While straightening up the stockroom at our storefront last week, I made a startling discovery under a pile of posters promoting “Calvin Cobb” Radio Woodworker!” It was a thick stack of letterpress tool chest posters for “The Anarchist’s Tool Chest.”
We have about 100 of them – pristine, signed by me and ready to go. They are $25 and can be ordered here in our store. The price includes domestic shipping, and the posters ship in a rigid cardboard tube.
This is the last of them and we are not reprinting this poster – the plates were destroyed months ago.
The Lost Art Press storefront will be open from 10 a.m. to 5 p.m. on Saturday, Feb. 11, with John, Raney and me dressed as our favorite Pokemon. Later, there will be a magic show.
We’ll also have books – our entire line – plus a bunch of blemished books for 50 percent off retail (cash only on blems). We also have some extra T-shirts (all unworn and maggot-free) that have been returned to us at big savings.
You can also come check out my new basement. During the last couple weeks the dirt-floored cellar has been dug out. Workers have installed a drainage system in case it ever floods (we’ve not seen any water in 18 months). Right now they are pouring a concrete floor so I will have something I’ve never had before: A place to store lumber.
Because of our tight quarters in our old house, I’ve always been a “just in time” lumber guy. The approach has its advantages, but there have been times I’ve declined to snatch up some incredible lumber. No more. The new basement will be humidity- and temperature-controlled and dedicated to wood.
I’m also in the throes of building some new chair designs. Some are working. Some aren’t. And you can help me chop up the failures and burn them.
As always, we offer you these open days as a place to come visit, hang out and ask any questions. We’re happy to point you to good food and drink and demonstrate anything from our books that is vexing.
During the last few open days, we’ve had people from as far away as Utah, Austin, Atlanta and elsewhere stop in with their spouses. Covington and Cincinnati are great cities with lots of stuff to do, an endless list of good food (especially if you like pork) and culture. And it’s a cheap trip.
The next open house (March 11) will correspond with a massive Lie-Nielsen Hand Tool Event at Braxton Brewing down the street from us. We’re planning stuff and hope to have some details in the next week or so.
You can now place a pre-publication order for the letterpress version of “Roman Workbenches” in our store via this link. The book will ship in late March or early April 2017.
There are only 500 copies available. The cost for U.S. customers is $87. This product is available for international shipping with an upcharge (the book and shipping is $115. Note that this international price applies to Canadian customers too because this book will ship from the U.S.). Everyone who places an order will receive an instant download of a pdf of the book. You also can purchase the pdf alone for $15.
The first workbenches we know of were built by the Greco-Romans, and these benches were decidedly different than modern benches. Many are low – about knee-high – have no stretchers between the legs and use a series of pegs or nails for workholding.
“Roman Workbenches” explores this early form using paintings, engravings, writings and a surviving example from a Roman fort in Saalburg. I built a low Roman bench for the book and spent much of 2016 decoding its workholding with some surprising findings.
In addition, I built a taller bench from the Holy Roman Empire that wedded a typical Roman workbench undercarriage with the first-known combination of a tail vise and face vise. The tail vise and face vise are unlike modern vises and offer some surprising advantages.
The book tells the sometimes twisting and personal tale about researching these benches, sorting out inaccurate information and learning to use the benches without instructions from long-dead Roman woodworkers or German writers.
The book is decidedly PG-13 as it deals with some sexual matter – thanks to the Romans – swordplay, male genitals, urination and carnal affections for a bull.
The 6” x 9” book is 64 pages, hardbound and covered in cotton cloth. Like all Lost Art Press books, it is produced entirely in the United States. “Roman Workbenches” is being printed letterpress by Steam Whistle Letterpress in Newport, Ky., and being bound by Acme Binding in Massachusetts.
When I was in college, my favorite place to study was the Deering Library. At the time it was a tricky place to access, filled with odd spaces – beware the moat! – and made me feel like I was at some Gothic institution.
Whenever my head became too full of academics, I’d retreat to the large open chamber in the center of the library. It had an 18th century press there. Full cases of type. No ropes protecting it.
At the time I was working as a production assistant at night dealing with cold type, so I was fascinated by the old press. I spent hours puzzling out how it worked, and no one ever stopped me. After four years, I knew the press pretty well and I took a souvenir when I graduated: My name’s initials in 36 point Caslon.
Letterpress has always fascinated me.
Tomorrow at noon Eastern time the letterpress version of “Roman Workbenches” goes on sale. It is a bit of a throwback to print a letterpress book in this era of offset and digital printing. But the letterpress process produces a physical artifact that no laser writer or offset press can provide.
That’s not to say it’s low technology. Modern letterpress printing is an odd marriage of digital and physical. Here’s a brief overview.
Like all Lost Art Press books, “Roman Workbenches” was laid out in InDesign, an Adobe program that is the industry standard. InDesign works a lot like the manual paste-up days of my years as a production assistant. Minus the smell of hot wax, InDesign has always felt like the digital embodiment of my layout training.
After laying out the book in InDesign, the next step is to make plates for the press. Normally we would send the file to a service bureau to make an aluminum plate for the offset press. But because this is a letterpress book, the process takes a different turn.
In this case the file will go to Boxcar, a service bureau that makes polymer plates for letterpress. What the heck does that sentence mean?
OK, think of it this way. Traditional letterpress consists of taking a bunch of pieces of metal or wood type and clamping them together to make a page of a book. You ink the high spots and press the paper onto the type.
Polymer plates mimic this process. Boxcar will make 64 separate plates for this book. The type and images will be raised above the background and receive ink. And then the inked areas will be pressed into the paper, producing the final image with incredible clarity and texture.
This is all grossly simplified. So if you are a press nerd we ask that you simply acknowledge that we’re explaining this to people who don’t have ink in their veins.
We used this same process to print the tool chest posters for “The Anarchist’s Tool Chest” and were really pleased with the results. It’s not quite like the fantasy I had of printing a book using the press in the Deering Library. But it is as close as I think I’ll ever come.
The prints will be made individually by Briony Morrow-Cribbs, the artist who created the etchings and original set of prints used in the book. Prints measure 11” x 15-3/4” and are printed on a cotton rag paper called Hahnemuhle Copperplate – the same paper used for the prints reproduced in the book.
Individual prints are $110. If you order the entire set for $1,300 they’ll come in a handmade clamshell box constructed by Mike Fallon at Ohio Book. Ordering information is here.
We’ll be taking orders for the plates until early April. After we close the ordering, Briony will make the prints, Mike will make the boxes and we will ship your prints in protective packaging (recommended by the artist) when they are done.
Copperplate prints are rare today, but they were the primary way that woodworking and other technical information was transmitted in the 18th century. A.-J. Roubo made his own copperplate engravings for “l’Art du menuisier,” which is one of the reasons his book is such a classic.
Inspired by Roubo’s copperplate engravings, I convinced Briony to make the plates for “The Anarchist’s Design Book.” She makes etchings, not engravings, but it’s a similar intaglio process. Each plate began as a CAD sketch which I then redrew to make it more human. Then Briony made her own drawings based on mine and we went back and forth to balance the technical with the artistic aspects of each plate.
In the end, every line and stipple was etched into copper, the plates were hand inked and then embossed into the paper.
The result is unlike anything you’ll find printed today.
If you’d like to see the plates and box in person, I’ll have them at our storefront for the next two open days: Feb. 11 and March 11.
Last note: This is the only time we’ll be offering these plates for sale. We don’t seek to become an art dealer, but these prints are special and offer you a personal link to the great woodworking book traditions of the 18th century.
You can now place a pre-publication order for the letterpress version of “Roman Workbenches” in our store via 
