Lost Art Press

I Don’t Use These as a Rule

Posted on by fitz

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Well that’s not entirely true, of course. I do use them when I need to make up a cut list from a full-scale drawing or story stick to tell a machine in numerical code (be it metric, Imperial or shaku) where to make the cuts. The cut list is, however, rarely necessary in the hand-tool approach to construction. So in typical layout work, I go with pin-point perfect real placements of cut or location lines.

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For example, if I need to lay out the location of slats in a bed’s headboard, I simply stack the slats together against the post (or its location on a story stick) and find the intervening gaps by stepping out the number of gaps needed between the slats (number of slats + one). Layout follows as shown in the next drawing. The accuracy of the layout will be a function of however sharp I make the points of my dividers.

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Of course, you can use algebra to generate dimensions with numbers:

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As for me, I don’t want to spend the time doing it and then having to deal with reading tiny numbers on some ruler and coping with rounding errors!

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As another example of rulers not always ruling: Say you want to locate placement buttons (the ebony plugs in the set shown here) on a pair of winding sticks so you can quickly locate the sticks on the edge of a board. In this case, the location is not a number at all (at least not until after the fact). You could, of course, measure the length of the sticks and divide by two to get a numerical center point.  Or, to avoid rounding error, you could step off an even number of intervals to locate the middle division line and then enjoy the accuracy of a pin prick. But both would miss the point so to speak. What we are really looking for here is not the center of the stick, but its center of gravity. How do we find that? We just balance the stick on a sharp knife blade!

— Jim Tolpin, byhandandeye.com and one of the authors of “From Truths to Tools“

Saalburg Workbench: The First Cut

Posted on by Lost Art Press

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When a woodworker threw two workbenches down well No. 49 at the Roman fort at Saalburg 1,800 years ago, he (or she) likely anticipated retrieving the benches once the Germanic tribes attacking the fort (or attacking the nearby limes) were defeated or retreated.

That didn’t happen, and so in 1901, and the workbenches were retrieved during massive excavations and reconstructions at the fort at Saalburg, resulting in thousands of surviving artifacts in wood, leather and metal.

During my visit to Saalburg in June, I was allowed to measure the workbench to a make a reproduction for my upcoming book, “Roman Workbenches.” During the last few months, I’ve been getting ready to build this bench. This is one of those cases where preparing for the project will take much longer than building it.

The bench itself if simple: A slab with five to seven sticks driven into it. Placing those sticks and selecting the right material is what has vexed me since June.

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The primary problem has been what 1,800 years in a well will do to a slab of wood. Rüdiger Schwarz at Saalburg explained the problem perfectly this summer when he showed us a wooden yoke that had been pulled from one of the wells. The wooden yoke was shriveled and distorted, like someone had made a Shrinky Dink of a yoke and left it in the oven too long.

Next to the yoke was a casting that had been made of the yoke right after it has been rescued from the well. It looked like a brand new farm implement. Schwarz explained that wooden objects, such as the workbench and the yoke, had distorted noticeably after they dried.

So the workbench was likely much less twisted than it is today.

Also: The bench’s legs are not original. They were added shortly after the bench was recovered so the bench could be shown. As the “new” legs were wedged in place from below, there is no way to know how the mortises are angled. In other words: Who knows what its rake and splay are really like?

So the last couple weeks has been all about laying out the joinery on my benchtop, performing trigonometry equations to determine some sample rakes and splays and them comparing the results to my photos. Oh, and lots of wondering and thinking and imagining. (I know this doesn’t sound scientific at all.)

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In the end, my numbers were driven by several factors aside from the photos of the Saalburg bench, including other low workbenches I have used and their working characteristics.

Today I bored out the waste inside the square mortises. There is no going back now.

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

A Better Shop Knife

Posted on by Lost Art Press

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I lost my shop knife while we were unpacking at Handworks this spring, and I have been on a quest since then to find its replacement. (The company that made my now-lost knife no longer exists.)

I am dang picky about knives. I’ve carried one every day since elementary school. So it is no small thing when I say this: I am glad I lost my favorite knife at Handworks because now I have a Kershaw Link drop-point knife in gray aluminum blackwash.

Here’s what I need in a knife:

  • One-handed operation – I need to be able to quickly close and open the knife with zero fuss.
  • The blade has to lock in the open position for safety.
  • It has to be lightweight and compact.
  • It has to have a belt clip.
  • All the components need to be incredibly rugged. I hate flimsy knives.
  • Oh, I also dislike flashy materials or things that look like a Klingon’s wet dream.

That is a tall order, and I rejected a lot of knives until I found the Kershaw Link. What makes the knife even more extraordinary is it is made in the U.S. and can be found for about $40 retail. (I bought mine on sale for $31.)

The blade is stainless steel, but it takes a good edge and is plenty durable when cutting wood, wire and whatever shop material is asking for a stabbing or a slashing. Totally recommended.

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

P.S. This is not a sponsored post. We don’t believe in that crap and buy all our products at  retail.

Storefront Open Day, Oct. 14, Should be a Doozie

Posted on by Lost Art Press

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We have lots going on at the storefront now, so if you wanted to pick a good weekend for a visit, Oct. 14 would be ideal. Here’s a short list of stuff to see:

  1. I’m building my reproduction of the Saalburg workbench right now. It should be complete (or nearly complete). Come check out the workholding and let us know what you think about our experimental archaeology project.
  2. I’m also making a crazy dugout chair – a style of chair that was popular in the British Isles in the 18th and 19th centuries (and maybe earlier). It should also be complete by then and will have some unusual details involving roadkill.
  3. We’ll have copies of the deluxe “Roubo on Furniture Making” and will be supplying commemorative bibs to keep your drool off them (just kidding about the bibs). If you want to see a book that exceeds all our others, this is your chance.
  4. Demolition has begun on the “Horse Garage” behind the storefront, which will become the machine room for my shop. Come see barren walls and debris!
  5. We’ll have a large load of Crucible dividers that are seconds. The have tiny cosmetic flaws and are $90 cash. And Raney has threatened to hang out and show off our next tool from Crucible.
  6. Finally, as always, we’re happy to answer questions about tools or techniques – or even give you a sharpening lesson.

Our storefront is at 837 Willard St. in Covington, Ky. The hours are 10 a.m. to 5 p.m. every second Saturday of the month.

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

The Silent Witness

Posted on by Kara Uhl
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From “A New Library of Poetry and Song,” by William Cullen Bryant, The Baker Taylor Co., 1903

“Young people are often amazed at the tenacity with which older folk cling to their old furniture. They will take it with them from one house to another; usually to smaller houses, to bungalows or to a room ·or two as the family grows up and goes away and old age and infirmity increases. With each move the furniture grows more unsuited to its surroundings, too big and clumsy by far, and the young people think how odd to prefer these things to the modern stuff so much more suited to their surroundings. Then the young ones go off, themselves acquire homes and start along the same well-worn path. And the old folk, left alone with the familiar things, find something in them far more precious than anyone could know; memories of children and friends, of old joys and sorrows, every line and scar with a story behind it, every fine polished surface the record of their own youthful vigour. For Time, the artist, is at work again, and this is perhaps his last, best gift to them.”

— Charles Hayward, The Woodworker magazine, 1936