Lost Art Press

Moravian Work Bench in South Korea

Posted on by fitz

In the years since I wrote about and hosted a video on building the knockdown workbench from the collection at Old Salem, N.C., folks have sent me hundreds of photos of the benches they have built. I absolutely love getting these. I am always interested to see the different  vise set-ups, materials and alterations different people have done with the design.

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I few days ago, Luther Shealy sent some photos of a Moravian work bench he has nearly completed. Shealy is in the U.S. Army stationed in South Korea. He had to leave his Roubo bench behind when he was deployed overseas.

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Fortunately the Army base has a morale and welfare shop the servicemen can use, and he decided to build a bench for use while in Korea. He was able to source the pine parts of the bench on location, but the oak part proved to be problem. Undeterred, Shealy had friends back home mail him enough white oak for the short stretchers. He brought the oak vise chop over in his luggage; that must have been interesting trip thru TSA!

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I very much admire Shealy’s determination to make this happen in a less-than-ideal situation.

— Will Myers

 

 

Update: Hayward, Roubo and the Romans

Posted on by Lost Art Press

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We have new information on these three Lost Art Press projects for you this Monday:

The Woodworker, The Charles H. Hayward Years, Vol. IV, The Shop & Furniture
The final book in our series from “The Woodworker” is supposed to finish up at the bindery this week and be put on a truck to our warehouse on Friday. If we don’t run into any transportation snags, that means we’ll start shipping the book to you next week.

With All the Precision Possible: Roubo on Furniture
The standard version of this book is still in production at the printing plant and is on track to ship to our warehouse in mid to late March. In the meantime, designer Wesley Tanner is laying out the deluxe version of this book and it should be ready for the printer by the end of the month.

The deluxe version is going to be printed at the same plant that printed the deluxe version of “Roubo on Marquetry” and we are trucking the entire press run to New Mexico to be bound and have the slipcases made by hand. The deluxe edition of “Roubo on Furniture” will be the same width and height as the deluxe “Roubo on Marquetry,” but it will be much thicker. “Roubo on Marquetry” was 248 pages; deluxe “Roubo on Furniture” will be 472.

We have ordered 1,000 copies of deluxe “Roubo on Furniture” and the price will be $550 for U.S. customers. The book will be available for Canadian and international customers with an additional charge for postage. It will not be sold through our retailers.

Like the deluxe “Roubo on Marquetry,” all customers who order the book early can opt to have their name listed in the book as a “subscriber.” Also like the deluxe “Roubo on Marquetry,” this book is a significant financial risk for us. We know it will be a fantastic piece of work, so we’re happy to do it.

Because of all the handwork involved in this book because it is oversized, my guess is we will open ordering in about a month and the book will ship in June.

Roman Workbenches
We have sold out of the 500 copies of the letterpress version of “Roman Workbenches.” What happens now? You can still buy the pdf of the book for $15. After we print and ship all the copies that have been ordered, we might have a handful of extras that we will sell online. We also hope to have some unbound copies for sale.

I know this all sounds vague, but it really depends on how many copies are destroyed during the binding process. Commercial binding can destroy up to 30 percent of your press run (I know that sounds crazy).

Several people have asked if we’re going to offer a standard offset-printed version of “Roman Workbenches” and the answer is: We hope to.

I have two research trips coming up this year. If they are fruitful and people seem interested in the topic, we’ll print an offset version that is expanded with lots of photography and the additional information from Italy and Germany.

— Christopher Schwarz

Almost Out of Stickers (Again)

Posted on by Lost Art Press

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My daughter Maddy has almost run out of our second batch of Lost Art Press stickers. So if you want some of these three recent designs, don’t tarry.

You can order the stickers one of two ways. For customers in the United States, you can send a $5 bill and a SASE (self-addressed stamped envelope) to Maddy at:

Stick it to the Man
P.O. Box 3284
Columbus, OH 43210

Maddy will take your SASE and put three high-quality vinyl stickers – one of each design – in your envelope and mail it to you immediately. (If you send $10, she’ll send two sets; $15 will get you three sets). She also has been throwing in some bonus stickers….

For customers outside the United States (or those who don’t want to use an SASE), you can order stickers through Maddy’s etsy store. Stickers there are $6 for domestic customers. Because of the international postage, sets are $10 for international (sorry, but there are fees and this and that).

Maddy came home last weekend from Ohio State and we talked about how her sticker business was going. If you have ordered stickers from Maddy, you have made a huge difference in her life. This might sound corny, but now she can afford name-brand granola bars instead of the generic ones (this is a big deal). Also, she and her boyfriend could afford to attend a rodeo last month and saw a monkey ride a sheepdog that was herding sheep. She’s an animal science major (and animal lover) so this was really sweet (and kinda strange).

So thank you all. This little sticker business means I don’t have to sell my plasma so baby can go to the rodeo.

— Christopher Schwarz

P.S. Please note that the puppy shown in the photo above has not been drugged or harmed by the sticker. He was running around trying to eat some garbage and then fell asleep in Maddy’s lap.

Planes and Curves

Posted on by fitz

I was flattening some panels by hand the other day (too wide for my machines), and that got me thinking about plane blade camber. If you search online for discussions of blade camber, you’ll find that a great many electrons have been spilled on the topic. One common thread in these discussions is frequent confusion over the fact that a bevel-up blade requires more camber (i.e., the center of the blade needs to protrude further beyond its corners) than a bevel-down blade to have the same effect.

On the one hand, everyone seems comfortable with the notion that as the blade’s bedding angle decreases, the effective radius of curvature of its edge increases. This is easy to see. First, find yourself a thin disk (e.g., a CD or DVD) and hold it up at arm’s length:

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When the disc is perpendicular to your line of sight, the apparent radius of its lower edge is equal to its actual radius (2-3/8″ in the case of a CD/DVD). But start tilting it from perpendicular, and the curve flattens; its apparent radius increases:

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Tilt even more, and it keeps increasing:

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From the point of view of the wood fiber that’s about to have its head chopped off by an oncoming blade, the greater the tilt from vertical, the greater the apparent radius of curvature, and consequently the less the depth of cut at the center of the blade. And since the blade in a bevel-up plane is tilted further from perpendicular, its apparent radius of curvature is larger than that of the bevel-down blade unless we make its actual radius of curvature smaller (i.e., increase its camber). Easy.

On the other hand, we’ve also all seen diagrams of bevel-down vs. bevel-up planes seated on their respective frogs:

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The resulting cutting geometries in the two cases are identical. The blade’s cutting edge comprises two intersecting planes, one formed by the back surface, and the other by the bevel. The only difference between the two configurations is that these two planar surfaces switch roles.

This is where I think some people get confused. If the two setups are equivalent, why can’t we measure the blade camber in the same way with both? In truth, we sort of can, but there’s a difference between the bevel in a cambered blade vs. a straight blade. When the camber is small, that difference is also small (and negligible), but with a strongly cambered blade, such as one we might use in a fore or scrub plane, it’s not. With a cambered blade, the bevel is not planar. In fact, the bevel is a section of the surface of a cone:

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That’s where the equivalence breaks down, as it’s no longer possible to directly superimpose the cutting geometry of a bevel-up blade onto that of a bevel-down blade. And so we go back to always measuring the camber with respect to the back of the blade.

Anyway, is any of this important? Only to the extent that you get a feel for how the different parameters interact, so that you’ll know how much to camber your blade to achieve a given depth of cut.

I’m avoiding the math here, because it’s been covered before (such as here and here), but I did put together a little online app that lets you plug in some numbers to see how this all works. Here’s a screenshot:

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You can find the app here. To use it, enter your bed angle and blade width, and one of the other three values. The app will compute the other two corresponding values for you, dynamically updating the display as you modify the values. The bed angle is in degrees; the other values can be in whatever length units you choose, as long as you’re consistent (inches, millimetres, furlongs, it makes no difference).

Now, I know that someone is going to read this and then get out their micrometer and measure their blade camber to three decimal places, to which I say,

STOP!! PLEASE STEP AWAY FROM THE PLANE!!

The point of the app is intuition, not prescription. The precise value of camber that you end up with is largely irrelevant, as long as you’re in the ballpark.

Don’t worry, plane happy.

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–Steve Schafer

Roman Workbench Build-along

Posted on by Lost Art Press

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If you have been interested in the low Roman workbenches I’ve been writing about, here’s your chance to follow along while two woodworkers build them. You can even join in and build your own with home-center materials and firewood (more on that in a minute).

Joshua Klein and Mike Updegraff of Mortise & Tenon magazine are each going to build Roman workbenches and blog about the experience starting on Feb. 20. You can read more details about their plans here.

When starting with rough materials, these workbenches take me about 10 hours to build (that includes the time to document the process with photos and notes). But I have an electric lathe. I think that balances out the equation – I think anyone can build this bench in about 10 hours.

If you don’t have a slab on hand, here’s what I would do: Buy a 12’-long 2×12. Crosscut it in half. Glue the two halves face to face. That’s the benchtop. For the legs, go buy some firewood from the grocery store if you don’t have a big firewood pile already. Split the legs out of firewood billets.

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The low Roman workbench is a lot of fun to build. But it’s even more fun to use at the end. You get to sit while you work – nice!

It’s also funny how the low bench has become the community center for my workshop. When I have visitors, they naturally gravitate to the low bench and sit there (I’m the only one who sits on my Roubo bench).

If you’d like more details on why the Roman bench is a marvel of early technology and workholding, check out the article I wrote on it for Issue 2 of Mortise & Tenon magazine.

I’ll definitely be following Joshua and Mike’s progress that week. But I won’t be building along. I’ve already got one….

— Christopher Schwarz