Lost Art Press

Repeat After Me: I Will Not Bead My Wife’s Cats

Posted on by Lost Art Press

chest_runners_IMG_9758

Small beads – 1/4”, 3/16” and 1/8” – are ideal for creating shadow lines and transitions between flat boards. The classic example is with tongue-and-groove backboards. If you add a bead on the face of every board with a tongue, the back will look finished, instead of something that has oddly spaced cracks.

But beads aren’t just decorative. They also protect corners. If I have an arris (a mid-falutin’ word for “corner”) that is vulnerable to damage, a bead can strengthen it.

Shown above is a classic example: These runners in this tool chest are going to get a lot of wear, and their corners are going to get whacked by tools and wood. By beading each corner, it is much less likely to splinter in service.

The beads also look nice.

And now that I have three beading plane sizes, I can even scale my beads – wider ones at the bottom and smaller ones at the top. Joy! Nerd!

— Christopher Schwarz

Fitting out the Inside of a Tool Chest

Posted on by Lost Art Press

chest_121614_IMG_9748

When I finally get to point where I’ve answered all my e-mail (sometime about July 2026), I might write a supplement or revision to the last bit of “The Anarchist’s Tool Chest” to include more construction information on different chests and the principles of their interiors.

When I wrote that book in 2010, I considered the chest in the book to be more of an idea than something that a reader would really build. I love (that’s the correct word) working out of a full-size floor chest and have since about 1997. But most people I talk to think it makes as much sense as using a gerbil to pull a plow.

This week I’m fitting out a traveling chest for an upcoming article in Popular Woodworking Magazine and am designing the interior to take advantage of every millimeter. Here are a few of the thought processes I use when designing the vertical space of a traveling chest (floor chests are different). Here’s a crude, shop-made sketch of the chest’s elevation in section.

chest_1215-14

The Bottom Well
With a typical traveling chest, you aren’t going to be able to store your moulding planes on their toes – that would take up about 10” of your vertical space. So you store them on their soles so they eat up less of the chest’s height.

If you use panels saws – which is typical if you use a traveling chest – you need to be able to accommodate the full height of the saw’s tote. The saw tills on my traveling chests grab the panel saws at their toes. The heel of the blade rests on the floor of the chest.

And you need to be able to put your bench planes on the floor of the chest with their soles on the floor of the chest. If you use tools with a high cutting angle (moulders or bench planes), you have to be careful and measure their heights.

So when I design the bottom well, I start with a height of 6-1/4”. Unless you have any unusually tall bench planes or panel saws, that’s a good starting measurement.

The Top Till
After drawing out the bottom well, the next step is to sketch the top sliding till. This is the till that usually gets all your small tools that you use constantly – layout tools, block planes a mallet, wax, knives etc. So this till is generally not very tall. I have found that a till that is 2-3/4” is a good overall height. When you figure that the till’s bottom will eat up 1/4” of that height it leaves you with an interior height of 2-1/2”. I really like this height.

When positioning the top till in the chest, I like to leave a 1/4” (or so) bit of airspace above the top till. This gap prevents damage to your tools or chest if you slam the lid and a couple of your tools are accidentally piled on top of each other.

What’s Left
Then you divvy up the space between the top till and the bottom well. If the overall chest isn’t tall, I might put in another 2-3/4”-tall till. But I’d rather have a deeper till that is good for storing tool rolls, boxes of augers, my brace, hand drill and the like. If I can get a till that is at least 5” tall in there, then I’m pretty happy. If I can get a slightly taller one in there, even better. Once you approach 7” deep, however, it becomes a junk drawer.

— Christopher Schwarz

P.S. Apologies for the crude sketch.

On Drinking & Woodworking

Posted on by Lost Art Press

beer_IMG_0393

It’s no secret that I like beer. So I get asked by students occasionally: Do you drink while you are in the shop? The answer?

Absolutely, yes.

Now, before you read another word, know that I am not an uptight or judgmental person by nature. Plus, I want to live a long life with all my natural-born fingers attached to my hands – not sitting in mason jars on the mantlepiece.

Now the “correct” answer is to never ever touch a woodworking tool if you have even seen a beer commercial on television. Jamais! Nicht! Etc.! Historically, we know this teetotaler approach is new. Craftsmen of all trades drank all the time in the shop. There are so many accounts of drinking in shops from the 18th until the early 20th centuries that it’s weird to find an early account of a shop where people didn’t drink.

The drink was likely lower in alcohol than what we consume today. But judging from the quantities listed in historical accounts, we are all on the same historical Breathalyzer.

So what is a reasonable approach? Can you have a beer in the shop in Saturday afternoon?

Here’s my thinking, which has been developed during the last 20 years by doing stupid things (a bottle of wine and a lathe do not mix) and finding my limits.

If I have had any alcohol in the last few hours, I won’t turn on machinery. OK, I might turn on a shop vacuum. But I’m not going to mess with cutting tools.

If I have had one beer, all hand-tool operations are go. I’ll saw, plane and chisel to my heart’s content. By the way, I don’t feel anything after one beer, but I’m 6’3” and 180 pounds.

If I have had two beers or less, I’ll do donkey work. That means I’ll do some handplaning, maybe some rough sawing. But I won’t cut joinery and I definitely avoid the chisels, which are the single-most dangerous hand tools in the shop.

After three beers, I’ll clean the shop – there are very few broom injuries reported to the federal government. I put away tools. I oil stuff. Or I’ll stare at my work in progress and make notes. As a writer, I appreciate the effect that alcohol has on the creative process – do not discount it. Alcohol removes inhibitions, and sometimes that’s what I need when I stare at a work in progress. I need to decide: This stinks. Or, this needs radical surgery.

I rarely drink more than three beers in a night, unless things are going really well or really poorly. Then I sit down with the laptop and write a blog entry, which may or may not get published the next day.

So that’s the truth. You might disagree with my approach, but all I can do is repeat the following quote from one of the greatest philosophers of the 20th century: “Lighten up, Francis.”

— Christopher Schwarz

‘A Bad Influence’

Posted on by Lost Art Press

brass_sprayer_IMG_0389

Every time I teach at Roy Underhill’s “The Woodwright’s School,” he gives me a rash of crap for two things: my waterstones and my plastic, pressurized plant sprayer that I use to moisten my stones.

He now begrudgingly ignores my waterstones, perhaps after I offered data that many early sharpening stones in the Western tradition were also lubricated with water. But the plastic plant sprayer just won’t cut it in the 1930s-era environment that Roy cultivates in his school.

And so this week I bought an old(ish) brass plant mister so that I can avoid the conversation about plastic this year. The mister isn’t particularly old, but it was cheap and works just fine. You can dispense water by tipping the mister forward (like a watering can) or press the top plunger to get some mist from the nozzle.

I’m mentioning this because I am indeed teaching a class in 2015 at The Woodwright’s School. Roy released the 2015 schedule last week and my name wasn’t on it. I got a few messages along the lines of: Did Roy catch you sleeping with his dog?

The answer is no, he did not catch me.

We haven’t set a date for the class yet because Roy is trying to coordinate it with shooting a couple of episodes of “The Woodwright’s Shop.” When we do settle on a date, I’ll announce it here. At this point, I think the class is going to be on how to make the collapsible bookshelves from “Campaign Furniture.” A fun project.

— Christopher Schwarz

P.S. The headline of this blog entry is in tribute to Megan Fitzpatrick (who also is supposed to be teaching at Roy’s in 2015). A reader complained to Megan’s boss that I was a “bad influence” on her. If you know Megan, you know how funny that is.

6 Tools for Sale ALL SOLD

Posted on by Lost Art Press

To keep this sale civil and smooth, please, please, please read this with care before sending me a note about buying any tools.

If you subscribe to our blog via e-mail, click through to the page to see if the tool you want has been sold. As soon as the tool is sold, I will mark it as such here on the blog.

All prices include domestic shipping. I apologize for this, but I don’t have time now to wait in the line at USPS for 30 minutes per order to ship international packages. If you have a U.S. address, we’re golden.

Ask me all the questions you like about an item. But the first one to say “I’ll take it” gets it. After I receive your your payment, I will ship the tool to you. If I don’t get your payment within two weeks, the piece goes back up for sale.

To buy an item, send an e-mail to chris@lostartpress.com and in the subject line please put the name of the item you want. If you say “I’ll take it,” and I don’t know what item you want, confusion ensues.

Whew. I hate rules. But here we go.

All the tools sold.