the show, having a great time sharing stories.  There was a warm sense of camaraderie and mutual friendship.

I made a promise to myself not to wait another 30 years before returning to Winston Salem.  Thanks to Megan, Don, Roy, Jerome, Daniel, Phil, Freddy, Martin, Tom, Brian, Will, and too many others to name.  You know who you are!

ASFW at MASW!

The New School of French Marquetry

I realize that, in the world of French marquetry, there are a few "chevalets" sitting in workshops in large cities like Paris, Brussels, London and New York.   However, these tools belong to the artisans who built them and use them for highly specialized work, usually restoring period furniture for dealers.  In general, the design and function of this tool has remained somewhat "secret" over the centuries.  You could just say the "chevalet de marqueterie" is obscure.

In fact, there is only one school in Europe where students can get instruction and practice using these tools.  That school is ecole Boulle, in Paris.  Even in that school the chevalet is part of a curriculum which includes Colombo Filippetti  jig saws and other cutting tools to make marquetry.

When I was there as a student some 20 years ago, Dr. Pierre Ramond taught a rather strict traditional approach to making marquetry which focused on the chevalet.  There were 12 such tools in the class and a similar number of students, working diligently every day to design, cut out and assemble real masterpieces of art in wood.  The new professor at that school has a new building and encourages a diverse mix of traditional and modern methods to create the work.

In 2000, when Pierre retired, I asked him and received his permission to create my own school in San Diego, where I endeavored to continue his work, using many of his exercises and methods.  I built 7 chevalets and created a simple introductory program for students which would allow them to experience the amazing properties of this tool.  That program has been a great success and I have had hundreds of students, of all ages and skill levels, over the years.  Every one of them is delighted to have the chance to use this tool, and many of them have followed up by building one for their own use.

During the past several years, Marc Adams and I have had phone and email conversations about me teaching at his school.  Although I had never visited his school, I had had many students here at ASFM who also were graduates MASW, and they encouraged me to go.

The biggest problem is that the chevalet is a large tool and cannot easily be transported, so it would be necessary for Marc to build a chevalet for each of his students who wanted to take a class.  That means, essentially, that there was no profit motive for him to do so.  It is to his credit that he decided to proceed, and the only motive I can suggest is that he really loves woodworking and his desire to create the best and most diverse woodworking school in the country is sincere.

At any rate, Marc built 8 chevalets this summer, and I agreed to fly out and teach a class.  I was impressed and amazed at the facilities and quality of instruction which I discovered when I arrived.  I had no idea how complex and professional the facilities were.  He is celebrating 20 years of classes and it shows.  The walls are covered with student's work and souvenirs of past instructors, many of whom I know and admire.  On top of it all, it was spotless.  Imagine all the woodworking machinery and activities running continuously and not a spec of dust anywhere.

First Class at Marc Adams

I was provided with a room to myself, full of benches and a chalkboard with video hookup.  In the center of the room stood 8 beautiful new chevalets, ready to use.  I arrived a day early to run through the final tune up procedure so they would cut properly and empty my bags.  I had brought 100 pounds of materials and supplies to run the class and it took some time to set that stuff up for class.

Cleaning Up the Marquetry on Friday

I was pleased to meet the 8 students who showed up bright and early Monday morning for the first class.  It was an honor to be able to bring the chevalet to another school in America, and I personally want to thank Marc for his vision and support to make this possible.

I had suggest that Marc build his chevalets in several different sizes, but he chose to build them all the same size, which was 61 cm.  This size tool is fine for a person who is over 6 feet but one of my students was only 5 feet tall, and that presented a problem.  I have different size chevalets here in my school, and it makes it easy to fit the student to the tool.  The solution we came up with at MASW was to make a second seat blank and use wood spacers to raise the seat.  This required raising the foot pedal an equal amount with a block of wood, and allowed the shorter students to easily work the larger tools.

Adjustable Seat Height

At the end of the week, all students had successfully completed the three basic projects in Boulle technique.  Everyone was pleased with the class and I felt that I had contributed to the diversity of the woodworking program that Marc has developed over 20 years.  It was an honor to add my name to the list of famous and distinguished instructors who have passed through these doors over the decades.

Now there are twice as many woodworking schools in America as there are in France where students can create art using the "chevalet de marqueterie."  The American School of French Marquetry, in San Diego, will continue as usual to offer classes, as we have done since 2000.  Marc Adams School of Woodworking, in Indiana, will offer similar classes in the future, so keep watching their schedule.

I am rewarded each time I see a woodworker sit for the first time on this tool and smile at the results.

ASFW Invades MASW

Demonstrating at Timken Museum in 1990

There are so many ways to make marquetry, you could fill a book.  Actually, Pierre Ramond has filled 5 large books, including his recent publication in French of the work of Andre Charles Boulle.  You can use chisels, knives, fretsaws, jigsaws, lasers, punches, overhead saws and, of course, the famous "chevalet de marqueterie."  I think by now you know which method I prefer.

Pierre's first book, "Marquetry," was published in 1989 by Taunton Press, and was the first handbook I got my hands on which explained the proper use of the chevalet.  Prior to that, I had found the rare reference to this obscure tool in a few other books, but none of them seemed to know what they were describing.  I recommend "Marquetry" as the first and only book necessary to understand this ancient craft, and note, with some unease, how the prices for this out of print book have risen over the years.

Note to students: There is also a Vial edition published in France which is in English, and a reprint of the book in English, published by the Getty Museum in 2002.  All editions have identical copy and the only difference is in a few of the photos, which change from edition to edition.

Pierre published this important book after he got his PhD and included much of his research with a wide range of photos, essentially making him the world's expert on French marquetry.  However, he still had more material, and as he was allowed to actually trace designs of famous marquetry examples in many museums, he continued to publish a series of 3 volumes over the next few years, called "Masterpieces of Marquetry."  This three volume set was translated into English and published by the Getty Museum also in the year 2000.

The French edition of "Masterpieces" was published much earlier, and I still remember on one of my trips to Paris, in February 1996, walking into the conservation lab at the Musee des Arts Deco, and being greeted with congratulations by my friends.  Not knowing why I was so special, they presented me with the newly published Volume II, which had just been released.

There, on page 62, was my photo, and some copy which read, in part: "The perpetual transfer of techniques between continents can be illustrated by Patrick Edwards's (sic) equipment."  He goes on to discuss how I was able to acquire an historic foot powered frame saw and build my own chevalet.  In my talks with Pierre, he encouraged me many times to introduce woodworkers in my country to the traditional French methods of work, including the "chevalet de marqueterie."

That is exactly why I have established the American School of French Marquetry in San Diego.  I realize how special and fortunate it was for me to attend ecole Boulle, and it was my duty to make that experience available to others in any way I could.

Demonstrating at Getty Museum in 2000

When I started the school, I doubt that there were more than a couple of chevalets existing in North America.  I knew of a few European trained workers who had personal tools in New York, San Francisco and Los Angeles, but their shops were closed to the public.  In fact, the Getty Museum had two examples made for their purpose and I was able to see these tools in storage.  When I first opened my school, the Getty was generous enough to loan me one of them, until I could build more of my own.  That particular tool has now been loaned to the Philadelphia Museum of Art for their use.

The ASFM has two goals in teaching students: first, introducing the student to the chevalet, and second, transmitting the traditional French methods of making marquetry surfaces as taught to me by Pierre.

I often use a musical metaphor when I teach about the tool.  For example, if you were given a violin and a bow and had no knowledge of how to hold it, tune it, or read music, it would be very difficult to learn how to play it properly.  Therefore, the first class, Stage I, is designed to fit the student to his personal chevalet, how to adjust the blade tension and angle, and how to follow the line.  Also, the student is provided with three simple exercises to execute, so that they can learn the process from initial design to final picture.

By the end of the first week, they have a choice to proceed to Stage II and work on the Classic Method, or do a Painting in Wood exercise, depending on how accurately they can follow the line.

We have had hundreds of students from dozens of countries complete our classes.  All of them have been surprised to learn how easily the tool functions, and what amazing things can be accomplished with it.  Nothing in my experience allows the precision and comfort that the tool is designed for.  It actually becomes a direct extension of the body, after a few hours of practice.

In addition to the 6 chevalets, of different sizes, that I now have in the school, I am currently building a 7th tool, which I expect to be available by June's classes.  One of the tools is left handed, but it is my experience that the majority of "left" handed students prefer working with the right handed tool. After all, how many left handed violinists are there?  (OK: Jimi Hendrix and Paul McCartney are exceptions.)

Now for the exciting news.  After some time discussing with Marc Adams the possibility of teaching at his school, we have come to an agreement.  He has purchased 8 chevalet kits and is building new tools for his school, where I will teach my first class in October.  Unlike his other classes, this marquetry class will be strictly limited to 8 students at a time.  I understand that he already has 6 students registered, so there are only 2 spaces available.

I expect that, now that his school has invested in these tools, I will be able to teach there more often than once a year, and even that his staff will be able to develop classes themselves, after some instruction.  This will be the second school in North America with chevalets!

Here is the link for the class:

Painting in Wood Class

In addition to that one week class in October, I will be also teaching two one day classes that weekend. The first is all you need to know about using protein glues.  I have sort of become the leading "authority" on these organic glues, so this should be interesting.

Here is the link for that class:

Working With Protein Glues


Finally, the last class I teach will be on French polishing.  This is a difficult class to teach in one day, but I will cover the basics and get you started on a life long pursuit of the most beautiful finish you will ever struggle to accomplish.

Here is the link for that:

French Polishing Class

The gluing class is limited to 20 and the polishing class is limited to 18.  That should be interesting.

If you can't make it to San Diego and ASFM, I hope to see you in Indiana at MASW.