Lost Art Press

The First Review of ‘Campaign Furniture’

Posted on by Lost Art Press

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About 11 p.m. Christmas Eve, I wrote the final paragraph of “Campaign Furniture” and closed the laptop. Megan Fitzpatrick is editing the text now, and I’m finishing up some hand drawings, photography and scanning to complete the book.

I’ll start designing the pages on Jan. 1, and the finished product should ship to customers in March 2014.

I don’t know if I’m like other writers, but I have about zero point zero confidence about my books when they’re complete. My personal criticisms of my work are worse – way worse, actually – than anything spouted on the forums or lobbed into my inbox.

If I could stop myself from writing, I probably would. Unfortunately, writing and publishing is a compulsion, much like woodworking is a compulsion for me and many of my friends. So here is my pre-publication critique of my book: It’s too short, too shallow and not really funny.

1. Too short. This book clocks in at about 50,000 words. That’s about half the length of “The Anarchist’s Tool Chest.” I did everything I could to condense my thoughts and control my asides for “Campaign Furniture.” A lot of the information in “Campaign Furniture” is visual. There are hundreds of photos, drawings and scans of historical material.

My urge was to write an opus. I certainly have the material to do that. But I don’t have time to read an opus, and I know that many readers have lives that are as crazy busy as mine.

2. Too shallow. Here’s a confession: While I admire academic books and use them in my research, I do not enjoy reading them for fun. I am not an academic. I don’t write like one, I don’t think like one and I could never be one.

So while this book will have an index, a bibliography and some deep appendices, it is not going to impress a librarian or end up quoted in someone’s master’s thesis. The goal of “Campaign Furniture” is to introduce you to the style and – I hope – get you interested in building these pieces.

Campaign furniture, as you will see, is made with top-shelf joinery, beautiful woods and its only real adornment is brasses, which also reinforce the joinery. It is an under-appreciated style, and so much fun to build.

3. Not funny. I think good writing balances information and entertainment. But after writing several chapters in the same frame of mind as “The Anarchist’s Tool Chest,” I ended up rewriting them because the tone just seemed wrong. I find it weird to make jokes about the Napoleonic Wars, colonialism or severe urban overcrowding – all of which are part of the story of campaign furniture.

Some of the darkest and wrongest humor ended up on the cutting room floor. Here’s one bit that got cut. It’s too funny and sick and wrong not to share.

Attention, if you are easily offended, stop reading.

Sir Pratnap Singh, the Maharaja of Idar, was intent on wiping out the Muslim population of India. When an English official pointed out that they shared some Muslim friends, Pratnap replied: “Yes, I liking them too, but very much liking them dead.”

I know. It’s horrible on so many levels.

Despite my self-loathing, I do hope you’ll read the book and join me in researching and building in this fascinating style. I can already think of three more books about the campaign style that need to be written, and I hope this book sparks enough interest for me to continue my work.

— Christopher Schwarz

Books we Found – 50 Percent Off

Posted on by Lost Art Press

WB_coverDuring some annual inventory activity, John Hoffman and I turned up two cases of books we don’t sell anymore at Lost Art Press. These books aren’t doing anyone any good sitting in a warehouse, so we’re offering them at 50 percent off retail until they are gone.

We don’t have a lot of these, so they likely won’t be around for long. Here’s what we found:

“Workbenches: From Design & Theory to Construction & Use” (19 copies). This is my first book and covers the principles of bench design and construction that I still follow today. We stopped carrying this book because it’s suicide to compete with Amazon.com, and I’ve never been happy that F+W chose to print the title in China. We’re selling it for $15 plus domestic shipping. All the copies are signed.

You can buy “Workbenches” via this link.

ATC_cover_300_IMG_0969-1First edition of “The Anarchist’s Tool Chest” – the tan cover edition. The first edition has a few typos and doesn’t have an index. But you can download the index for free here. And at $17.50 plus domestic shipping, it’s a solid deal. These are signed via either bookplate or directly.

You can buy the first edition of “The Anarchist’s Tool Chest” via this link.

— Christopher Schwarz

Sharpening a Scraper

Posted on by fitz

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(Continued from Laying and Finishing Hardwood Floors)

The frequent inquiries in the Correspondence columns of Carpentry and Building indicate that there is a dearth of knowledge as to the proper method of sharpening a scraper. Without any disposition to assume superior knowledge in this connection I am constrained to remember that we cannot clean our floor without sharp tools, and will give your readers the benefit of my experience along this line.

I presume that every reader understands that the cutting edge of the scraper is formed by turning over a “burr” or wire edge, which does the cutting when applied to the wood. This burr is made by rubbing against the edge of the scraper with a tool called a burnisher, which may be made of any piece of steel of convenient form but which must be harder than the scraper.
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Laying and Finishing Hardwood Floors

Posted on by fitz

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The general demand for finely finished floors of hard or soft wood in modern residences has given rise to such a variety of tools and finishes designed for this special purpose that natural confusion arises as to the best tools, finishes or methods to employ in this highly important branch of the trade.

The growing demand for the conveniences of the city residence in the homes of the smaller towns and the rural districts often brings the carpenter and the painter up against this sort of work, demanding methods of treatment with which they are unfamiliar, and many a good job of floor has been spoiled or indifferently treated by otherwise good mechanics, simply because they lacked the knowledge or experience so essential to success.

It has been the fortune of the writer to have a somewhat extended experience in the better grades of modern floor finishing, and it is with the hope of affording some degree of general information to the craft that this discussion of the topic is undertaken. For convenience in treatment the subject will be considered with reference to the following elements:

1. The carpenter.
2. The tools required.
3. The laying of the floor.
4. Preparation of the surface.
5. The painter’s work.
6. Different varieties of finish.
7. Relative cost of floors and finishes.
8. Suggestions as to estimating.
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Water vs. Wood

Posted on by fitz

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Freshly-cut red oak, destined to become Roubo workbench legs

A few days ago, Chris broke one of the cardinal rules of this blog: he began a sentence with, “You should…” He said to me, “You should be writing about this stuff…as a full-on blogger.” I agreed, then explained that the reason I don’t is that I find writing to be painful. So what does he do? He offers to let me write on his blog. I suppose I should be thankful that he didn’t kill me outright, like poor Raney. On the other hand, Raney’s death was quick and presumably fairly painless. Mine will more likely be slow and lingering.

Wood and water. From the woodworker’s point of view, not exactly a match made in heaven. Why is it that thick slabs of wood take so %$#@! long to dry? You may have heard the old air-drying rule of thumb, “one year per inch of thickness.” I remember reading it for the first time many years ago and thinking, That can’t be right. From basic geometry, doubling the thickness of a piece of wood should quadruple, not double, the drying time, and my own experience with drying wood since then has at least approximately confirmed that. There are two factors that cause thicker pieces of wood to dry more slowly: one, there is simply more water to remove through the same amount of surface area, and two, the water has to travel further, on average. Both of these factors are proportional to the wood’s thickness, and they’re multiplicative, so in the simplest approximation the drying time goes as the square of the thickness.

I’ll skip the physics lecture (for now, but there might be an exam later) and show the results of some computer simulations that I ran for water loss in wood, from fully saturated to near equilibrium, using a few assumptions (physicists are all about making simplifying assumptions). The assumptions I made are:

  • the board is wide and very long compared to its thickness, so I only have to worry about water movement through the faces of the board, and not the edges or ends,
  • the temperature is a constant 52°F (the year-round average for southeastern Ohio, where I live), and
  • the equilibrium moisture content is 12% (a typical outdoor value for this climate).

Here are two graphs (click to enlarge), showing the computed change in moisture content over time in red oak, in a 1″-thick board (left) and 6″-thick board (right), subject to the above assumptions and using published data for the various water transport parameters:

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As the graphs show, the 1″-thick board settles down in a couple of years, while the 6″-thick board takes over 70 years to equilibrate to the same degree. Apart from the 36-fold difference in time scales, the graphs are nearly indistinguishable. In other words, there’s no significant qualitative difference between thin and thick boards; they both behave more or less the same, just on very different time scales.

So that’s at least a partial answer to the puzzle. In part 2, we’ll look at the role that end grain plays in drying (there’s good news, and there’s bad news), and examine Chris’s hypothesis about how “being surrounded by so much dry wood keeps the moisture in” (hint: he’s at least partly correct).

–Steve Schafer

Further reading:

Bergman R et al. (2010) Wood Handbook, Wood as an Engineering Material, http://www.fpl.fs.fed.us/documnts/fplgtr/fpl_gtr190.pdf.

Hoadley RB (2000) Understanding Wood, Taunton Press, Newtown CT.

These first two are fairly non-technical, but they focus on the what and have little to say about the how and why.

Baronas R et al. (2001) Modelling of Moisture Movement in Wood during Outdoor Storage, Nonlinear Anal. Modell. Control 6:3-14.

Includes an excellent comprehensive overview of the theory of moisture movement in wood; requires a working understanding of partial differential equations.

Simpson WT (1993) Determination and use of moisture diffusion coefficient to characterize drying of northern red oak (Quercus rubra), Wood Sci. Technol. 27:409-420.

Source for the data used in the computer simulations.