I will announce here on the blog when we get the books and when they hit the mail trucks.
Of those 500 books, only about 50 are unspoken for. So if you want one, with free domestic shipping, visit the Lost Art Press store. This book is not something we will stock on a regular basis. When Amazon gets it, everyone else in the market is done for.
Similarly, we have only about 100 letterpress “With Hammer in Hand” posters available. They are $25 with free domestic shipping. Once these are gone, they are gone. They are gorgeous. But don’t take my word for it, read it from Jameel Abraham at Benchcrafted.
One the more difficult parts of writing a book is knowing when to slam the transmission into “park” while going 80 mph.
“The Anarchist’s Tool Chest” was supposed to have plans for five tool chests in it, including Dutch, traveling, gents and Japanese versions. But I soon realized that the additional plans would dilute the central message in the book. And the text was already longer than I wanted it to be.
The same thing is happening with “The Anarchist’s Design Book.” My sketchbook is filled with with more than a dozen new designs that I’d like to build and include with the core 13 projects. But that would delay the book a year, and I’m not sure it would do much more than just make the book thicker.
But then I ordered two full sides of unbleached rawhide today to dive into one aspect of the book that I had rejected months ago. I had a wild and beuatiful idea while looking at some drapes. Plus, I started eyeing my lumber stack to see if I had enough wood to build the refinement of my drinking table (sketch above).
I’ve promised myself (and my family) that this book will be complete by the end of the year. So I best shift into high gear.
LUCKY WINNER
Boy… the lucky person who wins this tool chest is going to get a treat. Not only a great historic chest made by Chris Schwarz. This one of the very last chests he is making with students for the foreseeable future. Chis is now going into a period away from the classes, doing new work, writing and research, and I wish him good luck; we were very fortunate to get him to come to Rowden this summer.
Not only that, but she gets a whole chest FULL of tools chosen by us here at Rowden with Chris giving input on the side AND a signed hardbound copy of “The Anarchist Tool Chest.” You have heard of that book haven’t you ?? If you haven’t go get it NOW.
There are people out there that YOU know WORLDWIDE. They are 25 or under and busting a gut to become a great maker. It is your job to get them to win this chest of tools ENTER HERE They would need to be able to come to Rowden for a week if they reached the final. We will pay their expenses whilst they are here as our guests but air flights are down to them. Also shipping this baby home if you win.
Measuring Out Tools. Beware the Traitor in the Camp I have put a selection of rules in the tool box. They cannot be too long in the shop most of have three rules: one metre, either a 600mm or a 300 mm, and usually a 150mm. In Imperial measure that would be 3’ rule 12” and 6”. Boy, that was a brain ache. I haven’t thought in Imperial measure for 30 years. They can be almost any brand. The ones shown here are Axminster Power Tools own brand and Rabone.
I have been using Rabone measuring rules all my life, but they are no better that many others. What I tend to council is choose one brand that you like and get your set of three or four rules in the same brand. THEN CHECK THE SUCKERS. Make sure they ALL tell the same measure, check ‘em real carefully; we have binned or returned 10 percent of rules that have passed through Rowden.
Straightedges Top of the photo above is our straightedge. This is an essential piece of kit. A really good 600mm straight edge from Starrett costs an arm, leg and part of your wedding tackle. This is a cheap but not very straight straightedge from Axminster Power Tools. The blade of this edge is tapered to a thin profile SOOO… there is not a great deal of work to get it really straight. (Jon Greenwood, thank you.) Take a really flat surface, we have a granite slab, and wet and dry paper #1,280 grit and carefully, rub then check, rub then check.
Squares I did have a passion for engineers squares in the 1980s. This was when it was common to see very inaccurate wooden stocked squares in workshops. Now we are making our own wooden squares as teaching exercises!
This image below shows common squares in my tool box. It used it be possible to buy guaranteed squares to BS 939 ( for the Americans amongst you that is British Standard, not what you are thinking!) Now we cannot get these as easily so all kinds of inaccurate squares are coming into Rowden. My answer is Starrett. This great American engineering company has been making reliable squares and measuring tools for as long as i can remember. Which is a damn long time, dear boy! I have taken to the adjustable square. This is because it is that much more useful than the fixed square, and, being well made, is accurate enough. We keep one serious square that is not used, or dropped, that is “Workshop Standard.” All squares are checked against this now and again, Daren keeps it hidden.
The maker who wins this will be assembling a small collection of squares, the square I have bought to start this collection is the Starrett 12” below, which is a great tool and one I want myself.
Last but not least this is one of the squares that we will be seeing a lot more of at Rowden. It will be one of the first things a new student makes: two nice mahogany squares, one large one small, with hard-wearing maple work strips. I am taking more and more to light wooden tools as I get older. The benefit of these is they can be relatively easily trued square if they go out of whack.
After about four years of searching and six months of sometimes-agonizing negotiations, Lucy and I closed the deal on the building that will become our home and the headquarters for Lost Art Press.
We have so much work ahead of us that I thought I was going to puke during the final walk-through of the building at 9 a.m. But the nausea has passed and I’m making a list of things to do and phone calls to make.
Almost every book I’ve written has started out as one thing (a manual on how to use crappy store-bought workbenches) and ended up as something else (“Workbenches: From Design & Theory to Construction & Use”).
My latest book is no different. It began as examination of furniture forms that have remained unchanged for the last 500 years, what I call the “furniture of necessity.” And at its core, the book is still that.
But as I dug further back into the historical record I began to see a bright string that begins with the furniture of the 12th century, snakes through every century and is tied with a bow to Danish Modern – then it unravels and falls apart with Bauhaus and biometric forms.
Most of all, I found the writing of this book has given voice to my own furniture designs, something I’ve been reluctant to do as a magazine editor or book publisher. (As an author with more guts than brains, however….)
Anyone who has ever visited my house knows that it is filled with many pieces that reflect my stripped-down aesthetic. I don’t like ornamentation. And I try to remove myself as much from the piece, paring things down until I get some heavy Buddhist feedback.
(By the way, I also own some historical pieces – I was an Arts & Crafts collector back in the early 1990s. And I have things that friends have made – potters, painters and other furniture-makers. So it’s not like a scene out of “2001: A Space Odyssey” but in wood.)
I’ve now written this book three times in its entirety and thrown out my two early versions (please don’t ask for them; they are the same place as my first novel). Each time, my point of view shifted as I was willing to walk out a little further on the ledge. When I was in England for 16 days in August, I started rewriting the opening line of the book and didn’t stop until… well, I haven’t stopped.
I have only two short chapters to write. Briony Morrow-Cribbs is working on the copperplate etchings. And then I’ll design the book. It might sound like a lot of work, but this is the easy part.
The most recent thing I’ve been working on is the book’s title and the cover logo. One evening in Sheepwash, Devon, I realized the name of the book I was writing was “The Anarchist’s Design Book.”
Next week we should take possession of 500 copies of “Workbenches: From Design & Theory to Construction & Use, Revised Edition.” I’m going to sign all 500 copies on the title page and then take them to our warehouse to be shipped to customers.
