My blog at Popular Woodworking- The Case Against Tail VisesIf workbenches were like automobiles, then I’d consider the tail vise to be like the heated seats in a car. They’re an option, of course, but they are by no means standard equipment, like tires. Out of economic necessity, my first three workbenches didn’t have tail vises, and so I was thrilled when I was assigned to review a full-size European workbench with […]
- The Galbert Caliper and my PigheadednessI don’t care for gizmos, jigs and silly accessories. So even though I spend a fair amount of time on the lathe, I resisted purchasing the Galbert Caliper for many years. In its place, I used go/no-go gauges, box wrenches and traditional turning calipers (which are the worst). But while at Handworks this year, I broke down and gave Peter $60 for a Galbert Cal […]
- Be Seated: The Benchcrafted Swing-away SeatSitting at your workbench does not make you lazy. Many times it makes you smart. Chopping out the waste between dovetails requires endurance and patience – especially when building a large piece of casework with drawers. If you sit while chopping, you conserve energy and your eyes are closer to your chisel, improving accuracy. The same goes for mortising whe […]
- Taking Credit, Giving Credit and Stealing itOn the way back from Handworks, editor Megan Fitzpatrick asked me a question I get a lot: “Does it irk you when people build your furniture designs and fail to credit you when they post them on social media?” Answer: Not at all. For me, the reward isn’t that someone praises my design. The reward is that they were inspired enough to pick up the tools and buil […]
- The Case Against Tail Vises
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![We call assemblies onglet [mitered] when the woodwork is decorated [augmented] with mouldings. You extend the cut-out [errazement] of the tenon on the side of the moulding, the same width of this moulding, which Joiners call growing a beard. The distance from the cut-outs to the end of the lengthened beard is mitered, that is to say, at a 45° angle, Fig. 8.
When the work is of considerable esteem and consequently you wish to assemble it more cleanly, you cut not only the moulding at an angle but also the upright, so that the end wood does not show at either side, and is what we call that assembly on grain. This assembly is made by mortise or by forking, as is necessary, Figs. 9 & 10. — from “With All the Precision Possible” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue
#Roubo_on_Furniture_Making](https://scontent.cdninstagram.com/t51.2885-15/s640x640/sh0.08/e35/c29.0.657.657/19367786_111915416018736_1652549131685593088_n.jpg "We call assemblies onglet [mitered] when the woodwork is decorated [augmented] with mouldings. You extend the cut-out [errazement] of the tenon on the side of the moulding, the same width of this moulding, which Joiners call growing a beard. The distance from the cut-outs to the end of the lengthened beard is mitered, that is to say, at a 45° angle, Fig. 8.
When the work is of considerable esteem and consequently you wish to assemble it more cleanly, you cut not only the moulding at an angle but also the upright, so that the end wood does not show at either side, and is what we call that assembly on grain. This assembly is made by mortise or by forking, as is necessary, Figs. 9 & 10. — from “With All the Precision Possible” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue
#Roubo_on_Furniture_Making")
Author Archives: meghanlostartpress
FEATURES IN FURNITURE: CARVINGS AND TURNINGS
This is an excerpt from “The Woodworker: The Charles H. Hayward Years: Volume IV” published by Lost Art Press. From the earliest pre-historic ages man has tried to express himself in some form of decoration, first in flint and then in wood. To … Continue reading
The Manner of Planing and Trying a Piece of Stuff Square
This is an excerpt from “The Art of Joinery” by Joseph Moxon; commentary by Christopher Schwarz. Now we get to the fun part: Putting the tools to use. Moxon’s first “exercise” is to plane a large piece of wood square to … Continue reading
Posted in The Art of Joinery
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Uncivil Engineering
This is an excerpt from “The Anarchist’s Design Book” by Christopher Schwarz. On the outside, we are all different organisms. Different hair, skin, weight, height, clothes and surface decorations (tattoos, makeup, scars). These differences tell others our age, gender, wealth and place … Continue reading
Posted in The Anarchist's Design Book
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Infill Planes
This is an excerpt from “The Anarchist’s Tool Chest” by Christopher Schwarz. These planes earn their name because they consist of a metal shell that has been “infilled” with wood. And they also have been “infilled” with a fair amount of mystical … Continue reading
Posted in The Anarchist's Tool Chest
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The Domestic Portrait of Studley
This is an excerpt from “Virtuoso: The Top Cabinet and Workbench of Henry O. Studley” by Donald C. Williams, photographs by Narayan Nayar. Studley married Abbie Stetson of Washington Street in Quincy on Feb. 10, 1870. The details of their meeting … Continue reading
The 18th-century Shoulder Knife
This is an excerpt from “To Make as Perfectly as Possible: Roubo on Marquetry” by André-Jacob Roubo; translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. One of the joys of researching the old ways of doing things is that every … Continue reading
Posted in Uncategorized
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The Plate 11 Bench
This is an excerpt from “With All the Precision Possible” by André-Jacob Roubo, translation by Donald C. Williams, Michele Pietryka-Pagán & Philippe Lafargue. The following text is part of an essay about Roubo’s workbenches written by Christopher Schwarz. One … Continue reading
Posted in With All the Precision Possible
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