Lost Art Press

Alternative headline: Is it too early to start drinking?

Comment from a reader: I have to express my displeasure with your book sales process. For someone in search of increasing his/her knowledge of the craft, you miss a key point that I knew over my four decades as a teacher; books are meant to be used and consumed. Schools at all levels have a misguided policy of buying and reselling books, or renting books and fining students for any “damage” they imparted on the physical item. Books, in order to be truly useful to a learner, should be marked, highlighted, bent, etc. A book is meant to be used up.

For a woodworker hoping to apply knowledge in the shop, it does no good to have a collectable book, with cloth bindings and heavy weight paper.  While I can appreciate that for some pieces of literature, instructional books that cost $40+ dollars are like creating an amazing workshop, then keeping it in pristine condition; no dust, no dents, no signs of use in fear of diminishing its original, valued condition.

The cheaper version of a PDF leaves one with the option of running back and forth between computer and shop, or printing out perhaps hundreds of pages to be transported and marked for reference.  Neither is really a viable option in an instructional setting.

Making a more affordable paperback version would meet the needs of many, if not most woodworkers.  If you were truly committed to educating those who wish to take up and preserve the craft, why would you not offer that option?

Response: Not sure what the point is you are making. I think what you are saying is that a book that costs $40+ dollars is by default a collectable and not used, dented and show signs of wear. We at Lost Art Press want everyone to use our books. All of my books show wear. We are not collectors, nor are we trying to create a market for collectors.

The books cost what they cost. We do the best we can with materials to produce a book that will last as long as the information contained in it. We also want the best information we can produce so given these two criteria the books come out at the prices we list.

We don’t build furniture with cheap plywood and MDF… we build everything we do with the best quality we can. I will grant you that both Deluxe Roubo books we put out could be collectibles, but that is why we do trade editions.

Lastly we are a business. If we don’t make money we stop producing books. We are not working so that everyone in the woodworking world can have the information we produce on the cheap. Our books are a bargain at the prices we charge.

And Back at Us: You either missed the point completely, or, more likely, the issue is about profit.  “Books cost what they cost…” profound! My point is that it would be appreciated by many who seek instruction to have options somewhere between a PDF and instruction “printed on heavy #80-pound matte coated paper. The book is casebound and sewn so it lasts a long time. The hardback boards are covered in cotton cloth with a black matte stamp.”  

The point is that masters of woodworking make their instructional materials available in paperback form for a reasonable profit. Why? For the preservation of the craft! For those who want to learn from someone as accomplished as Jim Tolpin, #80-pound matte paper doesn’t matter.  It’s his revelations about the craft and its design that he hoped to pass along to others, not to have his work preserved in a cotton cloth hardboard cover. LAP’s 1st priority seems to be the profit to be made from selling a high item.

I don’t expect you to lower the price of these items; I’m just calling bullshit on what you’re attempting to do. Educators make knowledge more readily affordable.

*first posted at Making Things Work

Research for English Arts and Crafts Furniture: Projects and Techniques for the Modern Maker* has entailed some spirited conversations with scholars of medieval literature and art. My readings on medieval European life without the benefit of Ruskin’s rose-tinted specs have touched on such seemingly unrelated subjects as church-based charity and prostitution in Paris.

So when I saw that St.John Starkie had posted a video on The Quiet Workshop about building a medieval pole lathe, I was intrigued. At a whopping 22 minutes and 41 seconds, it’s longer than your typical video in this day of Instagram hyperlapse, and (please don’t tell me you expected “but”) well worth watching. I found it visually mesmerizing as well as informative.

Minor mea culpa: However instructive the video component may be, my special guilty pleasure is the audio, which I find downright intoxicating. There’s something about the sounds of hand-tool woodworking when recorded through a mic that transports me into an alternate realm. It’s akin to lying in bed during a storm in someone else’s house: You can pull the covers up around you and sleep even more soundly than usual, comforted by your warm, safe situation. I’ve always found the equivalent storm experience far from soothing in my own house, where I worry that the roof might leak or be damaged by the wind. No wonder people who’ve never picked up a tool themselves wax romantic on the subject of making furniture for a living.–Nancy Hiller, author of Making Things Work

*working title; the book is scheduled for publication by Popular Woodworking in May 2018

This year we have been so busy working on new books that we’ve barely had time to tell you what we’re working on. Two books are just weeks away from heading to the printing plant so here are some quick details.

We’ve just finished up the design work on Mary May’s massive and fantastic “The Acanthus Leaf: A Rite of Passage for the Traditional Carver” (still working on the book’s title a bit). This is the most visually complex book I’ve ever worked on. Mary has poured her heart and hands into this book. The result is a fascinating trip through history, different cultures and her long career as a professional carver.

My hope is to have this book in our hands by Thanksgiving.

Also on the verge of publishing is “From Truths to Tools” by Jim Tolpin and George Walker. This fascinating book was illustrated and hand-lettered like “By Hound & Eye” and is just as mind-blowing and fun to read. In this book, Tolpin and Walker demonstrate how geometry is baked into the tools you use every day. And then they use that geometry to create and explain other tools and techniques you can use in the shop (or on the job site).

Even if you have been woodworking all your life, this book will surprise you. It will give you deeper knowledge of how our basic tools (such as a try square) function in the universe. And it will teach you practical methods you can use in the shop.

Again, let’s hope for Thanksgiving on this one.

We’re also working on a bunch of other books as well. Details to follow as we can squeeze out the time to write about them.

— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com

Job Centres were government-operated employment agencies intended to help people find gainful work instead of spending their days watching telly while sponging off the dole. At least, such was the image of their unemployed compatriots entertained by many supporters of Margaret Thatcher, prime minister at the time. Her cabinet ministers (well, some of them) were less dismissive regarding the plight of their jobless constituents. There were jobs out there, they insisted; you just had to put some effort into finding one. “Get on your bike” became an oft-heard exhortation after Norman Tebbit, Secretary of State for Employment, told attendees at the Conservative Party Conference in 1981 that he’d grown up in the 1930s with an unemployed father. “He didn’t riot,” Tebbit said; “he got on his bike and looked for work and he kept looking ‘til he found it.”

The Job Centre certainly made it more convenient to find employment. But I would have found a job with or without it. I was raised by parents who, despite the haziness of their hippie years, impressed on me the importance of hard work and self-reliance. At the same time, they also supported the provision of social services and safety nets, knowing that things can go wrong for anyone, despite diligent work and the best-laid plans.

My friend Beatrice, on the other hand, had graduated from Cambridge with a degree in drama. Finding herself unable to secure paid employment in her field, she didn’t hesitate to sign up for the dole. “But surely you could get a job at a sandwich shop, or cleaning houses?” I offered, shocked that this bright, resourceful, relatively well-off friend had sought government assistance.

“If I take a job unrelated to my area of expertise it will count against me the next time I apply at a theatre,” she explained over Lapsang Souchong in her cozy London flat. Seeing my stunned expression, she added that taking just any job “would suggest that I’m not serious about my profession.”–Excerpted from Making Things Work by Nancy Hiller