Memorial Day weekend is a good time to remember the fallen, get some woodworking done and check out the Lost Art Press forum. Remember, if you have a question about our products, procedures in our books or anything related to Lost Art Press, the fastest way to get an answer is our forum. Check it out here.
Trestle Desk
It’s interesting to see how one reader took the trestle table from “The Anarchist’s Design Book” and improved it with dovetail-shaped battens underneath. (Shown at top and below.) Very clever. And very nice work.
Keeping Waterstones Flat
Interesting discussion of the DiaFlat diamond stone. Does it make stones flat? Does it last?
Help Identifying a Chair Drawing by John Muir
A very mysterious drawing of a a device attached to a chair. The drawing is attributed to John Muir, the famous naturalist. We think it’s a jig for locating the front stretcher. But we could be wrong. Solve the mystery if you can.
Hollows and Rounds
Dan is making a partial set of hollows and rounds to reproduce some moldings in his older home but has some questions about the measurements. Want to weigh in?
What to Put on Cast Iron Tops What do you use on your table saw to protect it from rust and provide lubrication? WD40? Paste wax? Bowling alley wax? All have been suggested. Put in your 2 cents.
Some sample pages from “Skyring’s Builder’s Prices” (1833). Price books such as Skyring were the main guide for labor and materials costs for joiners, carpenters and others in the building trades.
England, 1839. Victoria has just become Queen of England (1837) and was about to marry Prince Albert of Saxe-Coburg-Gotha. The Industrial Revolution had begun changing the lifeblood of England. New ways of manufacturing iron and steel arose, changing everything. Factories and mass production began replacing the small craft shop. The woodworking industries were also beginning to change, and “The Joiner and Cabinet Maker” was first published.
In 1839, the craft trades were highly differentiated. Specialization allowed speed – which was critical for commercial success. It’s a mistake to assume that the factories of the early 19th century produced low-cost goods because of mechanization. While that was partially true, the real cost savings came from division of labor and specialization. Most crafts people did highly specialized work. A razor grinder in Sheffield, for example, needed considerable skill to freehand-grind straight razors so that they were thin and flexible, without drawing the steel’s temper (softening the steel through excess heat). But that’s all the razor grinder did. Someone else, equally skilled, would forge the blanks; someone else would make the handles. In these factory-like situations, craftspeople were paid by piecework. In many cases, complicated documents were written that specified exactly what each sub-craft did and how much was paid for the work. In the case of furniture, the chairmaking industry in England was centered in High Wycombe, where they made nothing but chairs in a factory system of highly divided skills and a complicated piecework formula. In 1872, the High Wycombe chairmakers had a printed list of prices detailing charges for more than 250 different processes (of which only one was a process using machines for assistance) divided over about nine or 10 distinct trades. It would have been difficult for a local craftsperson to compete on a lower-priced chair for an occasional customer when a group of specialists did nothing but make cheap chairs by hand, all day, every day.
The job of the joiner varied depending on where he lived. In urban areas, joiners were carpenters who specialized in finish carpentry, built-in furniture, windows, doors and any other trim that was made on-site. Ideally, joiners did their preparation work in a workshop but then moved the parts to the job site for installation and finishing. Even within the basic job description of “joiner,” some would specialize in making windows, some on doors, and others focused on mouldings and trim. Stair making was the most complex area of joinery, and these specialists were used for all except the simplest of staircases.
A cabinet maker was a person who made free-standing furniture, usually of a fancy, custom nature. The cabinet maker would do only the joinery and casework. Turnings, carvings, inlay and other details were done by other specialists. In rural regions, small cities and towns (where it is implied that Thomas, the hero of the book, does his apprenticeship), there wouldn’t have been a work demand to sustain completely separate trades. There, a joiner would be called on to do a range of work, from finish carpentry to rough furniture to fine work – anything that required working in wood. But in large cities such as London, everyone specialized.
In “The Joiner and Cabinet Maker,” Thomas is called on to make everything from a rough shipping box to a fine dresser. But it should be realized that Thomas really doesn’t learn how to do the finest work, with lots of inlay or carving, because typically there would not have been the demand for that in rural areas. If someone wealthy in the hamlet wanted to commission such a piece, he or she would go to a shop in a major city where they had the specialists. By the same token, an average middle-class person in his area, say a farmer, would have been happy to hire Thomas’s shop to fit out a barn or make a door, but would have purchased mundane items such as chairs by buying them mass-produced and ready-made, in the latest style, shipped via railroad or one of the canals that covered the country, from the great chairmaking city of High Wycombe. There is no mention of a lathe in the shop in “The Joiner and Cabinet Maker,” and in the few places where turned work is mentioned, the text implies that the work would have been either bought finished as a stock item or jobbed out to a local turner.
Discussions on the forum this week have covered everything from dried hide glue clean-up to a wife’s innocent offer to frame the ATC letterpress poster at IKEA. Remember, if you have a question about our products, procedures in our books or anything related to Lost Art Press, the fastest way to get an answer is our forum. Check it out here.
Heavy Timber Roubo Knockoff Jarrett Seiple has 6×8 timbers and wants to build a bench. The thread has gone on to discuss the pros and cons of building a bench with beams. Want to weigh in or see what people’s thoughts are?
Stacked Cupboard Marselle Bredemeyer is looking for advice on building a cupboard but isn’t sure how to connect the top and bottom pieces. It has been suggested to dowel the two together but cold feet have set in due to inexperience with the method. Recommendations are being requested for what you would do with the provided sketch.
Nicholson Workbench Legs Ed is building a Nicholson bench and is ready to add the legs. Since he knows his top has a bit of a twist to it, he is wondering if he can make sure the legs are parallel to the ground instead of squaring them to the underside of the top. Thoughts?
Staked Furniture in GoT Anyone else notice the staked bench in “Game of Thrones?”
Eastern white pine is also referred to as Northern, soft, balsam or Weymouth pine. The name Pinus refers to the pine family, while strobus means cone. The tree’s natural range is from Newfoundland to Manitoba, south to Wisconsin and Iowa, and east to the Appalachians down to Georgia. Ordinarily it reaches heights of 80′-100′ (24-30 m). Old king’s broad arrow pines, used for masts in the royal navy, sometimes grew to more than 200′ (60 m). White pines can reach 400 years of age.
Pines, like most conifers, grow a straight central trunk. The branches of white pine grow almost horizontally, usually in groups of five. The pine shoot borer, an increasing pest in pine-growing areas, kills the leader, forces one of the branches to take over as leader and results in deformed or multiple trunks. Pine needles are 2″-5″ (5-12.5 cm) long, grow in bundles of five, and are surrounded by a papery sheath at the base which drops off after the first season. White pine cones are 4″-8″ (10-20 cm) long, fairly thin, quite flexible and take two years to mature. The bark forms gray scaly ridges.
Eastern White Pine Bark
Sapwood of white pine is pale yellow-white. Heartwood is cream to light reddish-brown when freshly sawn, turning to a warm reddish-brown on exposure to air and light. Old, clear heartwood is often referred to as pumpkin pine. The wood contains a fair amount of pitch. It is generally straight, even grained and light, with a density of 25 lb/ft3 (.39 g/cc) at 12 percent MC. It is a real workhorse in most shops, used for jigs, braces and mock-ups. As a pattern wood it has no equal. Quartersawn white pine is the most well behaved of all the native woods. Pine’s ease of sanding, chiseling and planing makes it an ideal secondary wood. When used as such, it fills the entire interior of a chest or cabinet with a clean, woody odor. It is also used as a primary wood. Most of New England’s painted antiques are constructed of white pine. Shellac over the knots prevents the pitch from bleeding through. Perhaps it appears at its best when left raw, or oiled to age naturally.
The following topics of discussion are generating a lot of discussion over at the Lost Art Press forum. Remember, if you have a question about our products, procedures in our books or anything related to Lost Art Press, the fastest way to get an answer is our forum. Check it out here.
Wooden Layout Square – Looking for Info Steve Swantee had a photo of a large square he was curious to identify. Turns out it is the large square from “Book of Plates.” Want to see what it looks like finished?
Waterstone Recommendation? Martin Jones is looking to switch from oil stones to water stones and asked for some feedback. He has had a lot of info thrown back his way regarding products and technique. If you want to add to the mix or just see what others are doing, here’s the thread.
Staked Coffee Table Joshua Krieger’s coffee table met its match in a three year old and he is now building a staked one. After putting up his original plans he is keeping us posted on his progress. See his journey and his solution for exposed tenons. (photo at top)
Knockdown Nicholson Bench Ouida Vincent built this bench from Popular Woodworking Magazine in the fall and it turns out a few others did and still are. Questions are still being asked about the process. Thinking of building one?
Drawbored AND Wedged Brian Clites is asked about the advantages and disadvantages of drawboring and wedging a joint. Was it done historically? Readers dug up a trestle table where Christopher Schwarz did just that. (see above) Other participants are looking for specific instructions on how to wedge a joint. Got any suggestions?