Editor’s note: Leg day at the gym a heated topic but you can also overdo it, as this chair shows us. We also wonder if Veritas used to sell a giant tenon cutter in the distant past.
Please beware that salty talk follows. To reduce its negative effects we found a nice recipe of strawberry tea with lots of honey. Click more to read more….
(more…)
When Christopher Schwarz and John Hoffman started Lost Art Press in 2007, they had a bit of difficultly in convincing authors to write for them. It was an unproven press with a weird business model: share all profits and costs 50/50 with authors, no Amazon or other mass-market outlet sales, books shipped out of their homes (gotta put the kids to work somehow!), no employees…
But at a woodworking show in Albany, N.Y., Chris met Matt Bickford for the first time, and hung out in his booth for a while, talking furniture, woodworking and handplanes. Matt, too, had just started his business, making traditional hollows and rounds and other moulding planes, out of cherry (if you have a cherry M.S. Bickford plane, it’s almost a collector’s item at this point!).
Peter Follansbee was also at the show, so Chris treated Peter and Matt to pizza, and over dinner, cajoled them both into writing books for Lost Art Press. They were the first two outside authors to sign contracts with Chris and John. (I’ll share an excerpt from one of Peter’s book in October).
Matt’s book, “Mouldings in Practice,” is divided into two parts. The first half discusses moulding planes and the principles of how they’re used. Matt shows you how a great variety of mouldings can be stuck with a limited number of hollows and rounds (you don’t need a full set – or even a half set) to get started. Plus he discusses the roles of snipes bill and side rounds, and teaches you how to draw accurate profiles – one of the keys to success.
But what I found most mind-blowing is the use of rabbets in the “workbook” section (the second half of the book). Remove most of the waste with a rabbet plane (or dado stack), and you’re well on your way toward a finished moulding. Not only is there less wear-and-tear on harder-to-sharpen planes, the arrises function as guides for your hollows and rounds. This section includes many common profiles, and how to layout the rabbets to make the work easier. They’re broken down into basic steps that even a novice moulding plane user (me, when this book came out) can follow. What’s below is just the intro.
Excerpted from “Mouldings in Practice” by M.S. Bickford.
— Fitz
When I first became aware of hollows and rounds I read about the heralded “half set.” A half set of hollows and rounds is 18 planes, nine pairs, that incrementally increase in radius from 1/8″ at the low end to 11/2″ at the high end. The half set of planes is generally the even-numbered pairs in the previously referenced chart. (A full set is 36 planes, and also includes the odd numbers.)
A half set of hollows and rounds is an extraordinarily comprehensive grouping of planes that allows the owner to produce a range of moulding profiles that exist in the smallest spice box and largest secretary. Centuries ago, the half set was often acquired over time.
For many users, myself included, the half set covers an unnecessarily broad range of work, and represents an undue expense. Many woodworkers narrow their plane choice down to match the scale of work that catches their fancy. For example, if you work only with 4/4 stock, then sizes above No. 8 may go unused. Starting with just a single pair of hollows and rounds – and an efficient method to accurately establish rabbets and chamfers – allows the production of dozens of different profiles.
The simplicity of combining only one convex and one concave arc might seem limiting. There are, however, scores of profiles you will be able to produce with just a single pair of hollows and rounds. These profiles will often contain minute differences – adding a vertical or horizontal fillet, or flat, adjusting the size of that fillet, increasing the curvature or changing the general angle of the profile. These small differences are important and are often glossed over or neglected on a router table.
Adding a second pair of hollows and rounds to your tool chest, a step I always encourage, increases the number of possible profiles far more than two-fold. Not only will you be able to create the 41 profiles shown above in two different sizes, you will also be able to mix the concave with the convex to form various cove and ovolo combinations and ogees. Additionally, you can mix concave with the concave and convex with the convex to form elliptical shapes. It is at this stage that you will unlock the true versatility of these planes.
The following are stepped examples of profiles that are primarily made with one pair of No. 6 planes. (A No. 6 was defined as cutting a radius of 6/16″ or 3/8″.) These profiles are a sampling that include the basic shapes, with a few basic modifications. You can combine and scale these to build large, intricate profiles that line and accent a piece of casework or a room.
Cavetto (Cove).
A cavetto, or cove, begins with a rabbet, which acts as both a guide and depth stop for the work with the round plane. The layout and execution of the rabbet will be the focus of much of this book and is discussed in great detail beginning in chapter 4.
Ovolo.
An ovolo, like all instances when you use a hollow, begins with a chamfer. The chamfer, like the rabbet above, serves as both guide and depth gauge for subsequent work with the hollow plane. Again, the precise placement and execution of this chamfer will be discussed in greater detail beginning in chapter 4.
Torus (Bullnose).
When laid out in this way, two rabbets, two chamfers, and a No. 6 hollow create a bullnose.
Ogee (Cyma Recta).
An ogee, or cyma recta, is achieved by combining the procedures for a cove and ovolo.
Reverse Ogee (Cyma Reversa).
Minor changes to the rabbets can result in major changes to the profile.
Ovolo & Cove.
Side Bead.
A side bead starts with a snipes-bill plane that follows a gauge line, and it ends with a hollow.
“Highland Woodworking is unlike any other woodworking store I’ve ever been in on the whole planet,” Chris Schwarz told me, explaining why he thought the business and the family behind it would make an ideal contribution to this series. “It’s this wonderful, family, homey…” here he trailed off, as though in a happy dream, before resuming the narration of his reverie. “It’s just kind of overwhelming, like a candy store. If every town had a Highland, woodworking would be as popular as golf.”
Having seen pictures of the store’s façade, a drool-worthy architectural confection in century-old brick, a clay tile roof overhang supported by curly corbels, tall divided-light windows spanning nearly its entire front, I found his description almost compelling enough to plan a drive to Atlanta. Then I remembered we’re in the middle of a pandemic.
Chris discovered the place in the 1990s through the company’s black and white catalog, which they mail to a list that has grown to more than 100,000 addresses. If you know anything about Chris, you won’t be surprised to learn that he was attracted to the catalog not just by its promise of great tools, but by the warmth of its hand-drawn illustrations, a striking anachronism in the digital age. “They were one of the few people that had a full range of hand tools,” he says. “In the ’90s it was hard to find anybody who had more than one or two brands.” In fact, he adds, they had pretty much “EVERYTHING. And they were always supporting small makers, such as Independence Tool.”
It was Highland Woodworking that introduced Chris to Lie-Nielsen Toolworks, before the internet, when he called in his orders by phone. Though he still hadn’t seen the place in person, it felt familiar, largely thanks to the employee bios in the catalog. One year, Popular Woodworking assigned him to cover the International Woodworking Fair (IWF), which takes place in Atlanta. He played hooky one afternoon and made the pilgrimage. “I was speechless,” he says. “There was a suitcase on the floor; Roy Underhill was there, demonstrating. “I just couldn’t believe it. It exceeded my every expectation.”
Charmed by everything he’d seen, he got to know the owners, Chris and Sharon Bagby, and their daughters, Kelley and Molly. Their zaniness appeals to him – their willingness to do stuff “that’s off the beaten path,” as he says, proceeding to invoke a SawStop demonstration video in which Roy Underhill uses fried chicken, a good Southern staple, instead of the classic hot dog to trigger the stop. “They’re solid fried-gold people. It’s a funky neighborhood. They’re the bedrock there. The neighborhood has grown up around them.”
How could the Bagbys be so good at running a hardware store for specialty tools when neither of them was a woodworker? Jimmy Carter has taken classes at Highland Woodworking; Sam Maloof taught there. Here’s a glimpse into the business that should provide at least some clues.
Chris Bagby provided the following introduction:
“In 1974 Chris and Sharon Bagby, then recent Georgia Tech graduates, became managers of a King Hardware branch store on Piedmont Avenue in Atlanta. By coincidence, this particular King Hardware store happened to be the lone southeastern dealership for the Shopsmith combination woodworking machine. As the Bagbys worked to find ways to dramatically increase Shopsmith sales at the store, including introducing the sale of hardwood lumber, the store began to attract a growing community of woodworkers.
“In 1977 the Bagbys and their staff published a four-page woodworking newsletter they called “Wood News.” Response to it was enthusiastic. They published two more issues before deciding in the spring of 1978 to resign from King Hardware and start their own hardware store, Highland Hardware. Chris was 28. Sharon was 26.”
“At that time Shopsmith had begun opening its own retail stores nationwide and told the Bagbys they were not interested in making Highland Hardware a Shopsmith dealer. However, the couple soon connected with the Garrett Wade Company of New York, the U.S. importer of Swiss-made Inca Tools, and in 1978 began selling Inca tablesaws, bandsaws and planer-jointers. Highland Hardware became a local Atlanta retail source for Record and ECE hand planes, Marples chisels, Tyzack handsaws and many other fine woodworking tools purchased wholesale from Garrett Wade. They also continued to sell hardwood lumber and established a small millwork shop in the basement of the store.”
I spoke with Molly, 34, the younger daughter, who provided most of what follows. Both she and Kelley, who’s 10 years older, work for the business – Molly in Atlanta; Kelley, from her home in Massachusetts.
The business started out as an old-fashioned mom and pop hardware store selling the kind of stuff you need to fix a washing machine or plant flowers in a barrel – screwdrivers, nails, plumbing supplies, gardening tools. As time went on, they had more and more requests from woodworkers looking for specialized tools, so they brought in hand saws of higher quality, along with chisels, planes and more – now, as Chris Schwarz can attest, much more. Along with a full range of tools by Lie-Nielsen and some 400 distinct manufacturers, they also sell products by Festool and SawStop. Early on, when Home Depot, Lowe’s and Ace Hardware branches were proliferating across the country, selling really good woodworking tools was especially critical in setting the small, friendly store apart and giving them a competitive edge.
They moved the business to its present location (across the street from the original one) in 1984, more than doubling the store’s square footage. This time they set down roots, buying the property instead of paying rent. In 1995, just over a decade later, they did a large-scale renovation, adding 8,000 square feet of space, including a large classroom where seminars and hands-on woodworking classes are now taught. Also included in the renovation was a new shipping and receiving department, complete with loading dock and office space for management. The following year they launched their website; before long, the online business was hard to keep up with. They increased their shipping department and added more warehouse storage.
“Before long,” Chris Bagby continues,
“Highland Hardware published its own small tool catalog as the company evolved to become an importer of fine tools in its own right, and began to develop a wide following nationwide with a reputation as a leader in woodworking education, offering weekend classes throughout the year. In 1992, the company decided to merge the newsletter into the catalog and thereafter began publishing three catalogs a year. “Wood News” as a separate entity was no more, until 2005 when it was resurrected on the web as Wood News Online , where it continues to be published monthly.”
(You can read the 1981-82 catalog here, thanks to John Cashman, who sent me this document.)
Molly shared one of Sharon’s memories of working at the cash register. “She looks up and sees a man with an earpiece and sunglasses and gets a little worried. And then she looks to the left of him and sees it’s Jimmy Carter!”
Chris adds another Carter story:
“Back in the early ‘80s when we were still hand applying labels to our annual tool catalog mailings ourselves, Kelley [who was only about 6 or 7 at the time] came to the one with President Carter’s name and address on it. On a whim she wrote him a little note and stuck it in the catalog. A few days later she received a personally handwritten reply from Mr. Carter, thanking her for the note. We framed it and I think it is still hanging on the wall at Sharon’s house.”
President Carter first visited the store in March 1981, a couple of months after he left office, adds Chris.
“He arrived with a dozen Secret Service agents and shopped for some glue, a book and a few other things. While touring our store, he saw where we taught woodworking classes in the basement. He told me that if we were ever able to host Tage Frid for a seminar, he would like to attend.
“The next day I wrote to Mr. Frid (whom I did not know personally) and told him that President Carter would like to come to Highland to attend a class taught by him. Mr. Frid was interested, and indeed came to Atlanta to teach a weekend seminar that Mr. Carter attended on both days. As part of the event we arranged for us all to have dinner together at a nearby restaurant.
“Tage Frid went on to teach a seminar at Highland every year for 11 years. He and President Carter remained friends until Frid’s death in 2004.”
Today, Highland Woodworking employs about 20 people, most of whom live in Atlanta or the greater metro area. Three work in shipping. Sharon, says her daughter, is a “jack of all trades”; she dabbles in almost every aspect of operating the business, including purchasing, receiving, accounting and answering the phones. Several managers run all aspects of the website, SEO, catalog production, marketing and social media. A products manager searches out new stuff at conferences and tool shows, and orders stock from vendors. A dozen or so, most of them part-time, work the sales floor helping customers, showing them how to use tools, answering the phone, taking orders and providing technical support.
That’s a lot of employees for a mom and pop business. I asked Molly why they stay. “It’s a very laid-back work environment,” she answers. “My parents kind of just run the store in their own management style, and I think that has helped [with] employee retention, because it’s not super-corporate, not super-reliant on ‘human resources’ and a strict schedule with meetings and everything.” They provide full-time employees with health insurance.
Chris, Kelley and Molly share the marketing. All work remotely much of the time. Though Molly now lives in Atlanta, she used to work from Queens in New York City. Chris dials in from wherever he happens to be. (It might well be a spot along the Appalachian Trail, which he has hiked three times.)
Highland Woodworking holds tent sales and promotional events to celebrate anniversaries; these sound more like giant parties than the usual stuffy corporate affair. The most recent was in 2018, when they toasted their 40th year in business. Molly produced the event, bringing in Nick Offerman and Tom Lie-Nielsen to join Roy Underhill, who’s based closer by. The trio proved a big draw. “We weren’t expecting as big of a crowd as we got with Nick Offerman,” she says. Nick was there to sign copies of his latest book “Good Clean Fun.” “It was a very steady crowd to come meet him, the whole day, from 10 a.m. to 4 p.m.”
One of the company’s strengths since its inception has been classes in a variety of woodworking skills. “Part of the reason we have so many staff on the sales floor is we want to be able to answer your woodworking questions,” Molly notes. “Our staff have the knowledge to be able to answer whatever question you ask about.” She mentions Phil Colson as an example; he started working for them in 1985 (he’s also Molly’s godfather, which says something about how close this family is with its employees) and teaches woodturning in addition to his other work at the store.
Sharon and Chris tried to retire – she in 1994, he in 1998. They also got divorced in 1994. But when the economy crashed in 2008 and the store took a hit, both came out of retirement to get the place running again. Says Molly: “they haven’t had time to retire since.” They’re great friends and work well together.
With the onset of the pandemic, they closed the retail storefront. Most of the business, even before, came from online sales, which have only increased, rivaling the pace during most years’ holiday rush. To save local customers the delay and cost of shipping, they offer curbside pickup. Unable to run classes in-store, they’re moving at least temporarily to an online model. (You can learn more here.)
“We’re blessed to have attracted a core group of longtime employees who know their stuff and enjoy sharing what they know about any of the tools we sell, in person during normal times and otherwise by phone,” adds Chris.
Of our 18 current staff members, 12 have been with us for over 20 years each. Phil and Sidney have both worked here since 1985. Only one of our current employees has been here less than 5 years. For all that they faithfully contribute, our employees are the main reason we have been fortunate enough to attract generations of loyal customers from all over the country since 1978. We are very grateful.”
– Nancy Hiller, author of “Making Things Work” and “Kitchen Think”
We’ve had a couple people place inadvertent double orders: one when a book is first available (right when we send it to the printer), then again six weeks or so later when we post that the book is now in stock. (I get it…given my bourbon intake since March, it’s a miracle that I haven’t placed a double order!)
So, if you think it’s possible you’ve placed an order but cannot remember (or if you simply wish to check the status of an order), here’s how, in pictures (and captions).
And if you’re wondering why Chris ordered “The Anarchist’s Workbench” – a book he wrote and that is not only free to download but for which the design files are available to him on the very computer at which I type this – it’s because Lost Art Press likes to replicate your order experience from time to time, just to make sure everything is working as it should – from placing the order to the packing and shipping to delivery.
— Fitz
Author’s note: Campaign-style furniture is probably the first style of furniture I became aware of as a child. My grandparents collected it, and my grandfather and father both built pieces in this style while I was growing up.
But it was stupidly impossible a little trying to get my fellow editors at Popular Woodworking Magazine interested in publishing any pieces in this style. I tried for years while I was employed there. Then I proposed several articles as a freelance writer. All were turned down.
Fed up, I threatened to take my proposals to Fine Woodworking instead. And finally, Popular Woodworking got real interested.
The articles were received well enough that I decided to write this book. There are few readily available sources on Campaign furniture, which is amazing as it spanned 200 years and traveled all over the globe (a result of the British Empire’s expansion). Plus, this style influenced many Danish Modern designers.
So I traveled to Great Britain to learn about it first hand from the experts at Christopher Clarke Antiques, and to dig through military records.
“Campaign Furniture” has sold fairly well – we’re in our fourth printing. And someday I hope to write a follow-up book on the furniture that resulted when the woodworkers in the British colonies got a hold of these forms and interpreted them. It’s amazing stuff.
— Christopher Schwarz
Editor’s note: Hmmm…I don’t remember ever turning down a freelance article from Chris…wasn’t me!
— Fitz
The following is excerpted from Christopher Schwarz’s “Campaign Furniture.”
The shelves I built for this book are based on a unit I admired in one of the Christopher Clarke Antiques catalogs. The original was made from teak; mine is mahogany. While the only joinery in the whole project is cutting two dados, you will become quite an expert at installing butt hinges. It takes 12 hinges to get the whole thing to work. And installing the hinges precisely makes the shelf unit sturdier and makes it collapse more smoothly.
Begin With the Uprights
The two ends of the unit – called the uprights – look best if made from a board that is the full 9-1/2″ width and has the grain’s cathedral running up its middle. If wood is scarce, the shelves can be made from narrower boards that are glued up the final width. The shelves are usually covered by books, so they don’t show.
Cut the uprights to 24-1/8″ long. The extra 1/8″ is for the kerf when separating the top from the bottom. Before making this critical crosscut, mark the uprights with a cabinetmaker’s triangle so you can easily distinguish how the pieces should be reassembled with hinges.
Then crosscut the uprights at 11-1/4″ up from the base.
Before installing the hinges, cut the decorative shapes at the top and bottom of the uprights. The base is half of a circle with a 3″ radius. The top is a simple ogee that is 2-1/2″ tall and switches from concave to convex on the center of the width of the upright.
Now is the best time to remove any machine marks from the uprights. You’ll find that planing or sanding the boards after installing the hinges is a bad idea – it can make the mechanism sloppy.
First Install
When you hinge the two pieces of the upright together, you want zero gap between the top and bottom piece. Lay out the location of the hinge mortises with care. Mine are set in 1/2″ from the long edges of the uprights. And before you cut the mortises, clamp the top and bottom of the upright together and show the hinge to your layout lines. They should match.
Chop out the mortises and clean up the bottom of each mortise with a router plane. The depth of these mortises should be the exact thickness of the hinge’s leaf.
I install hinges with the assistance of a center punch and a birdcage awl. Punch in at each hole in the hinge leaf. Drill your pilot hole. Follow that up with a few twists of the awl. This three-step process makes a nice tapered hole for the screws.
When installing a lot of brass screws, I make life easier by cutting the threads in my pilot holes with a steel screw that is identical to my brass ones. I’ll drive the steel screw into each hole with an electric drill/driver. Then retract it. This makes it simple to install the brass screws without chewing up their slots.
With the hinges installed on both uprights, determine a good location for the dado that will hold the sliding shelf. The dado has to miss the screws from your hinges and be in a place that will fit your books both above and below the removable shelf. My dado is located 3/4″ up from the bottom edge of the top upright.
Remove the hinges and cut the 3/4″-wide x 3/8″-deep dado on both uprights.
Hinge the Shelves
The next step is to install the hinges on the shelves. Install hinges on the underside of the top shelf and the top surface of the lowest shelf. These hinge mortises are also set 1/2″ in from the long edges of the shelves and the depth of the mortises is the same as the thickness of the hinge leaf.
Install all eight hinges before attempting to attach anything to the uprights.
The next part is where you need to be careful. If you make a mistake the shelves will not fold flat. Here’s the important fact to remember: The hinge barrels of the top and bottom shelves need to be equidistant from the hinge barrels in the uprights.
On this unit, that magic distance is 7-1/4″.
Put another way, the top surface of the bottom shelf needs to be 7-1/4″ from the hinge barrels in the uprights. And the bottom surface of the top shelf needs to be 7-1/4″ from the hinge barrels in the uprights.
As much as I dislike measuring, this is one place where it’s difficult to avoid. Lay out the location of the hinge mortises on the uprights for the bottom shelf only. Then do something that could very well save your bacon: Place the parts on your bench in a pseudo dry-fit and check your layout a few times.
The hinge mortises in the uprights are different than the mortises everywhere else in this project. For one, they are larger because they have to hold both the leaf and the barrel of each hinge. Second, they need to be deeper than the thickness of the hinge leaf.
If you make these mortises too shallow, the finished unit will wobble. If you make the mortises too deep, the hinge will bind and nothing will open or close.
How deep should each hinge mortise be? The thickness of the hinge plus half of the complete hinge barrel (that’s both the knuckle and the pin). On your first mortise, my advice is to sneak up on the perfect depth. When you find the proper depth, the shelves will stop at a perfect 90° to the upright.
Then lock in that depth on your router plane and don’t change it until you are done mortising.
Screw the bottom shelf in place. The uprights should fold flat against the bottom shelf. With the unit all folded up, you can use the layout marks to put the upper shelf in the correct spot without any real measuring.
Make the four mortises for the top shelf and screw everything together. The unit should fold completely flat. If it won’t fold flat, your mortises are in the wrong place.
The Middle Shelf
Cut the middle shelf to its finished length and plane it until it fits snug but slides smoothly into its dado. To increase the stability of the unit, I added a 2″-wide “dropped edge” to the underside of the shelf. Usually a “dropped” edge acts like a brace to keep a shelf from sagging. In this case it helps stabilize the carcase.
I cut the dropped edge to a too-tight fit between the uprights and used a shooting board and a plane to get it to fit just right. Then I glued it to the underside of the middle shelf while the middle shelf was in place between the uprights.
Finishing the Bookshelves
Take the shelves apart and clean up any tool marks you missed before. Remember: The less material you remove the sturdier the shelves will be. Break the boards’ sharp edges with sandpaper or a plane.
This project has a simple finishing schedule: two coats of garnet shellac followed by a coat of black wax. The shellac colors the mahogany a nice dark honey. The black wax gets lodged in the pores and ensures the other people on your voyage to India won’t think you a “griffin” who is out on your first tour.
