Small Dutch Tool Chest Cutting List
Like a sharp knife, cutting lists are helpful when used properly but downright dangerous in the wrong hands.
Case-in-point: In the 1990s I wrote an article on building a Limbert bookcase and had an error in my cutting list. I think I had the kick piece as the wrong width. Anyway, I soon got a phone call from an angry reader. He was making a run of these bookcases to sell and had cut out all the parts to the exact sizes in the cutting list. When it came time to assemble his bookcases, he discovered my error.
He demanded that I reimburse him for the wood he wasted because of the mistake.
When someone gives me a cutting list, I consider it as accurate as a map sketched on a napkin. It will probably get me where I’m going, but only with some interpretation, flexibility and wrong turns.
If I’m going to build a run of something, then I need to develop a cutting list that will account for small variations in the construction process. It needs to be a map that will get me to my destination every time.
That is the sort of cutting list that I design when teaching classes. The school needs a cutting list with finished sizes so their employees can cut everything before the class begins. Each student needs a pile of boards that will always create the desired object.
For example, here is the cutting list I’ve developed for the Dutch tool chest class. It is different than the cutting list I published in Popular Woodworking Magazine. If you cut all these parts to the exact sizes listed below, then you will be able to build the chest, even if you make a slight flub or two.
Item T W L
2 Sides .75” 11.25” 24”
1 Bottom .75” 11.25” 27”
1 Shelf .75” 11.25” 26.5”*
1 Front .75” 7.5” 27.125”*
1 Bottom lip .75” 1.5” 27.125”*
1 Lid .75” 16”* 28”
2 Skids .75” 1.25” 11”
4 Back boards .75” 7.25” 27.125”*
1 Fall-front .75” 9”* 27.125”*
2 Panel battens .5” 1.5” 8”
1 Catch .75” .75” 4”
1 Lock .25” 2” 18”*
* This dimension is slightly oversized for trimming
Note that some pieces are marked as “oversized.” These oversized pieces accommodate the most common mistakes people make when building this chest:
1. The shelf is overlong in case you make the dados in the sides too deep.
2. The bottom lip and fall-front are over-long so you can trim them to the final size of your chest.
3. The backboards are (in aggregate) wider than necessary because some people mess up the tongue-and-groove joint and need the forgiveness.
4. The lid, fall-front and front pieces of the chest are over-wide because some students muck up the 30° angle on the case’s sides. If the angle is too steep or too shallow, then these dimensions need to change.
Bottom line: Never trust a cutting list. Or, as we were taught in journalism school: “If your mother says she loves you, verify it.”
— Christopher Schwarz
P.S. The photo above shows my small Dutch chest with its new lower case. You can read more about it on my blog at Popular Woodworking Magazine here.
Calvin Cobb: A Delightful Whiff of B.S.
Last week, I burned a passel of vacation hours from my day job so I could travel to North Carolina to hang out with Roy Underhill and Chris Schwarz (an excellent way to spend vacation hours), and take some time together to look at 1930s tomes for binding/cover treatment inspiration, talk about illustrations for the book and bug Roy about his manuscript. (I’m eager – nay, salivating – to read the revised text, give it a copy edit, and put it in the hands of the book designer.)
After much deliberation, we’re switching tactics on the book’s illustrations; instead of Hardy Boys-style line drawings, “Calvin Cobb: Radio Woodworker! (A Novel with Measured Drawings),” will include vintage photographs of the places and things that Roy’s radio-woodworking uncle, Calvin*, mentions in the text. (It will, of course, also have measured drawings of the woodworking projects – otherwise, we’d have to change the title.)
Because Calvin’s day job involves manure spreaders, along with pictures of 1930s Washington, D.C., and other locales, there’s going to be some bullsh*t – some funny, funny bullsh*t.
And while we were at The Woodwright’s School (where Chris was teaching a Dutch tool chest class and I was helping out in between Diet Coke breaks), Roy had a truly inspired idea for the chapter spots (the little images one often sees at the beginning of a novel’s chapters – think “Harry Potter”). So, he raced all over town (Pittsboro…it can be covered quickly) taking pictures. I think they’re brilliant – and I’m ever so eager to share them with you…but not yet.
— Megan Fitzpatrick
p.s. Yes, we’re still on track for publication late this fall.
* You’ve heard Roy talk about his grandfather…so I know you’ll believe this, too…right?
Peter Hvidt: A Link Between Campaign Furniture and Danish Modern
After wallowing in images of campaign furniture for the last three years, it became clear to me that many of its core principles – clean design, good joinery, nice wood – had been grafted onto the Danish Modern style.
Some of the connections are obvious, such as the relationship between the Roorkee chair and Kaare Klint’s Safari Chair, which I point out in my book “Campaign Furniture.” But today, Caleb James made another important connection between the two styles.
Caleb has long been a fan and a maker of Danish Modern furniture, though now he focuses more on planemaking and Windsor chairs.
Caleb sent me photos of a secretary by Peter Hvidt (1916–1986), which has many of the hallmarks (or perhaps vestigial organs) of campaign furniture. A little more research turned up some other close stylistic connections between Hvidt’s designs and those from the Victorian campaign style. Let’s take a look.
1. It’s a dresser on a low stand. Like campaign pieces, Hvidt’s case pieces commonly have a plinth that mimics the turned feet that are common on campaign pieces.
2. Recessed pulls. Like campaign pieces, Hvidt’s “pulls” are recessed into the case and suggest the traditional swan-neck pulls on old chests of drawers – just like campaign pieces.
3. A horizontal line between the cases. Though most of Hvidt’s cases don’t break down into two separate carcases, he put in a blade in the middle of the case that echos the division of the two case pieces in campaign furniture.
4. Excellent joinery. Hvidt’s cases are characterized by strong joinery, such as finger joints and dovetails. Campaign stuff is all about joinery that can survive rough treatment.
5. Nice wood. Lots of Hvidt’s pieces are wide teak boards. Lots of campaign pieces are wide teak boards.
Here are some other Hvidt pieces to explore.
Thanks to Caleb for sending these on. More research to come….
— Christopher Schwarz
Roubo on Scieurs de Long
Continuing with the series on pit sawing; this is my translation of André Roubo’s description of the process from L’Art du menuisier (1769-82). Roubo offers us a unique view of pit sawing not yet covered in the other passages, that is, the pit sawing of seasoned wood into dimensions more suitable for joiners work, which differs from the process of converting green timber into salable lumber.
The long sawyers were used by the joiners as a kind of jobbing sub-contractor. It was not uncommon to have a shop owner buy thousands of feet of seasoned wood from a timber merchant and then pay the long sawyers to rip and resaw the wood to set dimensions, rather than pay skilled joiners to do the same, when the specialists would produce better results in the same time, and the joiners could be more profitably used elsewhere.
Like my previous translations, this is not polished work, though I have endeavored to make the passages easy to understand. Many of the sentences are left in their original format, and can be understood even though they read awkwardly, whereas others have been rewritten to better communicate their meaning in English. If you want a better translation, you will have to wait for the professionals.
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