Lost Art Press

Author: fitz

Woodworker, writer, editor, teacher, ailurophile, Shakespearean. Will write for air-dried walnut.

Chair Encounters: Norway, Part 1

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It wasn’t my idea.

Although I’m grateful to spend time with my beautiful wife and three kids – the latter known as The Backseat Mafia™ – cramming everyone into our 14-year-old Volkswagen and driving the 620 miles to our family cabin seemed like Armageddon On Wheels to me. So, I had to be lured in. And boy did Marie know what bait to use: I was promised that we could stop the car whenever along the route to do chair-spotting.

I also wonder where the true Norwegian stick chairs are. We’ve been woodworking for over 1,000 years. We built our country and tradition on wood. I’m sure we’ve got birch sap running in our veins. Thus, there are of course stick chairs being made here, too. Some of them, like the Windsor-inspired Budal Chair, are even considered classics. The problem is that none of them are genuinely Norwegian in either form and origin. So I thought I’d start looking for them, and this trip seemed a good way to kick it off. Here are some of the chairs I encountered:

128 miles from home: Dalen, Telemark

In the traditional region of Telemark lies the small village called Dalen. We stopped here to visit the museum for Norwegian sculptor Anne Grimdalen. Part of the permanent exhibition was a display of her personal belongings. And among them was this staked Brettstuhl. Although the ornamental style of painting is almost quintessentially Norwegian, this is the first time I’ve encountered a chair like this in Norway.

This type of chair is more common in Germany and some surrounding countries. I don’t know much about them, so I got in touch with my buddy and fellow Chair Chatter™, Rudy Everts, who knows more:

Rudy: This is an odd one…. The interesting thing about this chair is that it looks like a Brettstuhl but the construction is different. The first thing I noticed was the stretchers, these are very uncommon for a Brettstuhl to have. In fact it might be the first one I have ever seen with stretchers!

When you look closer, you see the seat is thicker than a normal Brettstuhl and it lacks the cross battens that are so typical for these chairs. So the maker constructed it like a normal stick chair. And added stretchers.

The design definitely draws its inspiration from the Germanic Brettstuhl, but with its own twist. The shapes are more straight and the ornamentation more “Nordic.” A Brettstuhl often has round details in the backrest, flower motifs and so on. And there is usually a hole in the back rest to pick up the chair when not in use. Therefore I would say the chair was made there locally and not imported from the Germanic countries and painted afterward.

454 miles from home: Alvdal, Hedmark

Back on the road again. Next stop: The village of Alvdal, which is another very historical place. The oldest pair of skis known to man was found here, dated back to the year 600. We came here to visit a museum. And while my family went to see the main exhibitions, I scoured the building for chairs. The first one I stumbled across was this one. A freak of nature, begging for attention.

I’m really not sure what to think of it. Except that it looks like a giant insect. The low seat and short back could indicate it being a children’s chair. But that’s hard to say. Although this doesn’t look like the typical fireside chair, history is full of low chairs made for different uses

Each of the four legs are placed at the very edge of the seat. Combined with only a minor splay, this makes the stance of the chair clumsy to me. This combination is however not uncommon. English West Country chairs often look like this. Although it looks more balanced in a full size chair. Here it just looks a a bit wrong to me eyes. Kinda cute, but definitely more weird than wonderful.

So, I went to the café and got myself an overpriced cup of lukewarm motor oil labeled as coffee. Feeling robbed and unwell I looked for a place to sit, when lo and behold, this three-legged charmer made its appearance. Hand planed surfaces, octagonal legs and nicely worn original paint – what’s not to like? The large bevel around the half moon shaped seat also adds elegance. Though I would normally place such a bevel on the underside to make the seat appear lighter and thinner. Then again, it’s exactly these variations and improvisations that make the stick chair form so exciting to me. There’s often an element of surprise. Sometimes it works, sometimes it don’t.

The rest of the construction was also unusual. Instead of mortising the legs through the seat, they were mortised into three separate battens that were screwed onto the underside. That at least tells me the stool wasn’t hastily put together by a farmer who needed a seat.

Two hours and three ice creams later we all cramped up in the car again and went to find a place to put up our tents. We found a pretty decent spot and called it an early night.

The next morning we rose early. After coffee, bread and brown cheese we hit the road again. I encountered even more vernacular chairs during the following days and miles on the road. Some of them were even not weird at all, just plain beautiful, with some interesting stories to them also.

I’ll share them with you in part two. For all of these and future chair encounters, I’ve set up an Instagram account for you to follow. As always, please share your thoughts and comments on these chairs or chairs you’ve encountered yourself!

– Klaus Skrudland

Cabinet Details to Note when Designing a Period-Style Kitchen

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Proper proportions. This Shaker classic is one of the best examples of how frame components can influence the character of a cabinet. While the board between the doors does not exactly qualify as a face frame stile, that is one of its functions. Contrast its extreme width with the single-board thickness of the rails between the drawers. (Private collection, Paul Rocheleau)

The following is excerpted from “Kitchen Think: A guide to design and construction, from refurbishing to renovation,” by Nancy R. Hiller.

Unlike most kitchen design books, “Kitchen Think” is a woodworker’s guide to designing and furnishing the kitchen, from a down-to-the-studs renovation to refacing existing cabinets. And she shows you how it can be done without spending a fortune or adding significantly to your local landfill.

Yes, there are hundreds of pretty full-color photos of well-designed kitchens, which are organized into 24 case studies throughout the book. They range from the sculptural (kitchens by Johnny Grey and Wharton Esherick) to kitchens of a more recognizable form.

But there’s also a heavy dose of practical instruction: how to build cabinets efficiently, how to make a basic kitchen island, how to build a wall-hung plate rack. Plus butt-saving advice that comes only from experience – like how to maximize space in inside corners, how to scribe cabinets and countertops into odd spaces and how to make sure you’ve left ample space for hardware.

All of this is built on a foundation of research into kitchens from the past. Hiller’s historical perspective on design might just change your mind about what makes a good kitchen.

  1. Widths of door stiles & rails
    Bottom rails are almost always wider than top rails on old cabinet and furniture doors. Sometimes stiles are the same width as the top rail (before material is removed for fitting the doors), sometimes not – and sometimes they are dramatically different.
  1. Dimensions of face frame stiles and rails (in addition to where they appear)
    For example, a true period look for cabinets predating the widespread use of mechanical drawer slides requires intermediate drawer rails. Even if you plan to mount your drawers on full-extension slides, you should incorporate rails between them to evoke the look of those that once supported web frames.
Style is cyclical. The pulls on these metal cabinets found in a garage inspired those Lynette Breton made for her mid-century style kitchen. She made the concave handle detail with a router with a shop-made jig, using a rub collar and core box bit. Before using the router, she bored out the center on the drill press to give the bit a place to plunge into. The core box bit removed the remainder of the waste. The process was more nerve-racking than it might have been because she did this routing after painting the cabinets. The pulls in the center are Bakelite with chrome from Vintage Hardware in Port Townsend, Wash.
(vintagehardware.com). (Margaret Stevens Becksvoort)
  1. Hardware
    What kind of hinges were used, and how were they attached? If the doors were hung on butt hinges, were they mortised into the door and face frame, or only into the door? What is the length of the hinge? How wide are the leaves? Are the pins removable or fixed, and do they have finials? What is the finish?
  1. Hardware position
    Note the distance of the top and bottom (and center, if applicable) hinges from the ends of the door. Note the position of drawer pulls, doorknobs or latches; door hardware was commonly installed approximately halfway or two-thirds to three-quarters of the way up on base cabinet doors and similarly spaced in the opposite direction for upper doors. They were not usually located in the upper or lower corner, as is typical of cabinet doors today.
Set correctly. When we recreated the pantry in Lauri Hafvenstein’s 1917 house, I followed the original pattern Lauri had seen in a neighbor’s kitchen, with inset doors and half-inset drawer faces. (Lauri Hafvenstein)
  1. Are doors and drawers inset, overlay or half inset?
    Drawer faces were sometimes half inset even though the doors in the same set of cabinets were fully inset.
  1. Moulding profiles
    It should go without saying that moulding profiles are important. They can vary enormously and are one of the most distinctive and delightful details in a period kitchen. If you cannot replicate a profile yourself, you can usually have it done in the species of your choice by a millwork shop willing to custom-grind knives. Just be sure you order extra, as there will usually be a hefty set-up charge along with the grinding fee, and different batches can have dimensional variations invisible to the eye but great enough to cause headaches during installation.
  1. Edge treatment of half inset drawer faces
    These may be eased, quarter-round, beveled or moulded.
Graduated. Notice the proportions of door elements in this elevation of a pantry “dresser” from an 1899 carpenter’s guide. (A gift to the author from Charles Bickford)
  1. Proportions of graduated drawers
    Along with the proportions of face frames and door components, one of the least-noticed and most critical aspects of historic kitchens is the proportions of drawer faces. Many cabinetmakers make the mistake of building all the drawer faces in a stack to the same size. Not only does this look terrible, because when viewed from above (i.e., from normal standing height), the bottom drawer will inevitably look smaller than the rest, and so, out of scale. It’s also not how drawers were traditionally sized. You can make as many adverse comparisons as you like between 19th-century cabinetmakers and the furniture made by those who worked in the golden zone of northeastern American states during the late 18th century, but even oft-maligned Victorians worked with a tradition grounded in classical proportions. This was one of the first and most important lessons I learned from Roy Griffiths in 1980.
Toe kicks. Flush toe kicks were an option in 1927, and still are today. (1927 Universal millwork catalog)
  1. Toe kicks
    Are they flush (i.e., does the bottom rail of the face frame go all the way to the floor) or recessed? If the toe kick is partially recessed – i.e., if the face frame stiles extend down to the floor with inset toe kicks between them – note the rhythm of this variation. In some cases the stiles are full-length only at the end of each cabinet run, with the kick recessed everywhere else. In others, the stiles may run down to the floor on each cabinet.
“Kitchen Think”

Last-Minute ATC Class Opening

Posted on by fitz
My (now more beat-up) Anarchist’s Tool Chest.

I have a student who can’t make the Anarchist’s Tool Chest class that begins tomorrow morning (Aug. 2) at 9 a.m. If you’re local (or want to drive overnight) and want to join the class, send me an email: fitz@lostartpress.com. You can read more about the class here.

— Fitz

Using the Handsaw

Posted on by fitz
FIG. 1. USE OF THE HAND SAW FOR RIPPING DOWN A BOARD
Note how the blade is steadied by the thumb of the left hand when starting the cut. It is a good plan to hold the saw low when beginning to ensure alignment with the line

The following is excerpted from Vol. I of “The Woodworker: The Charles H. Hayward Years: Tools.” 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.

This massive project – 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.

We have culled, organized, scanned, edited and re-edited these articles to create these hardbound volumes. This is not simply a quick reprint of old magazines. We have reset all of the type. We have scanned and cleaned every image (there are more than 2,000 drawings and photos). The entire project took hundreds of hours and a dozen people all over the country.

The first volume is on tools, and includes: Sharpening; Setting Out Tools & Chisels; Planes; Saws; Boring Tools; Carving; Turning; Veneering & Inlay.

There are three general classes of saws; hand-saws, back-saws, and those for cutting curves. The first, with the use of which we are concerned here, are for the preliminary cutting up of timber and for the larger joints, and at least one is essential in the kit.

Features of the Handsaw. A saw which will cut fairly rapidly without badly tearing out the grain, and one which can be used for cutting both across and with the grain, is desirable because it can be used for so many purposes. Choose one about 22 in. long (that is the blade length measured along the teeth) and having, say, 10 points to the inch. The latter detail refers to the size of the teeth and means the number of tooth points in an inch including those at both ends. In Fig. 2, for instance, there are 10 points to the inch. Many saws have the number stamped on the blade near the handle. If you propose to do mostly carpentry as distinct from furniture making you can gain a little in cutting speed at the sacrifice of fine cutting by choosing a saw with larger teeth, say 8 points.

FIG. 2. HOW TOOTH SIZE IS CALCULATED
Count the points (not the teeth) in an inch including those at both ends

Make sure that it is a cross-cut saw you get, not a rip-saw. There is an important difference between the sharpening of the two which affects the cutting. The cross-cut can be used for any sort of cutting, whereas the rip-saw is confined to sawing with the grain. It is a good plan too to choose a taper-ground-saw. It means that the blade has a natural clearance in the kerf it makes since it is slightly thinner at the back than at the toothed edge. Even with this refinement, however, a saw would jam in its kerf unless the teeth were given what is known as set. This is the slight bending over of the teeth in alternate directions so that, as the saw cuts through the wood, it makes a cut (kerf it is usually called) slightly wider than the thickness of its blade. Of course, this means that the resistance is slightly greater in that the saw has had to remove more wood in sawdust, but this is mostly offset by the reduced friction of the blade in the kerf. It does mean, however, that the taper-ground-saw has a definite advantage in that the set can be less owing to the natural clearance of the blade.

Using the Saw. Sawing is done on trestles, on the bench, or in the vice. In the first the wood is usually steadied by pressure from the knee, whilst for bench sawing the usual plan is to cramp down the wood. This is really important because it is impossible to saw properly if the wood is jumping about. Here then is a first essential. If you cannot hold the wood steady, fix it down with a cramp.

FIG. 3 . FAULTS IN SAWING
A. Blade is not held upright. Square is used to test
B. Forcing, often leading to a buckled-blade
C. Blade twisted to correct wandering from line

Square Sawing. Perhaps the chief difficulty that besets the beginner is that of square sawing, and this is entirely a matter of knowing when the saw is upright and of keeping it so throughout its stroke. If the cut is not square it means that at best there will be a lot of wood to trim away, and at worst the wood may be too small owing to its have been undercut. For a start place a trysquare on the bench against the blade and endeavour to keep the blade in line with it as at A, Fig. 3. We have known a case of a man, determined to cure a fault of sawing out of square, who stood a large mirror in front of himself and glanced at it occasionally to see whether the saw was upright. This is not usually practicable, but whatever method you use endeavour to get the feel of when the saw is upright. Put the square on the wood and hold the saw against it perfectly upright. Note and try to register your position. Move the saw into various positions in its stroke and again note your attitude. After a time you will no longer need to use the square as a guide, but even so, test the sawn edge afterwards to see whether you have any special bias, and endeavour to correct the fault.

FIG. 4. COMMON FAULT IN SAWING ALONG A LINE
The saw drifts and to correct it the blade is twisted. The saw cuts the other way, and so on till the end of the cut

Straight Sawing. A common experience for a beginner is to find that the saw is either drifting away from or bearing towards the line along which he is sawing. He tries to put things right by twisting the handle (C, Fig. 3), and, after a few strokes finds that the saw is bearing the opposite way, and so it goes on until the end of the cut, the resulting edge being a long and wavy line as in Fig. 4. Clearly the important thing is to start right with the saw blade parallel with the line.

Now in normal sawing the blade is held so that the line of the teeth makes about 45 degrees with the wood, as at A, Fig. 5. This makes it a little difficult to judge whether the blade is in alignment with the line, because when the saw is low the handle does not extend far enough along the line to enable you to judge the matter, and when it is high the handle is so far above the line that it is just as difficult. The best plan is to start the cut with the saw held at a very low angle as at B, Fig. 5. Then, if the toe of the saw is used to start the cut the handle will extend a long way along the line and it will be low. Once a reasonable start has been made the saw can assume the normal 45 degrees. If you start right there is no reason why you should not keep right—assuming that the saw is in order.
Bad sharpening can cause drifting, but the drift will always be in the same direction. It may be due to unequal setting, to the saw having been sharpened from the same side throughout, to one side having been caught on a nail, or to the blade being buckled. Do not try to cure it yourself. Take it to a proper sharpener and explain what happens. He will know what to do. Sharpening and the correction of faults is a skilled operation calling for experience.

FIG. 5. ANGLE AT WHICH HAND SAW IS HELD
Normal angle is shown at A. For starting the cut the low angle B is advisable as it gives a better idea of whether the saw is in alignment with the line

General Sawing. Assume that you are going to saw along a board, the latter held on trestles or boxes. Start the saw at a low angle as already suggested and give a few short strokes, the blade bearing against the thumb of the left hand to steady it as shown in Fig. 1. This enables the saw to make a start in the right place. As the blade cuts more deeply into the wood you can gradually change the position of the handle so that the blade makes about 45 degrees with the wood, and the short starting strokes can be changed to long ones embracing nearly the whole length of the saw. Note from Fig. 1 how the index finger of the right hand points along the blade. This is a great aid to control and applies to almost every saw. Keep the left hand with either the thumb or side of the finger bearing against the blade until the saw has cut a fair way into the wood—say about the width of its blade. Apart from steadying it at the start it helps to prevent an injury in the event of the blade jumping from the kerf. If the left hand is merely held at the edge away from the saw the latter might jump out and jar the hand.

Don’t force the blade. Keep it moving steadily in long, even strokes with light or moderate pressure. It used to be taught to apprentices that a saw should cut merely by its own weight, and the underlying idea that forcing must be avoided is sound; but you need something rather more positive than this. Give just enough pressure to ensure firm control and you will find that the saw will cut freely. If it doesn’t, it needs sharpening.

In practically every case the saw is used to the side of the line rather than on it. The point is that the line represents the finished size, and the saw cut is made on the waste side to allow for final trimming with the plane. Many men tend to saw well away from the line for fear of making the wood too small. This is natural enough, but it exemplifies the lack of confidence of a man not sure of himself. Learn to cut accurately therefore, and you can then cut close to the line, leaving just enough for trimming.

“Vol. I of The Woodworker: The Charles H. Hayward Years: Tools”

Making Wedges Part 3: Without a Band Saw

Posted on by fitz

Not everybody who has to make wedges owns a band saw. In the third instalment we take a look at how to make them without power tools.

See the first and second instalments of the series here and here.

Making wedges without a band saw is not any more difficult than with a band saw. In fact it might even be easier. Especially if you don’t own a band saw.

You will need a chisel and a block of wood that you clamp in your vise.

Making wedges with a chisel

Select a suitable piece of wedge-wood. I usually use oak, as this is abundant where I live, but you can also use hickory or ash if that is available to you. Make sure you use dry wood; you don’t want your wedges to shrink after installing them.

The final size of the wedge is approximately 1-1/2’’long, 5/8’’ wide, and 3/16’’ at the thick end. I start with a board of around 5/8’’ thick, sawed to the length of the wedge (1-1/2’’ to 2’’).

Making 1/4″ billets

Stand the board upright on top of your workbench (use a piece of scrap wood if you are afraid of damaging your workbench) and split the piece into 1/4’’ billets. These are your (slightly oversized) wedge blanks.

For shaping the wedges, you will need to make a simple block with a notch sawn out of it. You rest the wedge against this block when you shape it with a chisel.

It ain’t much, but it’s honest work

Secure your wood block in your vise and lay the wedge blank flat on it.

Use tapering cuts to make the wedge shape. I don’t use a mallet for this step. First, start a cut near the tip of the wedge (closest to the block). Then move slightly away from the tip and make another cut. The third stroke starts around the middle of the wedge and last stroke near the end of the wedge.

Make tapering cuts, starting near the point and work your way backwards to the end.

Turn the wedge over and make the same tapering cuts on the other side. It takes about two times on each side to make a wedge, depending on how much material you take off. Better to take it slowly if you’re a beginner.

I usually make a bunch of wedges rather than making just enough for one project. Even if you don’t make that many pieces of furniture, it is nice to have some extra wedges on hand.

Finished wedge

Re-using old wedges

Don’t throw these away!

After I trim the tenons on my chairs, I don’t throw the excess away. It is very easy to make another wedge out of them, providing they aren’t too short. This is another reason to make your wedges slightly longer to begin with — you might get two or three uses out of it.

Place the amputated-tenon-wedge on your block of wood and use a chisel and mallet to chop away the bits of tenon glued to the sides. They should come off easily. Mind your fingers as you do this step. I find it easiest to rest the back of my chisel against the wedge and tap it from above.

Remove the tenon material with a chisel

Re-shape the wedge as described above, using the wood block in your vise. This only takes a stroke or two, so you have a new set of wedges in no time.

Using scraps as wedge material

I often have pieces of oak leftover from chairmaking or other projects. This is perfect material for making wedges. Part of an old oak leg or stretcher can be an excellent source of wedges. I have also used old oak tool handles and offcuts from levelling chairs. Make sure the wood is in good condition, especially with older tool handles.

Old tool handles, parts of legs or stretchers, offcuts from chair levelling – these can all be turned into wedges.

Saw the wood across the grain into the length of your wedge (1-1/2″ – 2″) and shape it as described above.

Making wedges with an axe

I made my first wedge when I had to handle an axe and needed a wedge. I didn’t have any idea what I was doing at the time so I grabbed an oak stick and shaped it into a point on one end with my single bevel hatchet.

Axing a wedge

Once you glue the wedge in place, you can saw off the excess and make it into a point again. Et voilà: Another wedge.

Finished wedge for axe heads.

This method is very useful if you need to make wedges that are significantly wider than the wedges you normally use for chairmaking. And they can be used for splitting logs if you make them big enough.

Some uses are:

Wedges for axes / adzes

Wedges for thick table legs

Wedges for yo momma’s a$$

Troubleshooting tips

–The wedge tip has become too thin at the tip or the tip is bent over: Place the wedge flat on your block and use your chisel to remove the tip (across the grain). Shave the wedge again if too blunt.

-The wedge has curved grain: Curved grain is not a big problem in riven wedges. I have used wedges that had a crook in them without any issues.

-I am having a hard time shaving the wedges to their desired thickness: They come out too flat. It is a common mistake to take material away evenly over the whole wedge. Use tapered cuts starting from the tip of the wedge and only remove a little material at the butt end.

Have anything to add about making wedges? Let us know in the comments section!

–-Rudy Everts