Lost Art Press

Another Way to Tame Tear-out

Posted on by Lost Art Press

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Deneb Puchalski of Lie-Nielsen Toolworks uses a toothing iron to deal with materials that are difficult to plane. He first tooths the surface and then removes the toothing with a fine-set plane, usually a low-angle jack plane.

A few years ago he asked me if there was anything in the literature that supported this method. And this entry is a long-overdue reply.

From “The Panorama of Science and Art” (Caxton Press) by James Smith, 1825.

Though the double iron is an excellent invention, and the use of it is, in fact, the best general remedy known against the curling or cross-grained stuff of ordinary quality; yet, without some other assistance, the planing of many of the finest specimens of mahogany, and many other woods, among which fustic may be particularly mentioned, would be to the last degree a difficult and perplexing operation to the workman.

Hence a plane, the stock of which is usually made of the shape and size of the smoothing-plane, is fitted up so as to act by scratching or scraping. The blade, or iron, on the steel side of it, is covered with rakes or small grooves close to each other, and all of them in the direction of its length: when therefore it is ground, and the basil formed, its edge presents a series of teeth like those of a fine saw; the bed of the stock intended to receive it is inclined only about six degrees, and consequently when the iron is fixed it is almost perpendicular. On account of these teeth in the iron, the plane obtains the name of the tooth-plane.

With this kind of a plane, however hard the stuff may be, or however cross and twisted its grain, the surface may be made every-where alike, and will not be rougher than if it had been rubbed with a piece of new fish-skin. This roughness may be effectually removed with the scraper, which is a thin plate of steel, like part of a common case-knife, the back of it being let into a piece of wood, as a handle.

So there you go. Thanks to Jeff Burks for turning me onto the Panorama book several years ago. Lots of good stuff in there on joinery that isn’t in Peter Nicholson’s book.

— Christopher Schwarz

Tinkering with Tools

Posted on by fitz

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Years ago I found it necessary to warn people of certain fallacies and misconceptions. There is less need of warnings to-day, yet there are dangers. Some people still think that manual labor is manual training, just as they probably think that the boy who fetches and carries books in a library is becoming a literary man.

Others think a manual training school should be a factory, and should put its goods on the market. Still others think that the chief product of manual training is found in bits of furniture and knick-nacks which pupils carry home. It is constantly necessary for us to explain that ordinary manual labor is not manual training at all. There is training in mastering the theory and the use of a tool or a machine under the guidance of an expert; but when the mastery is gained, and gained thoroughly, there is no training in its continued use, which is not for education but is for commercial ends.

My usual reply to people who betray such misconceptions is already gray with age, but it may be allowed a positively last appearance here—the more a school becomes a factory the less is it a school. The school should put one article upon the market and that is, boys; and if all the shop exercises of the year were at its close put into a furnace and burned, all the manual training would remain.
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Photos from the Tool Chest Class in Port Townsend

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I don’t know how many tool chests I’ve built or helped build since 2011 when “The Anarchist’s Tool Chest” was published. But I can tell you this: Every class is both brutal and special.

I finished up teaching my latest tool chest class at the Port Townsend School of Woodworking in Washington state and just landed back in Kentucky. This class was particularly special because my assistant was Rob Campbell, who writes The Joiner’s Apprentice blog.

Though Rob and I have only crossed paths a couple times, we see the world similarly and have built our personal lives around the craft and trying to isolate ourselves from excessive consumption and corporate America.

So it was a huge pleasure to work with him all week, building a project we both knew intimately, and to get the opportunity to swap tips and ideas.

And on top of all that, the students in this class were off-the-hook wacko. And that’s a good thing. During some classes, I have to restrain my humor a bit because it is difficult for some to swallow. These 10 guys were as messed up as I.

If you want to read Rob’s account of the class, check out his entry.

— Christopher Schwarz

The Answer is – Regrettably…

Posted on by Lost Art Press

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Lately I’ve noticed that no matter how careful I am when chopping dovetails that the ends of the tools’ hornbeam handles will become slightly dimpled and dented after striking them with my mallet.

Even more disturbing is that the face of my mallet also becomes slightly dinged when I strike my tools with it.

To remedy this problem, I considered wrapping the handles and the mallet in electrical tape, but I was worried that the adhesive on the backside of the tape would damage the finish on both tools. I experimented with using rubber bands to affix small dollhouse pillows to the mallet, but the rubber bands kept snapping after a few joints.

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And so I’ve asked my former shop assistant, Ty Black, to sew up some leather sleeves – condoms, actually – with some elastic openings to keep the leather in place on the tools during use.

I’ve asked him to use veg-tan leather – not chromium tanned – so as to ensure the leather covers will not tarnish my tools.

My hope is that this solution will work well enough that I can also implement it on all my wooden-bodied planes – I have noticed some dents on their wedges lately.

Another disturbing shop problem has been the fact that oil (and perhaps perspiration) from my hands appears to be working its way into the totes of my handplanes, discoloring them in an uneven and unsightly pattern.

I considered wrapping friction tape around them to protect them, but again, I am unsure about how the chemicals in the adhesive will interact with the alkyd varnish on the totes. And so I’ve purchased a pair of ventilated nitrile gloves – nitrile on the palm with a cotton weave on the back – to wear when I am planing.

I know that gloves in the workshop are a safety concern, so I will continue to look for a better solution.

— Christopher Schwarz

‘To Make as Perfectly as Possible’ Standard Edition in Store

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Perfectly-Standard_500The standard edition of “To Make as Perfectly as Possible: Roubo on Marquetry” is now available for pre-publication ordering. If you order before Oct. 10, 2013, when the book ships, you will receive free domestic shipping.

The book is $43 and is available in our store here.

We had announced earlier that the book would be $40, but because of some last-minute changes to the printing specifications, we had to raise the price to $43. Apologies.

About the Book
“To Make as Perfectly as Possible: Roubo on Marquetry” is the first English-language translation of the most important woodworking book of the 18th century.

A team of translators, writers, woodworkers, editors and artists worked more than six years to bring this first volume of A.-J. Roubo’s work to an English audience. (Future volumes of Roubo’s other works on woodworking are forthcoming.)

While the title of this work implies that it is about marquetry alone, that is not the case. “To Make as Perfectly as Possible” covers a wide range of topics of interest to woodworkers who are interested in hand-tool woodworking or history.

In addition to veneer and marquetry, this volume contains sections on grinding, sharpening, staining, finishing, wood selection, a German workbench, clock-case construction, engraving and casting brasses.

But most of all, “To Make as Perfectly as Possible” provides a window into the woodworking world of the 18th century, a world that is both strangely familiar and foreign.

Roubo laments the decline of the craft in the 18th century. He decries the secrecy many masters employed to protect craft knowledge. He bemoans the cheapening of both goods and the taste of customers.

And he speaks to the reader as a woodworker who is talking to a fellow woodworker. Unlike many chroniclers of his time, Roubo was a journeyman joiner (later a master) who interviewed his fellow tradesmen to produce this stunning work. He engraved many of the plates himself. And he produced this work after many years of study.

The Lost Art Press edition of “To Make as Perfectly as Possible” is printed to high standards rarely seen in the market today. Printed and bound in the United States, the 264-page book is printed on acid-free #60-pound paper in black and white. The pages are Smythe sewn so the book will be durable. And the cover is made from heavy 120-point boards covered in cotton cloth. The book is 8-1/2” x 12”.

In addition to the translated text, essays on the text from author Donald C. Williams and all of the beautiful plates, “To Make as Perfectly as Possible” includes an introduction by W. Patrick Edwards of the American School of French Marquetry, an appendix on the life of Roubo and a complete index.

The book’s table of contents is below and here. You also can download a sample section of the book here on sawing veneer with this link: Roubo sample pages.

“To Make as Perfectly as Possible: Roubo on Marquetry” is available direct from Lost Art Press and from our select retailers.

To Make as Perfectly as Possible

The Different Woods Appropriate for Cabinetry
Section I.
Description of the Woods of the Indies, and Their Qualities, Relative to Cabinetmaking
Alphabetic Table of the Foreign Woods
Why Not Dalbergisterie?
Descriptions of French Wood Appropriate for Cabinetry
Colors in general, and the Woods from the Indies and from France with Regards to their different colors and their nuances
The different Compositions of Dyes appropriate for dyeing Woods, and how to use them

Section II.
On the sawing of Wood appropriate for Cabinetmaking
On Sawing Veneer
Description of Cabinetmakers’ Tools

Section III.
The Frames [Cases] appropriate to receive Veneerwork, and how to prepare them and construct them

Of Simple Parquetry, or the Composing of it in General
The Parqueteur’s Tool Kit

Section I.
The diverse sorts of Compositions in general: some detail and the Arrangement of wood veneer
Various sorts of Compositions, straight as well as circular
Make Banding With Roubo’s Template Blocks
The manner of cutting and adjusting the pieces so they are straight, and the proper Tools
Cutting and Assembling Cubic Hexagons
The manner of cutting curved pieces, and the tools that are appropriate
The 18th-century Shoulder Knife

Section II.
The manner of gluing and veneering Marquetry
Why Does Hammer Veneering Work? And How Can it be Made Better? 117

Section III.
The way to finish Veneer Work, and some different types of polish
Finishing Marquetry

Ornate Cabinetry, Called Mosaic Or Painted Wood, An Overview
Section I.
Elementary principles of Perspective, which knowledge is absolutely necessary for Cabinetmakers

Section II.
On the manner of cutting out, shading and inlaying Ornaments of wood
The way to engrave and finish wooden Ornaments

Section III.
How to represent Flowers, Fruits, Pastures and Figures in wood
Floral Marquetry

On the Third Type of (Veneered) Cabinetry in General
Section I.
Description of the different materials that one uses in the construction of the third type of veneered Cabinetry
On the Nature of Tortoiseshell
Mastic and ‘Mastic’

Section II.
Works for which one uses the third type of Cabinetmaking

Section III.
How to work the different materials that are used in the construction of Marquetry, like Shell, Ivory, Horn, etc.

Section IV.
The manner of constructing Inlay and finishing it
I. General Idea of the different types of Mosaic
Metal Casting
II. Ornaments in Bronze in general
III. The way to solder the Metals which one uses for different works of Cabinetry
IV. Description and practice of a Varnish appropriate to varnish and gild copper and other metals
Conclusion to the Art of Woodworking

Appendix: André-Jacob Roubo
Index

— Christopher Schwarz