Lost Art Press

Make Wedges 2/3: Another Band Saw Method

Posted on by Lost Art Press

See the first installment of this series here.

Note: This entry has been updated to fix an embarrassing geometry mistake. The repaired paragraphs are in italics.

Wedges for stick chairs must absorb a lot of shock so they don’t snap when you install them. So I steer clear of weak (sycamore) or brittle (ebony) woods.

Most of my wedges are oak or ash, species that are plentiful and inexpensive. I don’t think I’ve ever snapped an oak or ash wedge, even when I’ve struck them at odd angles. I have used walnut and cherry wedges at the request of customers. They work, but you have to be deliberate when hammering them in because they will snap.

The grain in a wedge should run along its length, from its thin tip to its fat end. For chairs, I use wedges that are 1-1/2″ long. The fat end is between 1/8″ and 1/4″ thick. The tip comes to a sharp point. If I need a blunt tip for some reason (say the tenon is loose and shallow), I’ll snip off the pointiness.

The angle of the wedges I use is usually somewhere between 4° and 10°. The shallower angles are easier to hammer in, but the wedge is more likely to crack. A wedge with a larger included angle can cause the wedge to bounce out of the tenon when you hammer it in. The solution is either to hit the wedge harder until the wedge hopefully grabs, or switch to a wedge with a smaller included angle.

Wedges with included angles smaller than 4° can work, but the wedge is even more likely to snap off when struck.

Wedges With & Without a Sled

You can make wedges without a jig on the band saw by using the saw’s miter gauge. Crosscut a 5/8″ x 1-1/2″-long chYou can make wedges without a jig on the band saw by using the saw’s miter gauge. Crosscut a 5/8″ x 1-1/2″-long chunk off a board that is about 6″ wide. Set the saw’s miter gauge to cut on-half of the angle you desire (i.e. 5° off 90° for a 10° wedge). Put the chunk on the miter gauge and cut off a thin sliver. Flip the chunk over – end grain-for-end grain. Slide the chunk toward the blade and make another cut.

You will quickly figure out where to place the chunk so that you make a perfect wedge. You can make wedges with thin points and blunt points.

Keep flipping the chunk over and over. Make wedges until your chunk is so small that it feels dangerous to make the cut while so close to the saw’s blade.

You can also make a dedicated wedge jig for the band saw’s miter slot that has zero clearance to the blade. This jig is shown above. It is permanently set at 5° off 90° and makes it easy to position the chunk of wood and slice a perfect 10° wedge.

The disadvantage to both of these miter-gauge methods is also its advantage. The technique makes it easy to make different wedges. By moving the chunk of wood left or right on the miter gauge, you can make wedges that are fatter or skinnier.

— Christopher Schwarz

A Heap of Crucible Dividers Now Available (Plus a Trick)

Posted on by Lost Art Press

We have just put up another load of Crucible Type 2 Dividers up for sale in the store. They are $110 plus domestic shipping.

These dividers are certified chicken-fried. The hinges are made in Tennessee. The legs are machined in Central Kentucky. And the screws are “new old stock” from somewhere in America’s great industrial past. They are assembled by the chicken-eateningst crew in the state.

The last few loads have sold out within two or three hours. So order soon to avoid disappointment.

A Cool Divider Trick

One of the cool things our Type 2 dividers do is they allow you to return easily to a previous setting. And you can do it with a pencil.

Here’s how to do it. Set the dividers to your initial setting (say, the distance of a half-pin when laying out dovetails). Take a sharp pencil and mark the position of one leg onto the interior of the other leg. Now adjust the dividers to the second setting (say, the spacing of one tail and one pin).

The pencil line will not be erased when you move the divider’s legs. The tool’s friction is up at the hinge – not on the leg recesses. So you can mark multiple settings on both sides of the tool. The pencil lines are easily removed with an eraser. (Thanks to tool designer Josh Cook for pointing this feature out.)

So now one pair of dividers can do the work of two or three. I guess I’m a terrible salesman because now you don’t need to buy two or three tools.

— Christopher Schwarz

Making Wedges Part 1/3: With a Band Saw

Posted on by fitz

People need food and stick chairs need wedges. They say that there are as many recipes for Spaghetti alla Carbonara as there are Italian housewives. I say there are at least three good ways to make wedges. None of them unfortunately include either pancetta nor Pecorino Romano, but you can’t really expect that from wood. In a mini series of three blogposts, we (Chris, Rudy and me) will share each our way of making them.

— Klaus Skrudland

To make wedges with a band saw, you need the following:

A randomly sized scrap block of wood (in this case some 24mm Birch ply). Another scrap block of wood with the grain going more or less perpendicular to the long sides. The latter is important, as a wedge with cross grain will be hammered into mush by the first whack from the lump hammer. You also need a knife. And a pencil. And, of course, a band saw. Duh.

The largest block of wood is for the jig. Start by drilling a hole in it. You’ll use it to push and pull the block when you’re sawing out the wedges. It’s not necessary, but unless you’ve got sticky fingers (I don’t wanna know why!) by default, it makes things both easier and safer.

With the hole drilled, it’s time to mark out the size of a wedge onto the jig. But first, make sure that the scrap wood you’re using for the wedges is the size that you want it to be. Its thickness needs to be slightly more (1/16″ is enough) than the diameter of the mortise. So if your mortise is 5/8″, I’d aim for a wedge that is just a tiny bit wider. That way the wedge won’t leave a gap. Second, the block needs to be as wide as you want the length of your wedges to be. When wedging chair legs, I keep the wedges at around 1-1/4″. When I’m wedging short sticks for the arm, I usually end up at around 1″ length. You’ll figure it out.

Use the wedge block itself to mark out a wedge on the jig, by skewing it a bit in over the edge and drawing along its edges.

I usually make my wedges around 1/4″ thick at the top.

With the wedge shape drawn up, cut the notch out. Be accurate. If you make a wonky notch, you will have wonky wedges.

Use the fence to position the jig block toward the band saw blade. You’ll slide the jig back and forth between the fence and the blade so it needs to runs freely, but as close to the blade as you get it. Set the blade guide as low as possible to ensure precise cutting.

Start the band saw. Push the wedge block into the notch as shown above and push forward toward the blade. Push all the way through and pull back. You’ll soon find out that if you do this carefully, the wedge will be neatly pushed out to the right side of the blade when you pull the jig back – getting you ready for the next cut. Flip the wedge block over and you will square it off when cutting the next wedge. Pull back, flip again and on you go. You are now a Human Wedge Making Factory™. Be sure to make a bunch while you’re at it!

Finally, before using the wedges, I like to sort out the best ones. Which are the ones with the straightest grain and the most consistent shape. This is also where the knife comes in. To make it easier to hammer the wedges in, I taper them a bit with my knife. That way the wedges won’t bruise the edges of the mortise and they’ll enter the kerf easier.

That’s it! Time for that Carbonara.

– Klaus Skrudland

Breakfast Table: Construction Details

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I posted a photo on Instagram of our breakfast nook and got a lot of questions about the table and chairs shown. 

The chair on the right is from “The Anarchist’s Design Book,” and the chair on the left is a prototype lowback I built for “The Stick Chair Book” (out in October). The gateleg breakfast table, however, hasn’t been in any book or magazine.

I have uploaded a drawing of it to the SketchUp Warehouse. You can download it for free. The model is accurate, except I didn’t draw in the bevel on the underside of the top. (The bevel is 1” x 1/4”.)

The table is simply made. The legs are joined to the aprons with mortise-and-tenon joinery. The folding top is attached to the stationary top with butt hinges. And the gateleg is attached to the table’s base with butt hinges as well. The table base is attached to the wall with a French cleat. Then I screwed through the cleats to secure the whole thing – it’s more like a built-in than a piece of freestanding furniture.

The whole thing is made from soft maple and finished with the linseed oil and wax finish that my daughter Katherine makes. You can learn to cook it yourself here.

Lucy and I eat breakfast together at this table every morning and watch the sun come up over the buildings in downtown Covington. And when we have a dance party in the kitchen (it has happened) we fold the table against the wall.

— Christopher Schwarz

Another beautiful morning in our neighborhood in Covington.

Sold: 2 Prototype Stick Chairs

Posted on by Lost Art Press

UPDATE: BOTH ARE SOLD

With “The Stick Chair Book” off to press, I need to clear out the workshop of chairs I built for the book. Most have already gone to customers, but I have two prototypes that I hope to sell.

Both of these chairs are original designs, are signed, sit well and are structurally great. But they have cosmetic defects that have caused me to lower their price significantly.

Walnut Irish(ish) Armchair

This chair is made from local Ohio walnut. The legs and sticks were split out. The arms, seat and backrest were sawn out. The seat height is 14-1/2” off the floor and the backrest is angled at 30°. This chair is designed for lounging, and the seat is lightly saddled. The sticks are all shaved and are slightly faceted.

The chair is assembled with hide glue (for long-term repairability) and finished with a homemade mixture of organic linseed oil and beeswax – so it is easily repaired.

Cosmetic defects: I experimented with some new drill bits on this chair, which cut a slightly oval hole in the arms. This resulted in some small gaps around the tenons, which I filled with a colored wax. 

The chair is $800 plus actual shipping costs via common carrier. You can also pick it up, or I will deliver it free within a 100-mile radius of Cincinnati.

Six-stick Comb-back Chair

UPDATE: THIS ONE HAS BEEN CLAIMED

This chair is made from a variety of woods that were left over from other chairs I built for the book. The legs and stretchers are made from split oak. The seat is maple. The sticks and comb are cherry. The arms are poplar. The reason this chair is discounted is that I experimented with a radical back angle (25°). As a result, it sits fantastic, but looks a little angular to my eye. Structurally perfect. 

The seat height is 17” off the floor with an overall height of 41”. This chair is designed for lounging. The chair is assembled with hide glue (for long-term repairability) and is finished with an acrylic paint (“Lamp Black” by General Finishes).  

The chair is $800 plus actual shipping costs via common carrier. You can also pick it up, or I will deliver it free within a 100-mile radius of Cincinnati.

How to Buy One

If you want to purchase one of these chairs, send an email to fitz@lostartpress.com. I am happy to answer any and all questions, but the first person who says “I’ll take it” gets it. 

— Christopher Schwarz