Lost Art Press

Category: Uncategorized

Mind Upon Mind: A Change to the Staked Chair

Posted on by Kara Uhl

Editor’s note: Our Mind Upon Mind series is a nod to a 1937 Chips from the Chisel column (also featured in “Honest Labour: The Charles H. Hayward Years”), in which Hayward wrote, “The influence of mind upon mind is extraordinary.” The idea being there’s often room for improvement. (You can read the entire Chips from the Chisel column here.)

To that end, we’ve asked you what else you have thought of, tried out and improved upon after building projects from our books. We’ve loved reading all your submissions!

Today’s pick is from Matt Williamson.

I have been messing around with “The Anarchist’s Design Book” and have made a few adjustments that you might find interesting. These are probably not improvements so much as solving problems caused by my desire to use what I have in lieu of greenwood I have yet to source.

For the staked stool, the seat is from a 13-1/2”-wide 9/4 pine joist I pulled from dumpster when a historical building in the neighborhood got rehabbed. For the staked chair, the hardwood I had included some 4/4 red oak and some 6/4 red oak that, again, I dumpster dove for in the neighborhood. These 6/4 scraps were not big enough to make a seat, but I thought they would add strength to the 4/4 seat panel and give the legs something to hold onto. It is a bit heavy.

I did not have any greenwood that could be bent for the staked stool back so I used a piece of apple wood from a tree I cut in the fall that basically followed the 12″ curve. I kind of liked it and found another piece to use when I made the staked chair a little while later. 

Did you change up one of our projects or do you have a clever idea for an improvement? Email kara@lostartpress.com. You can read more about the submission process here.

— Kara Gebhart Uhl

Period Furniture & Mouldings

Posted on by meghanlostartpress

The following is excerpted from “Woodworker’s Pocket Book,” edited by Charles Hayward. 

The division of the periods from 1500 to 1800 into the ages of the Carpenter, Cabinet Maker, and Designer is convenient because these terms suggest the type of furniture being produced. In the earliest period furniture was made by the carpenter, who regarded furniture-making as incidental to his general work, and it therefore bore the characteristics of a craftsman used to large joinery work. Soon after 1660 some woodworkers began to specialise in furniture, and so came the age of the cabinet maker. Lastly, at about the middle of the eighteenth century, furniture began to be associated with the names of the individual designers and craftsmen, hence the term Age of the Designer.

‘Hayward Collection’ Intro Offer Ends June 4

Posted on by fitz

A quick reminder that the introductory special of $100 plus free shipping on the four-volume collection of “The Woodworker: The Charles Hayward Years,” ends at 11:59 p.m. Eastern, June 4. On June 5, the price for the set will be $39 more.

Here’s the link to the page. The books are also available individually.

– Fitz

Hayward Collection Back in Stock (& Extended Intro Offer)

Posted on by fitz
The reprint of all four volumes of our Charles Hayward collection arrived this morning; as I write this they are on our driveway. Good thing there’s no rain predicted until much later today!

In late February when we got our new Hayward four-volume collection in stock, we offered a $100 special on the set with free domestic shipping through April 30. But we ran out of books two weeks before the end of the special offer date. Now, we have a new print run in stock of all four volumes (it will be inside the warehouse instead of on the driveway by the time you read this…I hope). So, we’re extending that special offer for two weeks from today, through June 4. Order by 11:59 p.m. Eastern, June 4, and you can get all four volumes for $100 with free domestic shipping. That’s $39 off. Plus the free shipping.

Here’s the link to the page. The books are also available for sale individually.

These four books are the backbone of a complete education in handwork. A team of six people (including some extra helpers) worked for eight years to read, organize, scan, design and produce these four books from the articles written and edited by Charles H. Hayward.

As editor of The Woodworker magazine from 1939 to 1967, Hayward oversaw the transformation of the craft from one that was almost entirely hand-tool based to a time where machines were common, inexpensive and had displaced the handplanes, chisels and backsaws of Hayward’s training and youth.

Our massive project distilled the thousands of articles Hayward published in The Woodworker. This is information that hasn’t been seen or read in decades. No matter where you are in the craft, from a complete novice to a professional, you will find information here you cannot get anywhere else.

The books have 1,492 pages total, with thousands of hand drawings and photos. The books are printed in the USA and are designed to last decades. The sewn bindings will lay flat on your bench. The uncoated paper is easy on your eyes.

For more information on the project, including a complete list of all the articles in the books, click here.

Mind Upon Mind: Reaming & Drilling Leg Mortises Without a Laser

Posted on by Kara Uhl

Editor’s note: In our new Mind Upon Mind series, we ask readers of our books, blog and Substacks what else they’ve thought of, tried out and improved on? You can read more about the series here.

Today we’re featuring an idea from Sam Robinson. In our books and blog posts, we don’t have the time or space to share every technique out there. Instead, we highlight what works well for us. Here’s a time-honored approach for reaming and drilling leg mortises, explained by Sam. Thanks, Sam!  

This technique requires carefully positioning the sliding bevel gauge and engineer’s square.

The bevel gauge is positioned on a line drawn at 90° to the sightline from the center of the mortise to be drilled. You have to sight down the edge of the bevel gauge to check it’s bang on the line, as the curve at the end of the tool means you can’t just set it on the line. The bevel gauge is taped in position only 2″-3″ away from the mortise so that it’s very close to the drill when you are drilling. 

The engineer’s square (the bigger the better) is likewise set exactly on the sightline.

Next, use tape to create a centerline on the back/side of the drill (such that the top of the tape aligns with the center of the drill bit/reamer). Do the same for the top of the drill if it doesn’t have a centerline on it already.

The trick is to align your eye with the engineer’s square/sightline/top centerline on the drill and keep them in alignment while you are drilling (I hold the drill against my body to resist the torque). At the same time, keep the pointed tip of the bevel gauge in line with the top of the tape on the side/back of the drill.

This means you can see everything you need to see from above.

The engineer’s square should be closer to the line and taped down, but you get the idea.

Do you have a clever idea for an improvement? Email kara@lostartpress.com. You can read more about the submission process here.

— Kara Gebhart Uhl