We’re delighted with our first children’s book, “Cadi & the Cursed Oak” – especially because it was written by our own Kara Gebhart Uhl! And the illustrations, by Welsh artist Elin Manon, are a gorgeous accompaniment to Kara’ words.
Kara spent more than a year researching the many legends, facts and centuries-old stories of the Nannau Oak – a Welsh tree that measured 28′ around and was more than 900 years old when it fell in a storm in 1813. T
Legend has it that pieces crafted from the Nannau Oak are cursed – if you drink from one of the acorn cups made from its wood, the tree’s stories will haunt you. Kara wove the legends into a new children’s tale (suitable for ages 8 and up) that centers around Cadi, a Welsh stick chairmaker’s daughter.
The book is both a textual and visual delight.
We’re hosting a book release party for “Cadi & the Cursed Oak” at our shop on April 16, and will have a limited number of tickets available – details and links to register will be posted soon!
– Fitz
p.s. We did publish an English-language version of “Grandpa’s Workshop,” which was first published in France (our version is now out of print); “Cadi” is the first all-new kids’ book from Lost Art Press.
Fig. 1. Cabinet ends and division cramped together for marking. Fig. 2. How stiles of a door are marked in pairs. Fig. 3. Use a long rule. Fig. 4. Marking door stiles and rails from carcase. Fig. 5. Stepping odd measurements with dividers. Fig. 6. Dividing a curved surface
Hayward (1898-1998) was, in our opinion, the most important workshop writer and editor of the 20th century. Unlike any person before (and perhaps after) him, Hayward was a trained cabinetmaker and extraordinary illustrator, not to mention an excellent designer, writer, editor and photographer.
Add to all that the fact that Hayward was, according to Robert Wearing, a “workaholic,” and you have a good picture as to why we spent almost eight years laboring to bring this book to life to honor his work. As editor of The Woodworker magazine from 1939 to 1967, Hayward oversaw the transformation of the craft from one that was almost entirely hand-tool based to a time where machines were common, inexpensive and had displaced the handplanes, chisels and backsaws of Hayward’s training and youth.
Our Hayward project – it covers five books in total – seeks to reprint a small part of the information Hayward published in The Woodworker during his time as editor in chief. This is information that hasn’t been seen or read in decades. No matter where you are in the craft, from a complete novice to a professional, you will find information here you cannot get anywhere else.
This is one of the most important processes in woodwork because the whole accuracy of the work depends upon it. No matter how true the cutting of joints, etc., may be, the result will be largely a failure unless the preliminary marking has been correct. Care taken then is essential, and there is a safe rule that can always be followed. Measure twice before cutting once.
GENERALLY the knife or chisel is the best to use for marking because it gives closer accuracy than the pencil. It is definite, and the last mark is as sharp as the first. In the case of the pencil, the point inevitably becomes blunt, makes a wide mark, and so leaves room for uncertainty. There are, however, cases in which the knife cannot be used because it would leave a mark which could not be removed later. A clear example of this is the marking of chamfers or mortises. In the case of the chamfer a mark with knife or gauge would cut in square with the surface, whereas the chamfer is made at an angle. In a mortise the knife would be taken right across and would leave little incisions at the corners which could not be taken out unless the edges were planed unduly. There are, however, many cases where the knife cut is either concealed or cut away, and then the accuracy of the knife is then undoubtedly an advantage.
Marking in sets. In the majority of cases parts are required in sets of two or more. For example, the ends of a cabinet must be the same size, and have joints occurring in the same relative positions; doors must have their stiles equal in length; and drawers must have their sides exactly the same length. It is therefore desirable to fix corresponding parts together and square the marks across both. As an example of this take the ends of, say, a chest of drawers, such as that in Fig. 1. To mark each end separately with the rule would leave the possibility of a wide margin of error. By fixing the two together as shown, the marks giving the positions of the rails can be squared across the edges of both, so that, when later they are separated and the marks squared across the inner faces, they are bound to be alike. Furthermore the short inner division can be cramped with them and shoulder lines made exact with the others. This is a case when the pencil (sharpened to a keen point) is generally used because the marks must not appear later at the edge. However, if the marks are very lightly made they will be planed out when the edges are bevelled after assembling.
Marking a door. Another similar case is that of the door shown in Fig. 2, in which the stiles can be cramped together to enable the mortises to be squared across both. It would be desirable to mark the intermediate stiles from them, but, as these are tenoned whereas the long stiles are mortised, the knife would be used for the one and the pencil for the other. The best plan then is to mark the two long stiles with pencil, and then place one short stile on them and transfer the shoulder marks as shown. This can then be cramped to the other intermediate stile and the marks squared across both with the knife.
In general marking out the rule is mostly used, and we may note that it is always better to use a long rule for a big job, because, if, say, a board over 6 ft. has to be marked with a 2 ft. rule, the latter will have to be placed over four times along the work, and there is the possibility of error each time. It cannot always be helped, but it is better to avoid shifting the rule when practicable. This is made clear in Fig. 3.
Another point in connection with the use of the rule is that it should always be used with its edge to the wood so that the markings actually touch the latter. Otherwise, if it is placed on its side, a different measurement may be registered according to whether the eye is immediately above, or to one side or the other.
Transfering marks. When one part has to fit another, as when a door is made to fit a carcase, it is better to mark off the parts from the carcase rather than use the rule. The reason is that in the latter case the carcase has first to be measured and then the size transferred to the door parts. In other words, there are two operations, each with the chance of a slight error. By offering one stile to the job itself, as in Fig. 4, A, the marking is bound to be accurate (allowing for trimming and fitting). Afterwards the corresponding parts are fixed together and the marks squared across both as already explained. In the case of the rails, the stiles can be placed in position as at B, and a rail held across them so that the shoulder length can be obtained.
Odd sizes. Sometimes odd measurements have to be made for which the rule would be awkward. Suppose, for instance, a board has to be divided up into seven equal parts, and the over-all length is odd—say 4 ft, 4-3∕8 ins. To do this with the rule would be very awkward. The better plan is to use dividers, as at A, Fig. 5. Step out the distance seven times by trial and error, resetting the dividers to correct the measurement if the stepping is full or short. A good guide for the correction required is as follows. Step out the whole distance, and if the measurement is full, divide the amount of the fullness into seven parts, as near as you can judge it, and lessen the dividers by one part. This will not be exact, but it is a good guide. Afterwards the distance can be stepped again and a further correction made if necessary.
By the way, always step the dividers along a straight line as at A, Fig. 5, otherwise there may be an error owing to the dividers making staggered marks, as at B. Dividers are also useful for stepping out distances around a curve.
Marking round curves. Sometimes a cylindrical surface has to be divided into equal parts (A, Fig. 6), and it would obviously be awkward, not to say impossible, to use the rule. The simplest plan is to cut a length of thin, pliable card to fit around the shape, as at B, the ends meeting exactly. This can then be laid flat and divided into the number of parts required, as at C. It is afterwards replaced and the marks transferred to the wood, so dividing up the curve as required.
The full-zip hoodie features the “Never Despair: Nothing Without Labour” artwork on the back. On the front is a friendly bee – a long-time symbol of woodworkers and other trades.
Oil-impregnated “Super Woobies” (we have multiples) get used many times each day in our shop to wipe down tools before we put them away. That not only keeps rust at bay, it helps to keep pitch and dust from accumulating on tools.
The woodworking pencils are robust, leave a good dark mark and sharpen easily.
The “Nicholson” bench – a popular style in the 19th century.
At our upcoming open house – 10 a.m.-5 p.m. Saturday, March 26 – you’re invited to help us build a workbench – or simply watch us work and ask questions.
We’ve been working with the Cincinnati Museum Center for a new permanent exhibit, Made in Cincinnati, that will include in the “made by hand section” an educational display about the very important 19th-century Cincinnati craftsman (and ahead-of-his-time ersatz epidemiologist) Henry Boyd. On exhibit will be one of his “swelled railed bedsteads” and a re-creation of his shop space, which is where this Nicholson-style workbench will end up.
We have been working on a book on Boyd for the last couple years – more on this exciting topic in the next week or so.
Unfortunately, we’ve been unable to find extant pictures or drawings of Boyd’s shop – but given the prevalence in his lifetime (1802-1886) of this sturdy and inexpensive bench style, it’s a logical inference that his bench was similar to the one featured in “Mechanic’s Companion.”
Join us in this build, and help us and the Museum Center celebrate the legacy of craft in our city and to share Boyd’s amazing story.
Made by Hand is scheduled to open July 1 at the Cincinnati Museum Center. Some elements will change over time, says Stacey Kutish, senior director of exhibition development, but she expects Boyd’s bed and shop exhibit to remain on display.
Photo 13 . Chopping the mortice. The true mortice chisel is shown and the workpiece is cramped to a morticing block which is held in a bench vice.
The following is excerpted from “The Essential Woodworker,” by Robert Wearing. In our opinion, “The Essential Woodworker” is one of the best books on hand-tool usage written in the post-Charles Hayward era. Wearing was classically trained in England as a woodworker and embraced both power and hand tools in his shop and in his teaching.
The mortices should be cut before sawing the tenons, as the latter are more liable to suffer accidental damage before assembly. It is not good practice to grip the work in the vice because then it cannot be tested for verticality, and if it is driven down in the vice during the process, it can become scored. Instead, cramp the work to a morticing block (Fig 106a) with G-cramps or handscrews. The block can be gripped in the vice (Fig 106b) or bolted to the bench (Fig 106c). This method is particularly useful when the bench has a front apron which prevents cramping. The morticing block is useful when the workpiece is small and thin.
Fig 107a shows how a shallow trench can be cut before beginning the mortice proper. Simply lean on the chisel until there is a crunch, then wipe the chisel across (Fig 107b) removing the small chips. The chisel can now be positioned without effort. Before starting to chop, put a depth mark on the chisel (a piece of masking tape will do). If two mortices are to be cut (Fig 108), two depth marks are required (Fig 109). Do not cut the first mortice to full depth or the second will be chopped over a hole and the inside corner may break away (Fig 110). The first mortice should be chopped to a reduced depth (Fig 111) then the second to full depth, thus avoiding this risk.
Having cramped the work securely to the block, drive in the chisel near one end of the mortice, bevel towards the centre (Fig 112). Check that it is vertical by placing a small straightedge against the true face (Fig 113); a longer rule will foul the handle. Withdraw the chisel, turn it round and drive in again with the bevel towards the hole. Push forward to break off the chip, then lever it out. Continue the sequence of drive in (Fig 114), break off the chip (Fig 115) then lever out (Fig 116). Continue almost to the end of the mortice, leaving a small piece of waste on which to lever. Frequently check that the chisel is vertical. Reverse the chisel and proceed to the other end. Continue the method, backwards and forwards until full depth has been reached (Fig 117). Finally chop down the ends at the knife marks, break off and remove the chip without bruising the ends.
Accuracy of depth can be tested by using an adjustable depth gauge or an improvized wooden one (Fig 118). If there is a haunch socket, this is chopped in the same way, right to the end of the component as in Fig 108. The mortice cannot be narrower than the width of the chisel, so it follows that any whittling of the sides of the mortice to neaten it will make it oversize. Keep the chisel vertical and do not permit it to twist as this will also result in an oversize mortice. The practice of first drilling a row of holes and then opening them up neither saves time nor produces a more accurate mortice.
