Lost Art Press

I have spent almost a year or so using only the Nicholson bench. I am very fortunate to have both the Nicholson and the first bench that Chris made titled “The $175 Bench”. The $175 bench is similar to the Roubo in that the legs are flush with the top which is thick and stiff and there is no apron. I have kept a piece of hardboard on the top of the $175 Bench which turned it into an assembly table.

Some thoughts on the different benches:

Nicholson: First the length of the Nicholson is awesome. In the first picture I have 21 items on it which all fit on the 8 foot top. The ability of a bench this long is that you can move different parts of your project forward at the same time or in my case work many different projects at once and not get any done!

Vises on the Nicholson: These are great. The wagon vise combined with the length of the bench make working the face or edge of board a breeze. I move the dog where I need it and put the other dog in one of the two holes in the wagon vise and I am good. I have also used the apron and leg vise to hold a piece that would have been two tippy in the wagon vise set up. The holes in the apron were perfect for getting the board to the right height.

The leg vise has also been smashing! It has a bit of leather on the inside of the vise and grips like a pit bull on a hobo.It has been a superior means to hold work over the traditional face vise on the $175 bench especially since it is placed on an angle which allows the work to reach the ground without hitting the vise screw.

That said, the one major issue I have experienced with the Nicholson is the inability to use my holdfasts.I am the proud owner of two holdfasts from Phil Koontz. These are perfect and work extremely well. It seems that the thickness of the top does not allow the holdfast to work.I am not sure if another type of holdfast would work or not. Since the Nicholson doesn’t have holes in the top like the other bench, I have tried to work around this with varying degrees of success. The only other complaint I have is that the apron does not allow any clamping to the top and requires me to reach underneath it to push up the bench dogs.I have also noticed that hammering anything is best done over the legs of the bench, whereas anywhere on the top of the $175 bench works fine.

Yesterday I unveiled the $175 bench from underneath its hardboard coffin. I needed to put a card scraper to a thin piece of wood. The ends were mitered and I knew the bench dogs would dent the ends if I squeezed them in the wagon vise. Instead I used a piece of scrap and with a thrill I hammered my holdfast. I did one side then switched it around. This was awesome! I also had the joyous feeling of putting my hands under the top without bending over.That was so nice I felt an urge for a cigarette!

I think I have the perfect setup with the two benches. I am going to keep the Nicholson against the wall which I have found to be an “ok” thing to do. I like the ability to move around a project and have definitely had a time or two where I was in a physically challenging position because of the limitations that were caused by the bench being against the wall. I would like to know if anyone else has been using their bench against a wall and have had problems with this configuration.

-John

When I first became intrigued by hand-tool woodworking, I kept encountering people who said things such as: “Yes, but Moxon says jointer planes should have their cutters sharpened straight across – not curved.”

“Moxon says you should cut mortises this way.”

“Moxon says you should test a handsaw by bending it.”

As Jan Brady of “The Brady Bunch” might say: Moxon. Moxon. Moxon!

At the time, I figured I should really try to take a woodworking class with Joseph Moxon. He seemed to have the ear of the entire woodworking hand-tool community. As I soon found out, however, Moxon has been dead since 1691. Not even the long arm of Marc Adams would be able to get that guy to teach a class. Nor would Marc want to. Moxon was a printer and globe-maker by trade. Not a woodworker.

What Moxon did, however, was remarkable. He published the first ever English-language account of woodworking shop practice. He covered tools, techniques and general shop practice in a series of pamphlets titled “The Art of Joinery,” which were later combined with accounts he wrote about other trades into the seminal “Mechanick Exercises.”

So I snagged a reprinted copy of “Mechanick Exercises” and read it several times. It was slow-going. The English language of the 17th century transposed the letter “f” for the letter “s.” So the sentence “…so shall the bounds of your mortise be struck” reads as “fo fhall the bounds of your Mortefs be ftruck.” Plus the sentence structure of the time can be a maze for the modern mind.

Fourteen months ago, I began to update the text of the chapters that comprise “The Art of Joinery.” I cleaned up the transpositions, shortened the run-on sentences without changing the meanings, and I added notes in the text to help the reader. I split up Moxon’s plates so the drawing of the paring chisel is with the text about the paring chisel.

Then I added my own plain-spoken explanation of Moxon’s original text, which can be bedeviling at times. I tried to explain what was going on in each section of “The Art of Joinery,” and I illustrated Moxon’s techniques with more than 40 photos.

It’s not an academic book by any means – I’ll leave that to the people with more college degrees. The text I added is from the perspective of a modern woodworker seeking to understand historical shop practice and find techniques to make life easier. And I did indeed find some good stuff in Moxon, from using a fore plane properly to using spit to sharpen.

I’ve put it all in a 96-page book that is now at the printer in Maryland. This will be a hardbound 6” x 9” book with a linen cover and embossed letters. The interior pages will be Smythe sewn – meaning the pages will be sewn together instead of simply glued. The entire book will be in old-fashioned black and white.

The book will be $17 and will be available here at Lost Art Press and through a select few woodworking retailers. It will not be available through mass-market channels. All copies sold through the Lost Art Press web site will be signed, of course.

As soon as the book arrives in house later this fall, we’ll update the site.

— Christopher Schwarz

Guess what? I finally got my Wenzloff & Sons, Seaton tennon saw and it was worth the wait! This is the 19” inch monster. When I first tried this saw it felt too tippy to use. Chris explained that this is an advantage that helps you saw plumb. The reason is that you can use the tippy-ness of the saw to tell you when you are plumb. When you balance the saw on the work, not tipping one side or other, the saw is plumb! It is simple physics. All you have to do is move it to and fro to get a perfect cut. I know that there is a story floating around that Newton discovered gravity by watching an apple fall, but I don’t believe it. It’s more likely that a woodworker already knew this because of his saw and told Newton about it.

Anyway, I have been practicing Chris’s sawing technique for sawing tennons. I marked out a couple of tennons and started to saw. In the first picture below you can see how I have the work clamped in the vise. This way I can advance on two lines at once. The important thing is to stop when you hit the shoulder line. The picture shows where I stopped sawing. Flip the work around in the vise and do the same technique on the other side stopping in the same place. The result is that both sides are cut down to the shoulder lines with a “hump” remaining in the middle of the work.

Now to saw the hump, clamp the work in the vertical position and roll the saw horizontal advancing down the hump (see the second picture). The third picture is the result. The tennon is ok. You can see there is some of the line left on one side and nothing on the opposite side. This problem is caused by our bodies. To explain, if you extend your arm away from your body it is easy to roll your palm down. When sawing I have noticed that us right hander’s push the saw plate out as we slightly and inadvertently roll our palms down. This problem shows as the cut travels away from the line or across the line, depending on which side of the tennon I am sawing. I think being aware of this tendency will help correct it. I have done six cuts so I think another 94 and I might actually make something.

– John

What do you think of this clock! Nice isn’t it. Yes and no. Yes that is my house and no I didn’t build it. This is a Shaker clock built by Glen Huey for Popular Woodworking issue number 163, 08/01/2007. As a woodworker, I have a strong aversion to purchasing furniture. When I see a piece of furniture that I like, I say to myself “I can make that and I will be able to justify a new tool”. The piece goes onto my list of things to build which is presently, six months behind! So when recently visiting Chris, I noticed this clock that was still sitting in the office. After some pleading, I was able to take it home.

Now, when sitting in my favorite chair looking at this piece I feel inspired. When I look at pieces I have built, I tend to focus on what went wrong. I say to myself, heck there is that gap that was caused by…or, if I do that next time I won’t make that mistake again…on and on. When I look at this clock I see what is right. I notice different things and think “how did he do that”? I grab that article and find the answer. I am also inspired by the dimensions and can use the width/height ratios or the size of moldings on the waist or hood to help me design a new piece. It is nice to see something in my own house that encourages me to get up out of the chair and as Glen says, build something great!

-John