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LostArtPress on InstagramTwo more cases glued up for this massive campaign chest. Now for the blades and drawer runners.Occasionally a piece of furniture, structurally sound and technically correct, will appear “wrong.” It may be right proportionally, but it still looks distracting. Mismatched grain is often the cause of the annoyance. The purpose of matching grain is to produce a panel or series of components that gives the illusion of being continuous and to coordinate with the rest of the piece. Correctly matched grain depends on several factors. Experience and a good eye are important. So is the amount of wood available. If there are several hundred boards to choose from, there is no reason not to obtain the desired number of panels matched for grain pattern and color. If only two boards are available, the task becomes more difficult. Yet even with just two boards, there are 16 different options for gluing them edge to edge. With three boards, there are 64 choices. Obviously, a board with knots or sapwood limits the possibilities. As a rule, parallel grain (quartersawn) should not be matched to wide face grain (plainsawn), or any grain that runs at an angle to the edge. (The first image) shows a very good match of three boards, while (the second) illustrates a poor match. — from “With the Grain” by Christian Becksvoort #With_the_GrainMaking progress on this massive campaign chest. So many dang dovetails....
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Category Archives: To Make as Perfectly as Possible, Roubo Translation
You know that this post is going to be about André-Jacob Roubo. But not entirely. For me, woodworking books in the French tradition begin with a title we haven’t been able to publish from the “other André” – André Félibien’s … Continue reading
No doubt many of you are familiar with the famous one-piece bookstand from plate 331 of Roubo’s “With All Precision Possible” popularized by Roy Underhill. This past week, we decided to build a nice bookstand for the shop copy of … Continue reading
We’re eager to ship out copies of the deluxe “Roubo on Furniture Making,” but are still waiting for the custom boxes to be delivered to our warehouse. Note: When I write “custom boxes” I am referring to cardboard shipping containers, … Continue reading
The deluxe edition of “Roubo on Furniture” is currently at the bindery in New Mexico. There, in addition to binding the pages, employees are making the custom slipcases for the books. The latest word we have from the bindery is … Continue reading
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
Are you a little bit obsessed with the workshop in Roubo’s Plate 11? Do you need a new poster for your shop or new wallpaper for your computer screen or tablet? Do you really, really want to see the wood … Continue reading
When translating Andre Roubo’s “l’Art du menuisier,” we debated converting all of his dimensions to U.S. Customary Units or metric. After some discussion, we decided to leave them as-is for the same reason that we tried to maintain Roubo’s writing … Continue reading