Lost Art Press

How to Saw/Why you Should Follow David Savage

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“I teach people to see using a motorbike analogy. ‘Imagine you are riding a nice powerful bike, the sun is shining and you are driving along this winding country lane your partner is on the back and you are going quite quick but safe. You approach a series of shallow S-bends you flick the bike left and right with no conscious movement of your body. Sawing down a line is like that.’ Hold that saw handle light like a child’s hand, don’t rush the stroke, don’t press down, just do it. Watch yourself uncritically, your body will adjust your stance to achieve your goal if you allow it. The moment we get tense, the second we seek to control, it goes to hell. Like raising a child.”

— David Savage

David’s e-mail newsletter is one of the things I most look forward to in the morning. As a writer, David is willing to take risks and go places I wouldn’t dare. As a woodworker, he kicks all of our butts. Sign up for his newsletter by going to his home page at http://www.finefurnituremaker.com/. Scroll down to the bottom and you’ll see a box where you can sign up. Highly recommended.

— Christopher Schwarz

In Defense of the ‘Notched Batten’

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When Richard Maguire posted his fantastic entry on using a notched batten to hold work in place on the bench, he was eviscerated by a certain segment of the woodworking populace because Richard said it was an old technique and yet he did not offer up footnotes and cites.

Today I’m going to set the record straight on that.

But first, a little begging. If you haven’t tried using a notched batten, stop reading. Close your laptop and go down to the shop. Make a notched batten and try it out. The notched batten is the difference between needing an end vise and not needing an end vise.

And now back to our regularly scheduled exoneration. Today while editing one of the translated sections for “Roubo on Furniture” (due in early 2015), I came across this passage:

To trim [set right] the planks on their edges, you hold them along the length of the bench with holdfasts, or even when they are too short, you hold them at one end with a holdfast, and the other with a planing stop [figure 17], which is itself held on the workbench with a holdfast, and which you close against the end of the plank with strikes of the mallet. The planing stop is a piece of hard wood, at the end of which is made a triangular notch, in which enters the end of the planks, see figure 19.

Fig17Yup. It is the notched batten, albeit a little shorter than the one currently on my bench. Curious, I went back to the original French to take apart some of the words. Roubo calls the device a le pied de biche, which in modern French comes out as “crowbar.” But more literally is “doe’s foot,” which is much more evocative. Fig. 19, by the way, shows a board being planed on its face, not just its edge.

So now we have a name for it. We have a solid 18th-century account of its use and a drawing.

And so I say to Richard’s critics: Shut it.

— Christopher Schwarz

Kaare Klint’s Safari Chair Drawings in the Danish National Art Library

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There’s little doubt that Kaare Klint’s “Safari Chair” was directly inspired by Roorkee chairs built during the late Victorian era.

The chairs are so close in dimension that I use the same leather patterns when building an 1898 Roorkee chair or a 1930s Klint chair. As a builder, the only significant differences between the chairs are in the leg turnings and the way the arm straps are attached.

This observation isn’t to denigrate Kaare’s genius as a designer. Only to point out a close connection between campaign furniture and Danish modern.

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This weekend I was delighted to receive some images of construction drawings of a Klint chair that were executed in 1933 by Rigmor Andersen, a student of Klint’s and life-long supporter of his work. These ink and pencil drawings are on display at the Danish National Art Library. The photos were taken by woodworker Jared Fortney during a recent visit to the library.

(If you are near Copenhagen, Fortney says you should get there immediately to see the current exhibit on Hans Wegner that features more than 150 Danish chairs.)

The three-view drawing shows a lot of good details. First is that the stretchers are indeed cigar-shaped and 1-1/4” in diameter in the center. Also interesting: The two back pieces are double-tapered. I actually haven’t noticed this on Klint chairs to date. So I’ll try that on my next one.

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Because this drawing is scaled, it’s easy to see exactly where the transitions occur in the turnings. And lastly, the seat construction shown in the drawing in one I haven’t encountered before in the wild. The seat material wraps around the front stretcher and is sewn. At the rear, the material wraps around a dowel and is sewn. Then there are four grommets in the seat. Leather belting attaches the grommets to the rear stretcher.

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This arrangement saves some material and makes the belting easy to replace. On a fair number of vintage Safari chairs the belting has snapped or rotted.

All of the images in this blog post are as high a resolution as possible from the photos. I also processed and sharpened the images to make the details more readable. So download them and print them out to get the maximum detail.

— Christopher Schwarz

Short Notes on Lost Art Press Stuff

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Here are a few quick updates on things you might care about.

  1. “Calvin Cobb: Radio Woodworker!” by Roy Underhill will ship from the printer on Nov. 10. So we’ll be getting that out in plenty of time for Christmas (whew). As I mentioned yesterday, the “Book of Plates” is a wee bit delayed at the bindery. So if you want that book for Christmas, please place your order as soon as possible.
  2. Sweatshirts are back in stock, except for the XXLs. Those will be in stock next week. As to sizes, take a look at the charts provided by American Apparel for the sweatshirt here. Some people are reporting they fit a bit snug. I haven’t found that to be the case, and I’m on my second washing.
  3. George Walker, one of the authors of “By Hand & Eye” is teaching a class at The Woodworkers Club in Rockville, Md., on Nov. 3-4. And there are a few openings. Want to be a better designer? Talk to George. Details here.
  4. Peter Galbert is depleting the world’s supply of pencils with his new book. If you want a peek at the illustrations, follow him on Instagram here.

— Christopher Schwarz

Design Under Duress

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Building a project in front of an audience is one thing. Designing it and building it on the fly is enough to drive me to drink.

Earlier this year I did a two-day seminar for the Alabama Woodworkers Guild where I designed and built a six-board chest. While I usually do a lot work beforehand for classes, I was in the final stages of editing “Campaign Furniture” and was a bit task-saturated. Here was my prep work for that class: I threw some boards and tools into my truck and drove south.

Luckily, I’ve built a lot of six-board chests, and the resulting piece turned out well. In fact, I like this particular chest so much that I’m using it in “Furniture of Necessity.” As a result, I had to create a SketchUp drawing and cutting list after building the project.

As I was drawing the chest yesterday, I was amused to see that I had fallen into using some typical ratios while designing the project, even though I didn’t use dividers or a tape measure. I just looked, marked and cut. It really was “By Hand & Eye.”

The elevation of the case is 3:5, one of my favorite ratios. And the ends of the carcase – minus the legs – are 1:1, which is what I almost always use for my tool chests.

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While these ratios make the chest’s appearance simple, they complicate the cutting list. If you have ever developed a cutting list from an antique piece of furniture, you probably asked yourself: “Why did they use these odd measurements?” You can chalk up the weird measurements to wood movement or the metric system, or you can realize that perhaps they weren’t measuring as much as we measure.

Here, for example, is the cutting list for the chest as built:

Six-board Chest Cutting List, Furniture of Necessity

No.    Name        T  x  W  x  L
1    Lid        3/4  x  14-3/4  x  35-1/8
2    Battens    3/4  x  1-5/8  x  14-3/4
2    Front/back    3/4  x  14-1/4  x  33-3/8
2    Ends        3/4  x  14-1/4  x 19-1/4
1    Bottom        3/4  x  12-7/8  x  32-3/8
1    Moulding    5/8  x  1-1/4  x  33-3/8
4    Feet        5/8  x  5  x  7-3/8

Yeah, I know. This cutting list could be simplified to use some rounder numbers. Or you could make this mental leap: There is no difference between hitting 35-1/8” or 35” or 35-7/64”. They are all numbers that are available to us.

— Christopher Schwarz