While building “The Anarchist’s Tool Chest” for the book, I debated on whether to add a tool rack to one of the inside walls of the carcase.
In the end, I decided against it because tool racks were in the minority of the chests I studied for the book. Today, however, I entered the minority.
During the last 12 months, I’ve been trying out a rack that is mounted to the rear wall of the traveling version of this chest, which I have been carting from town to town in my hatchback. I have come to appreciate the rack quite a bit, even though it limits the movement of the sliding trays just a bit.
The rack I installed on my chest is 1” x 1-1/4” pine that was left over from a DVD shoot – hence the small bead moulding on the corner. I laid out the holes from the centerpoint of the rack. Most of the holes are 1/2” in diameter and on 1-1/4” centers. The exceptional holes are off to the left. These were sized to handle my bench chisels.
I installed the rack using two No. 8 x 1-1/2” screws – no glue. I want to be able to easily remove the rack and modify it in future years. On some of the racks I studied, there were also some smaller holes between the 1/2” holes so you could sneak a tool or two more into the rack.
On Monday, I’ll put the new rack to the test when I teach a class on building this chest at Kelly Mehler’s School of Woodworking in Berea, Ky. As always, I am looking forward to my week at Kelly’s. It’s a well-equipped shop and peaceful place to work – a dream shop, really.
It is better said that the general design of the piece to be covered with mosaic or marquetry, and the expense which one wishes to make is in fact considerably more expensive than simpler furniture described earlier. Because of this substantial increase in cost there is no allowance for any type of mediocrity in its execution, which makes it very pricey when being very well made.*
* Nothing is so common as to see veneered pieces of cabinetry of all types, but nothing is more rare as to find them perfectly made. This is due less to the fault of the workers than that of the collectors, who for the most part are without taste and without knowledge, and even worse, unable to pay for good work and who take indiscriminately that which is presented to them, providing only that it costs very little. From this comes the greatest quantity and the worst quality of marquetry and cabinet work, where, even without speaking of scrimping on materials, the style is absolutely the worst in relation to the theory and practice of the art. The former is totally unheeded for both the sections of marquetry and the ornamentation with mosaics. For the most part these are badly designed and without taste, and rarely designed and made for the space that it occupies. [Often these sections of marquetry were purchased “off the shelf” from catalogs or brokers in marquetry appliqués. If the fit was not perfect, lower-class furniture makers, or more appropriately furniture makers with lower-class patrons, cut and fit these compositions to fit the space on a cabinet whether or not it was aesthetically appropriate. – DCW] I do not pretend to say here that you cannot find pieces of cabinetry and marquetry very well made. I am very far from thinking that. On the contrary, I know that there are excellent artists in this line of business, to which I give all the fairness possible, but sadly that number is not many, and it cannot be otherwise for the reasons that I give above in this footnote.
— A.J. Roubo, “L’Art du Menuisier,” Part III Section III Chapter XII, pp. 866-7
I am not shy about my love of my Blue Spruce chisel roll. Not only is it exactly what I want and need in a chisel roll, it’s also made by Dave Jeske’s daughter Hannah.
Last time Hannah broke out her sewing machine and made chisel rolls, it was to raise money for a school trip. This time, she’s more ambitious: She is helping fund her college costs. Hannah is a double major in communications and theater and “hopes to be on Broadway someday,” Jeske says.
So now is the time to order. The chisel and marking tool rolls are now live on the Blue Spruce web site here. There are four sizes of chisel rolls and three for marking tools. They are well-made, durable and lightweight. I carry mine everywhere I travel – it has seen more wacky hotels than my family members. And when the rolls are gone, they are gone (until Hannah comes back from school perhaps).
By the way, Jeske didn’t ask me to write this blog entry. He’s too low-key. When Jeske and I were hanging out at the Lie-Nielsen Open House last weekend the topic came up. I insisted on a public service announcement.
Joiners, green-woodworkers, chairmakers, et al: Your “where-can-I-get-a-good-froe” problems are solved.
Some people like old tools, some like new tools. Some use both. For years, I have used old blacksmith-made froes. It requires some good luck to find old examples that aren’t massive and heavy. The froe really is a finesse tool, not a brute-force tool. That’s a deceptive concept for something that you hit with a large wooden club.
Many years ago, Drew Langsner needed a number of froes for his students at his green woodworking school, Country Workshops. Getting frustrated trying to line up a bunch of antique froes that would all work about the same, Drew set about to make a new froe. Having split and rived stock for decades, Drew analyzed what really happens with the leverage forces when using a froe. He then designed a tool that looks a little funny at first, but it works like a charm. There is a reason for its appearance.
Drew has studied exactly what happens when you twist the froe blade in the split, and based on his research, he developed a froe with a smaller blade than many antique examples. And this is really a situation in which bigger is not really better. His froe has a blade that is even in thickness, (not wedge-shaped) has convex bevels and is narrower from top to bottom than many old froes. In addition, the eye is not tapered like most, but cylindrical. This allows a tight-fitting turned handle, now fastened in place with a washer and lag bolt. Jennie Alexander adopted this froe as soon as Drew began making them, and never used another.
After years of making these froes himself, Drew has teamed up with the folks at Lie-Nielsen Toolworks and now the Langsner froe is in production in Maine. What you get is a tool that is designed by a world-class master of riving, and produced by a company known for its attention to detail and high standards of production. The larger froe show in the video is $85. The small basketmakers’ froe is $75. The tools should be available on the lie-nielsen.com website soon. Or call them to order one.
I’ve been using one for 2-1/2 months now, and I am a convert. Because of its relatively thin blade, this froe enters the stock with a minimum of force. Thus you can begin levering sooner, before the tool has really split the stock way ahead of itself. The smaller blade also helps in this regard, putting you in control of the split more readily. It is also very lightweight, another plus. Don’t worry that it doesn’t look old-timey, this froe is ready to make halves of halves of halves… .
After years of publishing woodworking information, you often hear that there is nothing new in the craft. Everything has been done before, written before and fully figured out.
I used to believe that was true, until I read the manuscript that was to become “Mouldings in Practice” by Matthew Sheldon Bickford. This books explains how to make mouldings in a simple way that I have never ever encountered – either in print or from an instructor.
The book turns a set of complicated mouldings into a series of predictable rabbets and chamfers that guide your hollow and round planes to make anything – anything – that has been made in the past or that you can envision for your future projects.
During the last several months, we had many proofreaders edit this book and the universal reaction was much like this:
“Well crap. Now I want to buy some of these stupid planes.”
During the past 14 months, Matt and I have been working to make “Mouldings in Practice” into a book that is accessible for even the beginning hand-tool woodworker. It uses more than 200 color illustrations and dozens of photos to explain how to lay out, prepare for and cut any moulding you can draw.
The first half of the book is focused on how to make the tools function, including the tools that help the hollow and round planes – such as the plow and the rabbet. Matt also covers snipes bills and side rounds so you know their role in making mouldings. Once you understand how rabbets and chamfers guide the rounds and chamfers, Matt shows you how to execute the mouldings for eight very sweet Connecticut River Valley period projects using photos and step-by-step illustrations and instruction.
The book has a full index by Suzanne Ellison (the saucy indexer for “The Anarchist’s Tool Chest”), plus appendices on fixing up old moulding planes, building a sticking board and how to capture moulding profiles in the wild.
This book is, by far, the most complex thing we have published here at Lost Art Press, thanks to the hundreds of illustrations, photographs and geometry involved. Like all our books, “Mouldings in Practice” has been produced entirely in the United States. It has color illustrations with black-and-white photos, and it is printed on #60 white uncoated and acid-free paper. The pages are Smythe sewn to last a long time. And the book is hardbound and covered with cotton. Old school.
You can buy the book now for $37 with free domestic shipping from now until the book arrives from the Michigan printing plant in early August. After the book arrives in our warehouse (read, basement) the book will be $37 plus shipping.
As a bonus, everyone who orders this book through Lost Art Press will also receive an instant download of E.J. Warne’s book “Furniture Mouldings.” We acquired an excellent copy of this hard-to-find book and created a top-notch scan. The book is a collection of full-scale mouldings from historic furniture pieces. It is the perfect companion to “Mouldings in Practice.”
After you check out you’ll get a link to download Warne’s book.
