Zach Dillinger Is A Very Impressive Woodworker

[Chris Griggs]

Anyone else see this: http://www.theeatoncountyjoinery.com/pieces-currently-available.html

Made by our very own Zach Dillinger. Wow Zach! That's phenomenal! How/Where did you learn to do that? I am very much looking forward to the accompanying article. Congratulations sir!

Very Sincerely,

Chris

--------
P.S. One question. Why on earth did you hide all the dovetails? Are you embarrassed by your dovetailing skills? ;).... (please do not dignify this with response)

[george wilson]

I thought this was a secret!! Maybe not now.

[Scott M Perry]

Egad. Something to aspire to.

[Zach Dillinger]

I thought this was a secret!! Maybe not now.

It was a secret, until PW broke the image on their Twitter account... I guess that I'm free to post an image or two now, since they did it first!

Thanks Chris for showing this off (dovetails are evil and should never be exposed, except when you are trying to sell something!). How the heck did you find this page?

Thanks to Scott for the compliment.

Please forgive the grandiose wording on that page.. you know what its like to try to sell something.

I'm self-taught, unfortunately, but I'm very much influenced by the works of our own Adam Cherubini and George Wilson. Also by long dead masters such as Benjamin Gostlowe, Benjamin Randolph and the Goddard-Townsends.

The pics are pretty, but the article will be even better, I hope. Focusing more on why things are done the way they are, instead of just "cut this, then glue, then finish' pieces" we see a lot of in certain other magazines. I'll be posting more and more in the weeks building up to the release of the article.

[Rob Matarazzo]

Wow! That is truly awesome.

[Chris Griggs]

It was a secret, until PW broke the image on their Twitter account... I guess that I'm free to post an image or two now, since they did it first!

Thanks Chris for showing this off (dovetails are evil and should never be exposed, except when you are trying to sell something!). How the heck did you find this page?

Thanks to Scott for the compliment.

Please forgive the grandiose wording on that page.. you know what its like to try to sell something.

I'm self-taught, unfortunately, but I'm very much influenced by the works of our own Adam Cherubini and George Wilson. Also by long dead masters such as Benjamin Gostlowe, Benjamin Randolph and the Goddard-Townsends.

The pics are pretty, but the article will be even better, I hope. Focusing more on why things are done the way they are, instead of just "cut this, then glue, then finish' pieces" we see a lot of in certain other magazines. I'll be posting more and more in the weeks building up to the release of the article.

Someones got to show that kind of stuff off here, as reminder that we're not all just a bunch of posers. And to remind the rest of us that there is more to aspire to then just the sharpest edge, best plane collection, planing the toughest wood, cutting the best dovetails, etc... the list goes on (those I'm guilty of all those things)

I've seen your blog before, but never your website. You mentioned it in the Wenzloff Saw thread earlier today (saying that there was a pic of the halfback saw on your homepage). I noticed that you mentioned a different site name then on your blog so I got curious and googled "the eaton county joinery"

I think the most inspiring part is that you are self taught. Most of us are, and its good to be reminded what mere mortals are capable of if they take the time to do their homework, execute every little step to there best ability, and most of all find the guts to take on something like that.

I've never made anything nearly that nice, but today, I'm closer to believing that someday I will.

Adam and George are phenomenal influences - both have definitely had an influence on me as well.

Fantastic work!

[Zach Dillinger]

Thanks Chris :) I'm not really the type to show off (unless you believe my wife) but I hope that others will get something out of it.

I'm just a mortal hack who happens to get it right every now and then. I work hard, make mistakes (I don't show those), and try the best I can. It sometimes pays off.

And this, honestly, isn't that difficult of a piece! I hope to make that clear in the mag. If you can saw a line, you can build this piece. The veneer is optional, the original was just plain mahogany.

[Jessica Pierce-LaRose]

. . . Focusing more on why things are done the way they are, instead of just "cut this, then glue, then finish' pieces" we see a lot of in certain other magazines. . . . .

Terrific. I was just reading an article and wishing there was more why and less step-by stuff.

Beautiful piece, by the way.

[Harold Burrell]

Dude...that is awesome. And now I hate you.






:p

[Chris Griggs]

If you can saw a line, you can build this piece.

Looks like I'm SOL!

In all seriousness, I knew you wouldn't post it, but I like seeing project posts here, which is why I took it upon myself to post it. The best part will be if someone who really really knows what they are doing (like George or Adam) are able to suggest ways to make it even better. The kinds of things most of wouldn't notice but that everyone learns a ton from when they get pointed out. Like how George got a lot of us to start paying attention to the transitions to the round overs in saw handles - it makes a huge visual difference, but its something that would be overlooked if you didn't know how big of a difference that detail can make.

Anyway, looks great! The base is the part that looks the most intimidating for me - the upper case while challenging is something I could probably do a decent job on at my current skill level (though at a very slow pace). To do the base I'd need to learn to turn, and I don't imagine that getting all those legs turned so nicely, especially on a spring pole lathe is an easy task.

Anyway, I'm sure you see lots of flaws when you look at it (that's just the way it is), but its a lovely piece, both in selection and execution. I'm sure the article will be great; your description sounds like what I'd like to see more of in the mags. I am very glad that last month I decided to by myself a Digital PWW subscription.

Keep up the good work. Hopefully this is just the first of many great projects you can get into a mag.

[Bob Jones]

Very nice. I look forward to the article.

[James Owen]

Beautiful piece.
Really looking forward to the article!

[Klaus Kretschmar]

Thanks Chris for your post!

And many congrats, Zach. Awesome work! There are some talents out there, incredible... Very very fine craftsmanship for sure, classy woodchoice and exquisite execution.

Klaus

[Curt Putnam]

$4K - including shipping? Wow, I don't think you are charging nearly enough. Seriously. Stunning work.

[Zach Dillinger]

Dude...that is awesome. And now I hate you.

Naw, don't hate me. I just got lucky this time.




Keep up the good work. Hopefully this is just the first of many great projects you can get into a mag.

That is my hope as well! I really enjoy writing!


Very nice. I look forward to the article.




Beautiful piece.
Really looking forward to the article!

Thanks! Keep an eye on the stand, or your mailbox, for the August 2013 issue... I hope it lives up to expectations!


Thanks Chris for your post!

And many congrats, Zach. Awesome work! There are some talents out there, incredible... Very very fine craftsmanship for sure, classy woodchoice and exquisite execution.

Klaus

Kind words, from a gentleman craftsman such as yourself. Thank you!


$4K - including shipping? Wow, I don't think you are charging nearly enough. Seriously. Stunning work.

Well, I guess we will see... it hasn't sold yet! And I won't be heartbroken if it doesn't... I love this darn thing!

[Mel Fulks]

Beautiful job on a form that is not used often enough .

[Zach Dillinger]

Beautiful job on a form that is not used often enough .

Thanks Mel! That's exactly why I did it! Not enough W+M out there... too much A+C and Shaker stuff :)

[Mike Henderson]

$4K - including shipping? Wow, I don't think you are charging nearly enough. Seriously. Stunning work.
+1 That piece should sell for a lot more than than!

Mike

[Jason Coen]

Norm Abrams wears Zach Dillinger pajamas.

[Jim Matthews]

Dude...that is awesome. And now I hate you.:p

We can get even, Harold - let's tell everybody that Zach taught us everything we know...

[Prashun Patel]

I can't believe you're selling at that price. I bet you'd sell more if you doubled the price. All by hand? Really humbling work.

[Leo Passant]

A Lovely job Zach! Did you have any luck with the pigments and linseed oil on the poplar and pine secondary woods?

[Zach Dillinger]

Thanks guys, for the kind words. I'd have a hard time, on a personal level I mean, selling this piece for $8,000, given that it is only about two feet high and I have less than 100 hours in it! But I'm open to offers!!

I work by hand because I don't know any better. Nothing more.

Leo, I did try the pigment / oil on the secondary woods. I wasn't able to get a convincing 18th century coloration, but the shocking "newness" of the wood is gone. I will continue to experiment to make sure that I really nail the coloring for the next one! Thanks for your help, and your kindness!

[Jim Stewart]

Very nice Zach! I will enjoy reading the article. That is what I want to see in woodworking magazines. We are in kind of a hand-tool wordworking vacuum out here in the midwest. We need more step-by-step period furniture articles. Nice to see someone nearby doing that nice of work.

[Harold Burrell]

We can get even, Harold - let's tell everybody that Zach taught us everything we know...

Better yet...Let's tell everyone Zach taught us everything HE knows...

[John Coloccia]

That's beautiful work, Zach, and you're likely not charging enough. Craftsman are few and far between, and you will command a reasonable wage when you're ready to command it.

[george wilson]

Zach,I know nothing of your customer base. What you can charge for something depends upon the monetary condition of your customers,the reputation you can build up,and the quality of your work. You are plenty young enough to develop a good customer base.

When I was younger and in public,I got a lot of orders from EAIA members who started collecting my tools. They'd come into the shop and want to buy things right off my bench!! I was a lot more vigorous back then,and spent most evenings making things. Now,I've gotten rather worn out,and have a smaller customer base who,fortunately,can pay what the work is worth.

You can do the same thing if you can meet the right people. Your work has a lot of merit.

[Michael Ray Smith]

Wow. Gorgeous. Inspirational, even.

[Charlie Stanford]

That piece would be a steal at $12,000++

Zach needs an agent.

[Patrick McCarthy]

Guys, while I agree it is a BEAUTIFUL piece, it is a SPICE CHEST . . .as Zack said, it is 18 inches by 26 inches . . ..

When I first saw it I ALSO assumed it was full sized chest . . . and the price was way too low . . . .but then I saw what Zack commented. Given the new understanding of what it is, the price seems pretty decent. jmho, ymmv

Still, EXCELLENT work.

[Scott M Perry]

Norm Abrams wears Zach Dillinger pajamas.

+10! Hysterical.

[Jim Neeley]

Awesome work, Zach.. and great attention to detail!!! :)

[Jeff Bartley]

Looking forward to your article Zach....I too assumed it was a full size chest till I saw the dimensions! Excellent work!!

[Kees Heiden]

Really fine piece of work. I'm thouroughly impressed.

[Gary Hodgin]

Wow! That's a great piece. Amazing.

[David Weaver]

That's so nice that it makes me want to look at furniture more closely.

And I don't see any end grain when everything is closed up. Fantastic.

[mike holden]

FWIW, The Society of American Period Furniture Makers (SAPFM) is having a demonstration/exhibit at the Detroit Institute of Arts on the March 16, 2013 weekend.
Zach has submitted this piece for exhibit and hopefully he will be on hand to demonstrate some facet of 18th century furniture making. While the pieces for exhibit are not yet chosen, this one has created a bit of a stir among the committee members (of which I am one), so if you are in the area, come down and see some fine woodworking.
We also expect to have George Walker among the presenters as well as Steve Lash (cartouche award winner) and Dan Reahard.

Congratulations Zach on a piece well done.

Mike

[Raymond Fries]

Stellar Work!!

Not sure I could replicate that with my power tools. Yep it's the "p" word for my tools.

You are indeed a "Craftsman".

[Gary Herrmann]

Very impressive work Zach!

[Andrae Covington]

I think I'm even more impressed now knowing how small it is. Getting all the details right on a small scale has to be a challenge. Anyway I'm looking forward to the article. I like step-by-step (as long as it's handtools), but I think, along the lines of give vs. teach a man to fish, if the reasons why are explained, then exactly how you accomplish the task is open to individual interpretation.

[Kees Heiden]

Zach, I think it was you who said you don't always want to make things perfect. Small imperfections and a bit of tearout indicate that the piece is handmade, and exactly that reason is why you like to work with handtools? How does that translate to this piece?

Just curious, because I liked that first reason for handtool work a lot. In fact I don't really like machine build perfection.

[Greg Portland]

Very nice. Is there a historical reason behind doing the dovetails in that manner or was this personal aesthetic?

[Ryan Baker]

FWIW, The Society of American Period Furniture Makers (SAPFM) is having a demonstration/exhibit at the Detroit Institute of Arts on the March 16, 2013 weekend.
Zach has submitted this piece for exhibit and hopefully he will be on hand to demonstrate some facet of 18th century furniture making. While the pieces for exhibit are not yet chosen, this one has created a bit of a stir among the committee members (of which I am one), so if you are in the area, come down and see some fine woodworking.
We also expect to have George Walker among the presenters as well as Steve Lash (cartouche award winner) and Dan Reahard.

Congratulations Zach on a piece well done.

Mike

That sounds cool. If I am available that weekend, I'll try to make it. Are there any more details about the event -- specific times for events and such? Or is it just an open exhibit all weekend?

[Zach Dillinger]

Thanks all for the kind words.And special thanks to Mike Holden for getting the SAPFM get together organized. I really hope my spice chest gets in the show, and that there is room for a demonstrationKees, there is tearout in this piece. You can't really see it but its there. The moldings and turnings aren't identical, but they wouldn't have been on a period piece either. Some of the drawer fronts are a little slack, as they frequently are on period pieces. These are things that just happen when working only with hand tools, just my luck that this is what they are supposed to look like!

[Kees Heiden]

Hi Zach. I was reading your blog about this subject. Very interesting stuff.

I feel myself drawn to the more mundane stuff, the kind of furniture you would find in a farmers house. We have some antique pine tables, chests and cupboards like that. It makes for a bit of a problem when making new stuff. Making the old designs like a new piece, like Norm Abram, doesn't look right to me. But making it and then beating it up to make it look old, doesn't sound right either. So I tend to make modern pieces, and let them contrast with the old stuff. But even in the modern things I seek for a more human and less machine made look.

[george wilson]

Zach didn't say he beat it up(maybe Norm does?? I don't follow his work.) However,Zach did good work on the coloring of his piece,so it has an old look about it.

Often,I do have to age parts to look original to please a customer. Aging can take quite a lot of time and learning. I won't "beat up" surfaces,but will give appropriate patina when called for.

There was this guy from the company (Kittinger) that made the furniture that Col. Wmsbg. sold until several years ago. He had a kit of brass chains nailed onto wooden blocks and all kinds of other things for "distressing" furniture. This guy thought he was God's gift to furniture making!! He went with some of us craftsmen on a demonstration in Philadelphia. He put on quite a show on stage. The ladies just loved him!! All he did was beat up stuff!!!:) He had an incredibly superior attitude,way beyond what he could do,which was to just beat up furniture. A guy who could not see beyond his own nose,for sure.

[Jessica Pierce-LaRose]

I always find the over-the-top beating things up with hammers and chains or dragging it behind a truck (I've seen that trick used on a guitar in a video once - no idea why) absolutely ridiculous. Particularly when it's done by someone with more enthusiasm than skill - if you don't look at how a piece honestly wears, you just end up with something that looks like it was beat up needlessly and not something that has honest wear. I still think it's a little silly at times, but when someone with a good eye and some foresight does it, it actually can be pretty convincing. I remember seeing a lady on one of those HGTV type shows make a mantle out a piece of oak and then show the homeowner how to hit it with a hammer before applying a gel stain and then rubbing shoe polish on it to make it look "antique" and "distressed". It was tacky as all heck.

The funniest one are the "pre-aged" electric guitars in the lower price brackets that they offer now. The wear applied to paint and the fretboard isn't terrible looking, and i suppose with modern poly finishes, it's the only way you'll get your guitar to have that look if it's what you want, but it's pretty poorly executed versus one "pre-aged" by hand. But when I first started seeing the lower end Fender Squier's with that faux finish, done by machine, I assume, it was hilarious because they'd have six guitars in a row at the guitar shop, all in different colors, but everyone was worn exactly the same. . . .

[Kees Heiden]

Norm is certainly not beating anything! His work is the other side. The very clean, machined looking reproductions.

Well, my house is from 1950, so it doesn't really matter what I put in there. It just has to look nice to my eyes (and my wifes of course).

[David Keller NC]

Thanks guys, for the kind words. I'd have a hard time, on a personal level I mean, selling this piece for $8,000, given that it is only about two feet high and I have less than 100 hours in it! But I'm open to offers!!

Zach - This is something that all of us have to "get over", at least if you wish to make woodwork semi-professionally. We tend to apply our own frugality and hyper-criticality for flaws to our judgement about what a piece is worth. Most of us will (incorrectly) calculate the price of a piece based on either what we would be willing to pay for something, or a calculation based on time and materials. That last calculation is erroneous - the customer is paying for your time, materials and your learned skill as a craftsman and artist.

I cannot say that last part with more emphasis - 99.9% of the population cannot make what most of us on this board would consider relatively trivial. 95% of woodworkers cannot make what most of us on this board can make, either. And that's worth something - depending on the clientele, it can be worth quite a bit.

One suggestion for your blog photos, btw - include one photograph with an everyday object in it for scale. A coke can is nearly standard for this purpose, since nearly 100% of the population has a "feel" for how big a coke can is.

[Zach Dillinger]

Thanks for the suggestions. I made the leap to selling my work as a fair part of my income a number of years ago. My pricing structure is reflective of those I sell to currently, here in Michigan. I've been very lucky to fibd folks who will pay a decent fee for my work. The pricing on this piece is reflective of the size and the short period of time I have into it. Less than 100 hours total.I'm not trying to get rich, just make excellent furniture and pay the bills. I've been doing ok so far. Should I get more national exposure as a result of this work, I may be forced to charge more. As is, I think I'm pretty close on pricing.

[Jamie Bacon]

Beautiful piece Zach. I too am happy to see some W&M style get some press. And to see another hand tool only guy getting a project in print. Still hoping for an all hand tool only magazine some day. Out of curiosity, was the walnut kiln dried or air dried?

[Zach Dillinger]

Very nice. Is there a historical reason behind doing the dovetails in that manner or was this personal aesthetic?

The dovetails were done this way because of the drawer construction that was used in Philly around this time period. All the drawers have rabbeted sides / front / back, into which a thin bottom is nailed. Then, a white oak slip is glued over the nail heads to provide a long-wearing bearing surface for the drawer that is easily replaced should they wear out in the future. So, the short bottom tail is done that way to fit into the rabbeted front. Certainly not an aesthetic choice.


Zach didn't say he beat it up(maybe Norm does?? I don't follow his work.) However,Zach did good work on the coloring of his piece,so it has an old look about it.

Nope, no beating up the piece here. Just honest tool marks and a lot of effort in coloring the piece. I hate to see woodworking personalities go overboard with their own importance... sounds like your guy from Kittinger achieved that and then some.


Beautiful piece Zach. I too am happy to see some W&M style get some press. And to see another hand tool only guy getting a project in print. Still hoping for an all hand tool only magazine some day. Out of curiosity, was the walnut kiln dried or air dried?

Kiln dried walnut. Ordinarily I'd prefer air-dried, but my latest walnut flitch is still a touch too wet to use. Plus, this wood is already spoken for; I'm planning a escretoire style desk for my library. All the wood, including the veneer, for my spice chest came from Johnsons Workbench in Charlotte, MI. I buy most of my kiln-dried stuff from them.

[Jeff Hamilton Jr.]

Zach,

Though everyone has said it, it doesn't hurt once more . . . ​BEAUTIFUL, AWESOME, EXTRAORDINARY!

[Mel Fulks]

WM pieces especially benefit from some variation in surface and slight differences in turning .When you do see modern made pieces ,they are usually "over worked". The proper execution of the period feel is a big part of the appeal .The few pieces you do see can usually be recognized as modern from a good distance.I hope you have signed and dated it in several places.

[Zach Dillinger]

Zach,

Though everyone has said it, it doesn't hurt once more . . . ​BEAUTIFUL, AWESOME, EXTRAORDINARY!

Thanks Jeff! It's a peach! I love it!


WM pieces especially benefit from some variation in surface and slight differences in turning .When you do see modern made pieces ,they are usually "over worked". The proper execution of the period feel is a big part of the appeal .The few pieces you do see can usually be recognized as modern from a good distance.I hope you have signed and dated it in several places.

Thank you for the compliment. It is my dream, someday, to be able to produce a piece that is convincingly 18th century, only to point to some small detail or marking that proves I made it. Not to be like LaMontagne, I would never sell it as an antique or allow it be sold as such. So it is signed and dated, indelibly in several places, as well as a more standard signature on a drawer bottom.