Lost Art Press

Author: fitz

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

Steve Latta, from “The Difference Makers”

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BALTIMORE DEMILUNE CARD TABLE (1988). Mahogany. 30″ high x 36″ wide x 36″ deep. (Photos courtesy of Fine Woodworking)

The following is excerpted from “The Difference Makers,” by Marc Adams, a collection of remarkable stories and work from 30 of the best furniture makers, toolmakers, luthiers, sculptors and more with whom Marc has worked since 1993 at his eponymous school.

Steve Latta makes contemporary and traditional furniture while teaching woodworking at Thaddeus Stevens College of Technology and Millersville University in Lancaster County, Pa. He’s a contributing editor to Fine Woodworking magazine and has released several videos on inlay and furniture construction. He has lectured at Colonial Williamsburg, The Museum of Early Southern Decorative Arts and Winterthur Museum, as well as numerous other schools and guilds. Working in conjunction with Lie-Nielsen Toolworks, he helped develop and market a set of contemporary inlay tools. Steve is an active member of the Society of American Period Furniture Makers and a juried member of the Pennsylvania Guild of Craftsmen. He lives with his wife, Elizabeth, in rural southeastern Pennsylvania, with their three children – Fletcher, Sarah and Grace – nearby.

WALNUT BOOKCASE (2002). Walnut. 50″ high x 30-1/2″ wide x 13″ deep. (Photo courtesy of Fine Woodworking)

On the Professional Side
In high school and all through college Steve worked in bicycle shops, eventually funding his tuition with his own repair business. After graduating, he continued fixing bicycles until the day he was offered a job making cabinets.
“With bikes, you put the pieces in harmony,” he says. “With wood, you get to make the pieces.” That concept appealed to Steve and at the young age of 22, he made a career change.
For the first eight years it was mostly on-the-job training. Steve did everything from cabinet making to trim carpentry before he landed in Kent, Ohio, where he worked for two companies: Western Reserve Furniture, as a shift foreman, and then on to a much smaller shop, Liberty Custom Furniture. It was during this time that Steve started to gain interest in making period furniture, which led him to move to the Philadelphia area in hopes of finding a shop looking for an apprentice.

FEDERAL END TABLE (2015). Walnut with inlays. 26″ high x 18″ wide x 17″ deep. (Photo courtesy of Fine Woodworking)

“When this journey started, I realized that I liked small, high-quality shops that did not pull the punches,” he says. “So I would work for someone for a few years and when I had learned as much as that shop had to offer, I would move on to the next.”

In time, Steve became known for his skill at inlay and veneering, specifically in the Federal style. However, he has always considered himself more of a process guy than a production guy; he often enjoys the journey more than the destination. In his personal work, Steve is trying to break away from the mould of being a maker known for a specific style.

“With period work, the design is pretty much given and the emphasis is on interpretation,” he says.
Today he is developing his own designs. On a trip to Ireland, Steve was moved by the geometric lines in many of the beautiful cathedrals and Celtic work. Inspired by these patterns he has moved to a new type of work involving a much freer style of inlay and a much broader view of “traditional” work. But Steve admits that he would love to have been a 17th- or 18th-century silversmith: “Their work just blows me away.”

FEDERAL SIDEBOARD (2011). Mahogany solids and veneers, maple and inlays. 40″ high x 62″ wide x 22″ deep. (Photo courtesy of Fine Woodworking)

In all his success, Steve still considers one item to be his crowning achievement. It’s not that Lie-Nielsen has made a series of videos which feature him or sells his inlay tools. Nor is it the fact that writing for Fine Woodworking has made him a legend in woodworking circles. Today, if you were to ask Steve what he considers to be his greatest accomplishment, it would be teaching for the last 20 years at Thaddeus Stevens College of Technology.
“My best work, outside of my family, is on display in shops and classrooms all across the country,” he says. “I am referring to my students who have graduated and work in the field and teach in the classroom.”

CHIPPENDALE MIRROR (2006). Quilted makore. 15″ wide x 27″ tall. (Photo courtesy of Fine Woodworking)

On the Personal Side
There is an old saying that “those who can, do. Those who cannot, teach.” That is not the case with Steve. He is a brilliantly talented craftsman and an even better teacher. To complete the package, he is a man of strong faith and dedicated to his family. Steve regularly volunteers his time to local organizations as well as international missionary work.

Steve was recommended by finishing expert Jeff Jewitt the summer of 2001. Although Steve had been woodworking most of his adult life, he was unknown nationally. So, I decided to take a pass, but I did keep his name on file. In 2003, Steve sent me an email to introduce himself, along with a résumé and photos of a few of his furniture pieces. His work showed stellar skill, but his résumé didn’t prove he could teach.

SPICE CHEST (1995). Walnut with inlay. 19″ high x 15″ wide x 10″ deep.

Through the years MASW has offered a class called “Decorative Details.” I knew what I wanted from such a workshop, but previous instructors missed the mark. Photos of Steve’s work showed remarkable string inlay, which would make for a perfect Decorative Details workshop. I asked, he accepted and the rest is history. In his very first class he was organized, articulate and his demonstrations were spot-on. Students loved him, as did my staff. And within a year or two he had become one of the largest draws at the school.

What makes Steve so good? It’s not the quality of workmanship or skill he possesses, nor is it his remarkable ability to make complex tasks simple. What makes Steve so good is his servant’s heart. In all my years, I have only met one other person like Steve, and that is Mitch Kohanek. The similarity between these two men is that they both have chosen not to make oodles of money in the private sector, which they could, but they dedicated their lives to the humble service of teaching. Both teach at community colleges with modest pay, long hours and often little recognition from within the systems they work for.

TEA BOX (2016). Walnut, cedar and spalted birch. 4-1/2″ high x 14″ wide x 9″ deep. “The wood for this box was salvaged from branches left after a storm at a local Quaker Meeting,” Steve says.

Each week MASW hosts an evening slide show where instructors show slides of their body of work. Steve could talk about his experiences as a contributing editor at Fine Woodworking. He could talk about the tools he developed or videos he did for Lie-Nielsen. He could talk about his leadership in SAPFM, TV show appearances or being a guest lecturer at Colonial Williamsburg.

Instead he prefers to focus on the work of his students. He talks about each person as a proud father talks about a child. Though it’s Steve’s moment to shine, he humbly turns the spotlight from himself to others. He finishes his presentation by saying that his great hope is that someday, one of his students will teach at MASW. Steve considers that will be his crowning achievement. I can’t wait for that to happen.

WALNUT BLANKET CHEST (2017). Walnut with inlay.
20″ high x 42″ wide x 24″ deep.






Simple Panel Glue-up

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A few weeks back I promised a panel glue-up primer… and today is the first time I’ve needed to glue up a panel since. The basic stock prep for the panel pieces is the same as the rest of the prep, until it comes to sticking the two (or more) pieces together. So that’s where I’ll pick up. And as always, it’s best if you can surface your lumber then do any glue-ups within a few hours. The less time the wood has to move, the better – even if you’ve properly acclimated it.

If I’m using yellow glue or liquid-hide glue (which is almost all the time), I rip both edges of pieces for a glue-up; I want those outside edges flat and level so the clamps have a good, parallel surface on which to close. If I’m using hot hide glue and doing a rub joint (which is almost never), there are no clamps involved, so the outside edges don’t matter.

Regardless of my approach, the first steps are the same. Lay out the panel and mark it with a cabinetmaker’s triangle.

After layout, mark a cabinetmaker’s triangle across the panel.

You want to joint the edges so that you cancel out any non-perfect-90° angle from your electric jointer or jointer-plane work. If you’re jointing by hand, match-plane the two while clamped together in your vise. This will cancel out any error in your angle. If using a electric jointer, mark one edge “I” (inside) and the other “O” (outside). I runs against the fence, O runs not against the fence. This cancels out any error in the jointer’s fence.

The letters tell me which way to orient the boards at the jointer.

I carefully joint each mating edge, fairly slowly, and at the same, steady speed. Then I immediately proceed to glue up.

Let’s dispense with the rub joint first. For a panel glue-up, the only glue I’d use for a rub joint is hot hide glue (though some sources will say other glues work, too). With the two mating edges freshly jointed, simply coat both edges – quickly – then rub those two edges together lengthwise until the glue starts to gel, doing your best to keep them aligned across the thickness. Then set them on end against a wall and give the glue time to completely dry. No clamp necessary. (The few times I’ve glued up panels this way, I’ve left them a little thick so that I can level the glue line after, and not end up with a too-thin panel. Typically, I use the tack-ability of hot hide glue only for glue blocks and veneer.)

I use liquid hide glue (preferably the the Old Brown stuff) for most things in woodworking, but for typical panel glue-ups, I reach for the yellow stuff. It sets up more quickly, so the clamps can come off after 30 minutes (which means I can get more glue-ups done more quickly – and every minute is precious when prepping stock for classes).

I have things set up and ready to go at my bench before I joint the workpiece’s edges.

I’ll have a glue-up station ready to go on my bench before I bring stock in from the machine room, usually with a piece of paper underneath an odd number of clamps, because I always want one in the center (and if my prep is good, I can dispense with putting every other clamp on top of the panel). Along with the glue bottle, I have a bucket of water (hot water if I’m using hide glue) and a rag.

First, I run a bead of glue down the center of one board.

Just under the spout is too much glue – I had to hold still while Chris snapped the picture – so look behind the nozzle for the approximate correct amount.e

Then I spread it evenly with my finger (which is fast) or with an old toothbrush (which is slower but less messy).

Guess where I stopped for that last picture…

I want enough glue that I can rub the wet edge on the dry edge and get enough glue on the mating board that its edge is also fully wetted. But no more than that.

Start in the middle.

Then I wipe the excess glue off my finger before tightening the center clamp. I keep a finger or two of my non-clamp hand on the seam so that I can feel if I need to exert downward pressure on either board for a perfect mate. (Usually, doing the glue-ups immediately after prep obviates this problem.) I don’t tighten all the way – just enough to hold the joint closed as I repeat at both ends. Then I snug them in the same order until the joint is fully closed and I see a line of glue beads down the seam. That tells me the joint is closed tightly enough, and that I used enough (actually, just a tiny bit too much!) glue.

Now the ends.
That spot with no bead is where I was feeling for level – otherwise, I’ve a continuous line of glue beads down the seam.

Next I reach for the bucket and rag, and with an almost-completely wrung-out rag, wipe off the excess glue with small circular motions along the seam. Rinse, re-wet and re-wring the rag often (you don’t want to simply spread thinned glue over the surface). And don’t forget to do the other side. You’ll have a little squeeze-out under the clamps, but it’s easy enough to knock off with a scraper, chisel or plane after the glue is completely dry. Note that none of us in this shop has ever had a problem with glue-size interfering with finishing. Any residual glue is planed away.

Scrub both sides. The glue is a lot easier to get off now than after it’s dry. And no, this won’t weaken the joint or interfere with finishing.

The last task is to check the clock and write the time on the edge of the panel. After 30 minutes, you can take the clamps off and move on to the next glue-up. With multiples, I usually stack them up to dry (another reason to remove the glue on the surface), and let them sit overnight before ripping to final size and squaring the ends.

If I need the clamps for other panels, I can take them off this panel at 12:20. If I don’t need the clamps, I typically leave the panel in clamps longer (not because I have to, but because I forget about it).

I know there are all kinds of charts, studies and special clamping doodads to help you achieve ideal clamp pressure. I’m sure those are useful. For someone. Me? This simple approach has served me well for more than a decade.

— Fitz

‘Plywood and Laminated Board’

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The following is excerpted from “Woodworker’s Pocket Book,” edited by Charles Hayward.

PLYWOOD consists of three or more layers of veneer glued or cemented together with the grain of each piece laid at right angles to those adjoining. As this reduces (in the stouter thicknesses practically eliminates) any risk of splitting or of shrinkage, the strength of the board is greatly increased.

Three-ply is available in thicknesses from 1/64-1/4 in., multi-ply from 5/16-1 in. In the case of three-ply the centre core is usually thicker than the two outer veneers, when it is known as “stout-heart” as distinct from “equal-layer” (Fig. 1). When five, seven, or more veneers are used for multi-ply the same thick­ness of layer is used throughout. Boards are manufactured in standard-sized panels from 12 in. square up to several feet, and the range varies widely in different countries of origin.

As the metric measure applies to plywood thicknesses, it will be of service to give the approximate equivalents in inches.

A metre measures about 39-1/2 in. As there are a thousand milli­metres in a metre, a simple calculation shows that about 25 mm. go to the inch. If this figure is remembered we have a quick guide to the approximate thicknesses.

In manufacture birch is more frequently used, but alder, ash, and gaboon are also in demand. Pine is largely employed in the Scandinavian countries, whilst Douglas fir is widely used in America.

Faced plywood means that one surface is veneered with a fur­niture hardwood such as figured oak. Edges should be lipped when to be exposed.

LAMINATED BOARD, now largely used for veneered fur­niture, is built up with the inner core made up of numerous narrow strips glued to each other, both surfaces being faced with a board, the grain of which lies at right angles to the core. Gaboon is a favourite wood and the thicknesses range from 1/2-2 in. Out­side sizes vary considerably, but dimensions listed have reached as much as 16 ft. by 6 ft. 6 in. A normal size is about 8 ft. by 4 ft. When used for doors, sideboard, and table tops, etc., the edges are lipped and the surfaces veneered. The strips forming the core should not be wider than 7 mm. in laminated board.

BLOCK BOARD. In this case the strips forming the core are wider, 3/4 in. being an average. It is made in the same thicknesses as laminated board, but is less favoured for high-class furniture. From the illustration it will be seen that, both in the case of laminated board and block board, the grain of the core strips is reversed in the gluing. The core strips should not be more than 1 in. wide in block board.

BATTEN BOARD. This is a lower grade of built-up board in which the core strips are still wider. It is not so reliable for veneer­ing. The core strips should not be wider than 3 in.

TABLE OF APPROXIMATE EQUIVALENTS, MILLIMETRES AND INCHES
Useful for finding thickness of plywood, etc., in inches.

New (and Way Better) T-Shirts

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After dealing with the hassle and unreliability of print-on-demand tees for a few years, we’ve shifted gears big time. We figured it’d only be right to sell tees that reflect our values just as much as our chore coats, vests, hats and bandanas. That meant good materials and responsible domestic manufacturing.

Our new short-sleeve tees are a thick, tough 6.1-ounce jersey, tube-knit in the USA from domestically grown cotton. That’s about 50 percent heavier than your typical cheapo tee, and the tubular knit means no side seams to chafe and/or fall apart.

The tees are proudly Union-sewn in California. Our friend Mike does the printing at his farm in Oregon, and the quality of his work is exceptional – it’s a true discharge print, which means it’s flat to the fabric, rather than the plastic-y junk that sits proud (and eventually flakes off). These cost us a lot more than a conventional cheep tee, but we couldn’t be more proud of their quality and origin. We even added our own label to the neck.

Just one color and logo, for now. It’s a dark, dark navy with a very subtle charcoal logo. It seems to be damn near impossible to photograph, like all things in the black-on-black vein, but it sure looks perfect in person.

The fit is just ever-so-slightly slimmer than, say, a Hanes Beefy-T. Order your usual size, or a size up if you’re on the fence. Don’t worry, it’s not a slim hipster fit like American Apparel. Like most tees, these shrink a fair bit on the first wash. There’s a size chart on the product page that shows their measurements after a warm wash/warm dry – have a look if you’re still not sure.

— Tom Bonamici

Editor’s note: I have been wearing the living snot out of this T-shirt since we received our first samples. This shirt gets better and better with every wash. And it breathes nicely, even when I’m working hard at the bench. Kudos to Tom for finding the right shirt and the right people to make it. — Chris

Update: Dutch Tool Chest Book

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On Saturday, I sprayed two coats of lacquer on a small Dutch tool chest and its lower chest, then reinstalled the hardware. With that, I am done with the building and picture-taking thereof…I think.

I have a table of contents with chapters that cover the order of operations, and image folders tagged to each of those chapters. The images within each folder serve as a visual outline of what I need to cover in the text, and many of my pictures are simply visual notes – reminders of what I want to write – that won’t make it into the book.

By the end, I’ll have taught readers how to build two sizes of Dutch tools chest (with a choice of three lids), plus a lower chest on which to rest the small one (or the large one, if you’re tall), to make it easy to access the tools (as well as hold more). I’m offering several approaches to each operation when practical, so that no matter what the tool kit or skill set, readers should be able to find a method that appeals.

I’ve outfitted the interiors of both chests to hold chisels, marking knives and other pointy tools on the back wall. One has a saw till on the chest floor, the other has it behind the hanging rack. Both chests have cubbies for a jointer, jack and smooth plane (and suggestions for ways to tuck a block plane on the wall).

But as I wrote months ago, I’ve seen many clever modifications, drawers, racks, lift-out tills and more in similar chests over the years. And because I can’t possibly construct every possibility myself, I plan to feature some of those in a gallery (with credit, of course!) in the book. Many of you who’ve already built Dutch tool chests responded to my initial request for pictures, and I’ll be in touch with you soon (and thanks again!).

But I’d love to have more photos for the book. I’m looking for clever solutions to storing tools – digital images that are at least 300 dpi at 5×7. (Chris has a helpful post on photography here.) In short, I need in-focus pictures that show the relevant features without clutter or visual distractions. I realize not everyone can shoot these kinds of photos, so if quick phone snaps* are the best you can do, I’ll feature some of those in blog posts when the book comes out, which I hope is before the winter holidays. The deadline for photos is June 30, to fitz@lostartpress.com.

I’ll have this book written, designed and to my editor (that would be Chris) by July 30. So I’m signing off now to start writing far too many words, then excising as many adverbs and gerunds as possible.

— Fitz

* Note: If you have a late-model phone, it might be able to take pictures of a quality suitable for print.