Lost Art Press

Tools in ‘The Anarchist’s Tool Chest:’ Part 4, Chisels & Striking Tools

Posted on by Lost Art Press

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When I was a beginning woodworker, I tended to buy sets of tools – sets of carving tools, router bits, clamps, you name it. If you bought a set I usually got a bit of a discount and I got the false impression that I was “done” with carving tools once I bought the “set.”

You know where this is going. Sets (except for sets of drill bits) are for suckers.

My first set of chisels were the Marples Blue Chip chisels. I bought the starter set and saved my money to buy every single size the company offered. After a few years of daily use, I realized that I used only three chisels frequently (1/4″, 1/2″ and 3/4″) and one chisel (1-1/4″) infrequently. All the others collected dust instead of making it. But all that dang blue plastic made me feel like I knew what I was doing.

Bench Chisels
I am certain that some people need lots and lots of chisels – bevel-edge, firmer and etc.. I am not that person. I would rather have a few perfectly tuned tools than 24 in various stages of dull.

So the three bench chisels I have are Lie-Nielsen A2 socket chisels. They fit my hands perfectly. They have wooden handles. They are lightweight. They are balanced. Everything else is fairly irrelevant in my book. My wide chisel is a Blue Spruce Toolworks 1-1/4″ chisel. Before I had the Blue Spruce I had a Buck Bros. chisel that was too soft for woodworking, which was why it probably was a survivor. Most Buck chisels are outstanding and get used to nothingness.

Other Chisels
For mortise chisels, I still have my Ray Iles mortisers. But I have only the 1/4″ and the 5/16″ sizes.The rest I’ve given away to other woodworkers. Those two sizes handle about 100 percent of my hand mortising needs. (Side note: I had a dalliance with the Narex mortisers that did not end well. They were astonishingly soft.) I have a fishtail chisel for half-blind dovetails from Blue Spruce Toolworks. It’s a luxury, but one that I appreciate when making drawers and rabbeted full-blind dovetails for casework.

I thought this blog entry would be longer. After all, we’re talking about chisels. Shouldn’t I have a long list? Apparently not. Let’s talk about striking tools.

Mallets & Hammers
I still have my same Blue Spruce 16-ounce resin-impregnated round mallet I’ve had for years. Its head still has only minor marking on it, which is unbelievable. That mallet is an extension of my hand and I cannot imagine replacing it.

I also have a 2-1/4 lb. lump hammer (also called an engineer’s hammer) that I use for mortising, assembly, disassembly, feline discipline and setting holdfasts. You can buy these on eBay or at hardware stores for a pittance. Old ones seem to bounce around a lot less than the new ones. After saying my vows to the lump hammer I got rid of my square-headed wooden mallets, which freed up a lot of space in the chest.

For driving nails, I have two claw hammers: a vintage 16 oz. hammer with an octagonal handle and an 8 oz. hammer with a roundish handle. The big hammer drives nails. The little one drives brads and pins, and it adjusts my plane irons (sometimes in tandem with my round wooden mallet).

Hammers are as personal as knives or things you put in your nether regions. So brand names aren’t going to help you. I say you should handle a lot of hammers; unlike when choosing a mate you are unlikely to catch any diseases. Once you settle on a hammer, switching to another one will result in serious consequences, especially when it comes to your hammerschlager skills.

Other striking tools in my chest include some nail sets (also called “nail punches”), a dowel plate for skinning dowels and drawbore pegs and my shopmark from Infinity Stamps.

— Christopher Schwarz

Part 1 of this series on handplanes can be found here.
Part 2 on saws is here.
Part 2-1/2 on frame saws is here.
Part 3 on marking and measuring is here.

It’s Time to Buy Rivierre Nails

Posted on by Lost Art Press

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Lie-Nielsen’s shipment of Rivierre die-forged nails have arrived in Maine and the company has started to sell the nails on its website here.

I ordered one box of each size and style to take a look at the blued finish and the hammered-head variants. (Previously all the Rivierre nails I’ve used were black and had the diamond heads.) Yes, I paid full retail. All the nails are very nice. The blue is nice and dark – almost black. The difference is subtle and is something most casual observers would overlook (in other words: either is fine).

If you are looking for a good assortment to begin with, here are some guidelines:

30mm nails: Fastening 3/8”-thick stuff.
35mm to 40mm nails: Fastening 1/2”-thick stuff.
50mm to 55mm nails: Fastening 3/4”-thick stuff.

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You’ll probably use 35mm and 40mm nails more than the other sizes. That’s because they are ideal for cabinet backs and bottoms. And once you reduce the thickness of a 3/4” cabinet side to 1/2” for a dado or rabbet, you’ll grab a 35mm or 40mm nail for that joint as well.

In general, the longer the nail, the more fastening power it provides, but the extra length also makes the fastener more likely to split the work or bend to follow the grain. The good news is that these nails are robust and don’t tend to follow the grain much (I have yet to have one wander, which is a significant concern with softer cut nails).

It took a long time for Lie-Nielsen to get these nails, so if you order I would err on the side of ordering a few extra boxes (nails don’t go bad – like chicken).

Here again is the link to the Lie-Nielsen part of the site for nails.

— Christopher Schwarz

P.S. For our Aussie readers, watch the Henry Eckert website. They are working on getting Rivierre nails below the Equator.

Let the Summer Builds Begin – Forum Update

Posted on by meghanlostartpress

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Here in Indy the big race is over and people have time to get back to their hobbies. Hopefully free time has come your way, too. Or maybe your kids are out of school and you are drowning in chaos? Whatever life is bringing your way, it seems like people are finding time to build and are looking for advice. Remember, if you have a question about our products, procedures in our books or anything related to Lost Art Press, the fastest way to get an answer is our forum. Check it out here.

Sliding Dovetails
Ralph wants input on whether he can use sliding dovetails instead of dados on his bookcase. Would it work? Can it be done with nails as well? Or is that overkill?

When to Rive a Log
James had a question about splitting live oak, which has turned into quite a discussion. Take a look at the comments about splitting, the treatment of the wood, and the regions where live oak can be found.

Staked Coffee Table
The staked coffee table we have been keeping an eye on is done and in place (picture at top). It looks great and is an adaptation of a design from “The Anarchist’s Design Book.” See the detailed pictures here.

PMV-11 in Lie-Nielsen Plane
It seems that some have had a problem getting the thinner PMV-11 to seat on the frog of their Lie-Nielsen plane. Anyone else have this issue? One solution has been offered. Let us know if you have had the same issue and how you worked around it. 

Tongue and Groove Planes
Mark is ready to get a tongue in groove plane and is looking for suggestions. Lie-Nielsen planes or the Lee Valley conversion kit for the small plow are at the top of his list. Help a guy out and give him your two cents. 

Ornamental Banding Issues
After taking them out of the press, Travis’ work has started to warp and bow as it sets. Give him some advice or at least some support. 

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Boot Bench Design Feedback
Here is the picture, now give some feedback. We all know what it is like to think about something so long that we aren’t sure whether the design is quite right. Let’s get Chris started on his project. 

— MB

Tools in ‘The Anarchist’s Tool Chest:’ Part 3, Marking & Measuring

Posted on by Lost Art Press

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I have a terrible weakness for marking and measuring tools. Even though most of my work eschews hitting a particular number, I am a sucker for squares, knives and marking gauges. Let’s start with squares.

Squares
I have three Starrett combination squares. Two have been with me for 20 years. The third is a new acquisition. My 12” Starrett square was probably the first quality tool I bought when I was hired by Popular Woodworking Magazine. I was terrified by the price at the time – about $65 – but I was hooked after using a fellow employee’s Starrett square.

I also have a 6” Starrett combination square I bought at a flea market for $20 (Cincinnati is awash in machinist tools).

This year I bought a 24” Starrett combination square with the oversized H8 head. It was my reward to myself for finishing “The Anarchist’s Design Book.” With this square and its 24”-long blade I was able to retire my framing square and trade up in accuracy. I would never call this a “must-have” tool. But I’ve always wanted one.

Despite the above, I’m not much of a spokeman for Starrett. The quality of the new stuff seems to be falling lately. I hope it’s temporary.

I also have two squares from Chris Vesper. I have his 7” try square and his fantastic double square (with all the accessory blades). The 7” try square is the ultimate arbiter of squareness in the shop. The double square measures things in places that no other square can go.

Marking Knives
I have two marking knives. A Blue Spruce Toolworks knife that is the only tool in my chest that I did not purchase. It was a gift from a reader in Arkansas who was dying and asked me to have it. The handle is some fantastic burl and the blade is, of course, the high quality you expect from Dave Jeske at Blue Spruce.

My other marking knife is a Veritas with a black plastic handle. Despite the plastic handle, it’s an excellent knife and is the tool I use when I am working out of town. I love how it won’t roll off my bench.

Marking Gauges
I have four Tite-Mark gauges. I wish had four more. Don’t buy imitators or from people who ripped off Kevin Drake’s work. Your gauge lines will go astray and you’ll get a gypsy curse to boot (and then Marta will have to remove it).

Dividers and Compasses
I have two pairs of small dividers from Starrett. One is vintage; one is new. The new one is not in the same league as the vintage one. I also own two Starrett compasses – one new and one vintage. The quality hasn’t slipped on these. These compasses allow you to swap the pencil for a second point, and so they serve me well for large layout chores.

Sliding Bevel Gauges
I have two of them, a 7” and 4”, both from Chris Vesper. Before I could afford Vesper’s work, I was a sucker for the Stanley No. 18 butt-locking gauge.

Pencils
I use a variety of mechanical pencils and lead holders for rough marking of the material. I also use the fine-lead pencils to accentuate knife lines so I can see them.

Trammels & Odd Bits
I finally gave up my grandfather’s Japanese trammels and picked up the Veritas ones. I have wooden shop-made winding sticks, a straightedge and pinch rods stashed in the front chamber of my chest next to my saws. Somewhere in there is also a plastic protractor.

For marking dovetails, I have the Sterling Saddle-Tail. Love it.

And Tape Measures
I can’t imagine working without a tape measure on my belt. And I get the funniest looks when I walk into the local hardware store with it. It’s a 12’ Stanley Powerlock – the kind with the metal case. Contractors look at me like I’m wearing a dress or a dominatrix outfit. In our hardware store it’s 50’ or go home.

I also have a few Lufkins floating around that I use when I go to the lumberyard or need to get a rough measurement. But for measuring anything “for keeps,” I use the Stanley. Every tape measure is a little different and a little off from its brothers and sisters.

Next up: Chisels and such.

— Christopher Schwarz

Part 1 of this series on handplanes can be found here.
Part 2 on saws is here.
Part 2-1/2 on frame saws is here.

Turning: Decorating the Stiles

Posted on by meghanlostartpress
Make-a-Joint-Stool-from-a-Tree
Jan Joris Van Vliet’s etching depicts a typical turner’s shop in 1630s Holland. Shown are a simple lathe, a few tools and various products of the craft – the turned chair and spinning wheel being the turner’s work. Based on records from London and Boston, turners often sold products made by others, which accounts for the yoke, foot warmers and bentwood boxes. Courtesy of the Early American Industries Association

An excerpt from “Make a Joint Stool from a Tree” by Jennie Alexander and Peter Follansbee. 

Most joined stools have a bit of turned decoration between the squared blocks containing the joinery. This turned work is simple enough, but entire books and courses are dedicated to learning the turner’s art. Refer to the bibliography for full details on turning. Here we will only touch on the techniques required to get the stool done.

We use two different lathes. (Jennie) Alexander uses a modern electric lathe; (Peter) Follansbee uses a shop-made pole lathe. The techniques of organizing and cutting the decoration remain essentially the same. If you use an electric lathe, work at the slowest speed available. The following description refers to Follansbee’s pole lathe.

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This simple lathe is made of large oak timbers fastened together and is quite stable. The pole lathe’s slow speed allows you to see how the tools are cutting as you learn to maneuver them. Keep the number of tools to a minimum, and keep them sharp.

Introduction to the Pole Lathe
The pole lathe is often depicted in period artwork; its basic notion is always the same while the details vary. The 1635 engraving by Jan van Vliet shows a simple lathe with the horizontal members fixed to uprights, and between them a movable puppet to secure the workpiece upon the iron points, called the screw and pike. A pole in the ceiling connected by a cord to a foot treadle completes the arrangement. The turner steps on the treadle to begin the action. The workpiece, having the cord wound around it, spins toward the turner on the downward stroke. This is when the cutting action takes place. At the bottom of the stroke, the turner releases the pressure and the pole springs back, spinning the workpiece backwards. This reciprocating motion is often misunderstood. Many think that you should withdraw the tool on the return stroke. In fact, the workpiece just rubs against the cutting edge as it travels back. Keep the tool in place so you can resume cutting as it comes around again.

From the story stick, your stiles should have scribed marks defining the limits of the turned portions: a central section about 9-1⁄2″ long between the blocks and the foot below the bottom block. It’s best to carry these lines all around the stock.

Mark and Mount
Mark the centers of your stiles. One method uses a miter square to strike diagonal lines across the end grain. Keep in mind that the cross-section might not be a fully squared piece, so you will need to line up the diagonals from two outer corners. Another method is to use a compass set to nearly 2″ to scribe the circle defined by the square. A little trial and error with this method will find your centers.

Once you locate the centers, emphasize them with a centerpunch and apply a bit of beeswax. Then mount the workpiece on the pole lathe for turning. Wrap the cord twice around the midst of the stock, then line the stile up with the centers and tighten the wedge that secures the moveable puppet. Get in the habit of placing each stile on the lathe in the same orientation. In this case we usually work with the foot of the stile to our right. Where the foot goes doesn’t matter as much as consistency does; the cuts are easiest when you make them in the same order on each stile.

Once you’re satisfied that the turning is mounted properly, then check the tool rest. Adjust it so it is as close to the turning as possible, and that it is made tight. That can require some fumbling around with wedges and such, but it takes only a minute.

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You shouldn’t need to grip the tool tightly. While the left hand is guiding the gouge it also is keeping it registered against the tool rest. Watch out you don’t hit the cord!

Roughing 
Start with the largest gouge and lightly remove the corners off the stock between the blocks and at the stile’s foot. At first cut well inside the scribed lines. The idea is to get the stock roughed out as quickly as possible. Once it’s round enough, it spins faster and easier on the lathe. You’ll need to move the cord sideways when it’s in the way. For a right-handed turner, the left hand moves the gouge laterally and the right hand rolls the gouge left and right to use the whole cutting edge in turn. Create the cylinder right up to the scribed lines, making a bevel up to these lines.

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This is a cut to practice on scrap stock before working your stool’s parts. Angle the skew’s handle to orient the bevel so that it’s perpendicular to the turning’s axis.

Now comes the hard part: cutting the transition from the square mortised blocks to the turned cylinder. Use a sharp skew chisel, and with some practice it will come. First, cut into the turned portion right up to the line of transition with the skew. Then define the corners. Use the “long” point of the skew and aim the tool just about directly in line with the mark where you want to cut. At the beginning of this cut, your right hand is low, and the tool is aimed high at the stock. As it enters the wood, the right hand comes up, bringing the point of the tool down into the wood. Light cuts are key.

— MB