Lost Art Press

A Flat-out Bad Time

Posted on by Lost Art Press

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I know that my recent blog entries have been lightweight at best – thanks to Jeff Burks for picking up my slack. I’m determined to finish writing this “Campaign Furniture” book by Dec. 31, and so all my energy is going into the laptop.

And the benchtop.

Today I’m finishing up the collapsible bookcase – the last (I hope) project for the book – and none of the boards were behaving when I planed them. That usually means something is out of kilter – the plane’s sole or the benchtop. It was, of course, the benchtop. This bench is the one I built during the French Oak Roubo Projects in Georgia this summer. Until recently, the benchtop was settling in gently.

During the last two weeks, things got ugly. The benchtop itself has shrunk more than 1/16” in thickness – and shrunk even more near the dog holes and planing stop. This is, of course, totally expected because the holes expose more end grain to the atmosphere.

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My benchtop after two passes with a jointer plane.

That doesn’t bother me. What’s distressing is the glue joint has opened up a 1/32” at the surface of the benchtop for almost 24”. The opening isn’t deep – less than 1/4” – but it looks like a gaping maw when I think about everything I did to get that seam airtight while gluing the benchtop.

It is what it is. Chances are it won’t fall to pieces.

But I have to get the top flat tonight so I can finish up this bookcase before the snow arrives. (It’s no fun to spray shellac in a snowstorm.)

— Christopher Schwarz

A Wonderful Machine

Posted on by fitz

locomotive

When I was laying the foundation of my mechanical fame and fortune running a bolt cutter in the Rock Island shops at Chicago a year or two ago, I boarded in a house filled with locomotive engineers and firemen. A practice prevailed there of enlivening the supper table with social conversation, and the locomotive being in the majority the leading theme of talk was stupendous feats performed in getting over certain hills without doubling.

This was occasionally varied by the record of minor incidents such as the exploit performed by Tom Jones when the 96 broke her rocker arm, how narrowly Dick Swiveller escaped from having his checks called in when the 124 broke her side rod running down Valley Hill, and how Harry Walbrandt whooped up the 92 to make a passing point, and just got clear into the side track when the Chicago limited showed up.

George Dorwart, who ran a lathe in the shop, sat opposite me at the table, and he got tired of being excluded from the conversation. He became ambitious to hear himself talk in that crowd. One evening catching on in a lull of the talk he called out loudly to me: “Well, I went over and saw that machine to-day, and it is astonishing the fine work it does.”

“How does it work?” I inquired.

“Well,” said he, “by means of a pedal attachment, a fulcrumed lever converts a vertical reciprocating motion into circular movement. The principal part of the machine is a disc which revolves rapidly on a vertical plane. Power is applied through the axis of the disc, and when the speed of the driving arbor is moderate, the periphery of the machine is traveling at great velocity. Work is done on this periphery. Pieces of the hardest steel are by mere impact reduced to any shape the skillful operator desires.”

“What in thunder is the machine any way?” demanded Tom Jones.

“Oh, it is a new grindstone,” replied George, and a silence that could be felt passed round the supper table.

The Old Man.

American Machinist – December 15, 1883

—Jeff Burks

Anarchist’s Tool Chest – Eagle Edition

Posted on by Lost Art Press

Chest-1

Woodworker Matt Czegan sent these photos of his recently completed tool chest. Love the eagle – and the extra detailing on the drawers. I’ve always meant to do something with the panel of my chest’s lid, perhaps a veneered panel or even some parquetry a la Roubo.

Nice work Matt!

— Christopher Schwarz

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‘You Can’t Judge a Book by its…’ – Oh, Shove Off

Posted on by Lost Art Press

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The covers of our Lost Art Press books are important to me, even though we don’t sell our titles in bookstores, which is where the cover can make or break a book.

I don’t want our covers to say “buy me.” I want them to say “open me.” There’s a difference. I’ve had many non-woodworkers tell me that the cover of “The Anarchist’s Tool Chest” was so oddly compelling that they had to open it and see what was inside.

As I am closing in on the end of the writing for “Campaign Furniture,” my lizard midbrain is turning its attention to the cover. The concept is to make the cover itself look like a campaign chest. There will be ogee (or ovolo or straight bracket) brasses on the corners of the cloth-covered hardcover. In the center will be a pull. It’s my favorite campaign pull, which I found on a piece that is likely from the Indies.

I’ve been trying to draw this pull for the last couple weeks. It’s asymmetrical and doesn’t have a straight line in its profile. I’m getting closer.

— Christopher Schwarz

Files and File-Making

Posted on by fitz

file_making

The common file, as every workman knows, is an Implement, the flat or curved surfaces of which are notched or serrated in such a manner that, on being rubbed on the wood, ivory, metal, or other hard substance for which the tool is intended, a surface of more or less smoothness is obtained.

Files are made of bars of steel prepared in a peculiar manner, it being necessary that the file should be formed of the hardest possible metal, or else its working surface would be speedily worn away. The steel is therefore rendered harder than usual by means of a process known as double conversion, the metal thus prepared being said to be doubly converted.
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