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- The Case for Long, Long (16’) LumberI use Southern yellow pine for a lot of shop projects, especially for building workbenches and sawbenches. But I also … The post The Case for Long, Long (16’) Lumber appeared first on Popular Woodworking Magazine.
- Sorry, But I Have to Mention Fire SafetyLast week, the woodshop across the street from mine caught on fire. Luckily, no one was hurt, the firemen arrived … The post Sorry, But I Have to Mention Fire Safety appeared first on Popular Woodworking Magazine.
- Yes, Ripple Moulding Exists (and is Awesome)Whenever I explain how “ripple moulding” is made by a “waving engine” – a circa 17th-century machine – most woodworkers … The post Yes, Ripple Moulding Exists (and is Awesome) appeared first on Popular Woodworking Magazine.
- Limbert – Second Fiddle to the Stickleys?Like any Arts & Crafts enthusiast, I like the Gustav and L. & J.G. Stickley classics. But ever since I … The post Limbert – Second Fiddle to the Stickleys? appeared first on Popular Woodworking Magazine.
- The Case for Long, Long (16’) Lumber
LostArtPress on InstagramThe bottom of this drawer from Fisher’s desk not only shows the rough fore plane marks, but also the tear-out and knots he often left in his furniture. While this might be surprising to some readers, this kind of workmanship was standard on secondary surfaces. Despite the fact that I have fallen in love with Fisher’s work, I knew I needed to avoid writing hagiography. It is important to be up front about the fact that his work is not going to impress prestigious connoisseurs. Fisher did not build ostentatious masterpieces for the urban elite. Instead, his calling was to provide simple furniture made of local woods for his conservative, budget-conscious clientele. Fisher was transparent about his mistakes, too. On Dec. 30, 1814, he wrote, “Painted a little upon Dec. Stevens’ sleigh. Worked the rest of the day on picture frame plane stock. Stuck a chisel in the thumb of my left hand.” In March of 1805, after having done the task many times before, he wrote, “Worked upon a chair; broke it putting it together. Began another.” It’s Fisher’s honesty that makes this story so compelling. What woodworker can’t relate to an unsuccessful assembly or to workshop injuries? These everyday jour nal entries provide the context to understand Fisher’s work. Historian Laurel Thatcher Ulrich provides this assessment of the quotidian nature of the diary of a midwife contemporary to Fisher, “Both the difficulty and the value of the diary lie in its astonishing steadiness. … (I)t is in the very dailiness, the exhaustive, repetitious dailiness, that the real power … lies.” Indeed. It is this very fact that makes this survival so significant. The story of Fisher allows us to step into his world to see what life was like for a 19th-century furniture maker on the eastern frontier. — from “Hands Employed Aright: The Furniture Making of Jonathan Fisher (1768-1847)” by Joshua A. Klein #Hands_Employed_ArightThank goodness that monkeys today have much better choices when it comes to footwear for cycling. #sponsoredGerman archaeologists are a good deal more practical than the French, British or American ones I’ve worked with. But that knowledge didn’t prepare me for the three little words Rüdiger Schwarz said to me on June 8, 2017. “Pick it up.” The “it” was a low workbench that had been recovered in 1901 from well No. 49 at the Roman fort in Saalburg, Germany. Though the scientists at Saalburg haven’t been able to date this particular workbench, a second similar bench from well No. 49 was dated to 187 C.E. That would make this “it” the oldest surviving workbench of which I am aware. And “it” was between my legs. Dutifully, I reached down, grasped one end of the cool black surface of the oak bench and lifted it a few inches off the floor. Rüdiger grasped the other end. We guided the bench about 3' into a small hallway. I put it down as gently I could – my hands trembling and my stomach lurching. Then, like a team of coroners, Rüdiger, Bengt Nilsson, Görge Jonuschat and I examined every detail of the bench, from toolmarks on its underside to the interior configuration of the mortise for the planing stop. We measured the bench. Photographed everything. We took a break, then we came back and repeated the process to make sure we hadn’t missed anything. — from “Ingenious Mechanicks” by Christopher Schwarz #Ingenious_Mechanicks
- RT @MortiseTenonMag: Two New Fisher Items Now in Our Store! mortiseandtenonmag.com/blogs/blog/two… 2 hours ago
- Zierschrot blog.lostartpress.com/2018/08/18/zie… https://t.co/JKzXNo3i8u 9 hours ago
- Celebrate Whimsy blog.lostartpress.com/2018/08/17/cel… https://t.co/x0WGTKE8Tb 1 day ago
Author Archives: jtolpin
There are a number of geometric constructions that allow us to create regular (i.e equal-angle and equal-facet length) polygons. Most of those for squares, rectangles and triangles are quite straightforward, requiring but a few steps. However, those dealing with five … Continue reading
This excerpt from our latest book, “From Truths to Tools,” speaks to a rather esoteric, but highly useful, rule for use with scaled drawings: Here’s a typical, traditionally drawn small boat plan: To find the dimension of any particular part … Continue reading
Among Renaissance-era artists, man was often framed within geometric shapes, most commonly (and most famously) squares and circles. However, humans are five vertex creatures (as are the majority of living organisms), a fact that perhaps lead other artists to depict … Continue reading
You may remember this page from the introduction to “From Truths to Tools“: We’ve had a few folks ask about the “hidden hexagon” mentioned in the text, and we think it’s time to share the answer with everyone. This also … Continue reading
In the spirit of the holidays, let’s perform some simple, ancient geometry to create the iconic symbols of the two religions celebrating major holidays this month. You’ll need only a compass, a straightedge, a piece of paper and a couple … Continue reading
…says the Italian renaissance astronomer Galileo Galilei to a young student as he demonstrates a pair of proportional dividers. So how do these ingenious scaling devices work? The answer is embedded in the geometry of the sectioning of a circle. … Continue reading
In this excerpt from our book, “From Truths to Tools,” we show how the carpenter/geometers of antiquity used the simplest of tools – those mentioned with almost annoying alliteration in the title – to solve for an unknown distance. … Continue reading