To see Day 1 of the class, Build a Continuous Arm Windsor Chair with Peter Galbert, CLICK HERE
Using angled mirrors (no smoke!) and reference guides set with the correct angles the student is able to drill the holes in the seat blank at the correct splay and rake needed for the chair to sit as designed:
With scorp, travisher, drawknife and spokeshave, the shield-style shaped chair bottom is sculptued forth. The seat is scooped out with the scorp and travisher and the unique outside shield pattern is created with the drawknife and spokeshave:
The post Build a Continuous Arm Windsor Chair with Peter Galbert – Days 2, 3, and 4 appeared first on Woodworking Blog.
Sure the Polar Vortex has piled up a few feet of snow, but it’s time to start prepping for some Spring renovation projects. I’m sure at some point I’m going to be facing a stuck screw during one or two of those “to-do” list items I’ll be tackling as the weather warms up and the icecaps recede.
Rather than doing what I normally do when I’m faced with a stuck screw I think I’ll try one of these 5 methods of stubborn screw removals that the folks over at M&M Tool Parts wrote about recently.
“Typically caused by the inevitable rust and corrosion that occurs inside a screw hole, a stuck screw can be an incredibly frustrating thing to work with.
Not only can it slow a project down, but it can throw a wet wool blanket over anybody’s good mood. This corrosion effectively locks a screw into place and removing the thing can potentially destroy the screw itself or, worse yet, the material it’s embedded in.
Fortunately, though, there are few sure-fire methods that will help you remove a stuck screw with relative ease and minimal annoyance.”
From “Chemical Warfare” to “Total Annihilation” you’ll probably find a few new ways to tackle a stuck screw without screwing up your project!
Checkout the article and all the great suggestions over at www.mmtoolparts.com.
Our latest book, “Campaign Furniture,” is now available in our store for immediate shipment from our warehouse. Domestic orders placed before April 5, 2014, will receive free shipping.
The cost is $33 for the hardbound book. A pdf download of the book is $14. Or you can order both for $39. Full details are available in our store here.
“Campaign Furniture” will also be available from retailers here and abroad. Shipments of the book are on their way to these retailers, though we do not know when they will begin selling it. Here are the retailers that have agreed to stock the book:
• Lee Valley Tools
• Lie-Nielsen Toolworks
• Tools for Working Wood
• Highland Woodworking
• United Kingdom: Classic Hand Tools: www.classichandtools.co.uk
• Australia: Henry Eckert www.henryeckert.com.au
Like all Lost Art Press books, “Campaign Furniture” is produced entirely in the United States. The book is in a 6” x 9” format and hardbound. The interior is in full color and printed on paper that is heavy and coated with a matte finish for readability. The interior signatures are sewn for long-term durability.
All copies sold through the Lost Art Press web site are signed by the author via a letterpress bookplate.
— Christopher Schwarz
Filed under: Campaign Furniture
A few weeks ago we had a phone call from our good friend Richard Arnold who had a little something which he wanted to offer to me and was able to come out our way. We don’t get out much so we jumped at the chance and planned to meet up with Richard and his wife Kate in Lincoln. It was Saturday and fairly busy but we managed to get the car parked and headed off to find them. After trekking up the well named ‘Steep Hill’ which is always good fun, we got another buzz just to let us know that they were waiting inside a small coffee shop. I turned around and bugger me, there he was sat by the window with me still sweating buckets not having had any sneaky cool off time from the climb!
It’s always a pleasure chatting with Richard and Kate and quite rare to find people as passionate about traditional woodwork as we are. If you’ve ever met Bill and Sarah Carter then you’ll know exactly what I mean by saying that Richard and Kate are likely cut from the same cloth; they’re just incredibly genuine, generous and passionate and never ask for anything. It’s a lovely place to be in the woodworking world when there’s great people like this, you can never say that old crafts are dead. Whilst enjoying our tea I couldn’t help but notice how Richard was looking around and taking note of all of the woodwork in the little old room – fascinated with the joinery on the wall panels and windows. I always think you can tell a craftsman by how he looks over something; give him an item of steel and he will look straight to the welds.
There was an extra gift which I hadn’t been expecting; Richard presented me with a lovely little book, but more on that one latter. The main thing which he’d brought along was waiting in his car because it was too heavy to carry, so after a good natter we headed out to find it.
The car was parked just around the corner near the cathedral. We were parked down the other way so we set off on what turned in to an epic journey across time and space, a seemingly endless voyage. Basically, Richard had forgot where he parked his bloody car. After a few near domestics and the constant “well, it’s around here somewhere” we stumbled in to the help of a very well spoken man in yellow trousers and did finally find it. There it was – the leg vice I’d heard about. Richard had told me this screw was big but I wasn’t quite expecting this. The thing weighed like a bag of cement, and we took it in shifts walking it back in to Lincoln where we eventually parted way and then Helen and I spent at least another age trying to find where we’d parked our own car.When I heard about this screw I was hoping the same as what Richard was suggesting which was to install it in to my English bench which I’m currently building but I don’t think that bench is quite up to it. It’s not nearly posh enough and I’m going to need a bloody big leg to fit this in. Besides that, the second I saw it I had this other bench flash in front of my face which I’m really going to have to build now – so that’s another thing that will be added to the agenda.
When it comes to vice screws I tend to recommend wooden over metal. I love wood so it makes sense to use it and a really large diameter, large pitch thread is unbeatably smooth. That was before I saw this thing! This thread is as big as our wooden screws, it turns at the same pace, and it is just absolutely stunning in every way – Beautiful and smooth.
Richard had had the vice stored away for so long that he couldn’t recall where he found it. I’m usually pretty good at guessing where vices originated and I’ve stared at enough pictures to surmise but this isn’t like anything I’ve seen. If I was just looking at the thread and nut then I would definitely think it was straight out of the steel industry but the big, beautiful rounded head on it and two piece garter make me feel it has always been a craftsman’s vice, it’s too decorative otherwise. I think Richard suggested it could have come out of a wheelwright’s shop and that would make sense – it had to be for something very heavy duty.We don’t get about an awful lot but we really enjoyed our day in Lincoln. We’re lucky to have such a wonderful city not far away and walking around it is always inspiring. When a place has such a number of important historical buildings you realise that we’re not likely to let our crafts die any time soon. There’s restoration and heritage work going on everywhere, the last time I went much of the Cathedral was covered in scaffolding and now some has been removed to reveal a number of new and spectacular carvings in the stone work. There’s a constant stream of craftsman being trained up and employed at the Cathedral and Castle here and it’s certainly great to know there’s so much skill all in one place.
So thanks again Richard and Kate for what was a lovely day.
I keep thinking about Richard Nixon. I don’t want to, but it happens. Remember when he famously stated “I’m not a crook.”? Well, of course he was lying…
but I have been splitting & hewing crooks into spoons lately. Right after that cherry haul (and another cherry haul) I got 2 small piles of birch.
Most of these are just one spoon in each bend; there’s knots underneath the crook. splitting them is a combination of froe & hatchet work.
Then I start in hewing to begin to “see” the eventual shape.
Placement of the bowl is the hardest part to wrap your head around. The mistake I usually make is to place it too far forward. Here you see how the bottom of the bowl flows along the curved grain.
Then it’s back to more axe work. The more you take off here, the easier life is later.
Megan Fitzpatrick swiped a photo of mine from last time; here’s her teaser about an article I did for Popular Woodworking:
Our latest book, “Campaign Furniture,” will be on sale in our store on Friday with free domestic shipping (until April 5, 2014). The shipment of books arrived in our Indianapolis warehouse today, and the fulfillment service is getting everything ready to ship.
The hardbound book will be $33. The pdf version of the book will be $14. You can order both for the discounted price of $39.
In the meantime, we have prepared a free chapter for you to download. This short chapter is on building the campaign stool, one of the simpler projects in the book. We’ve received a lot of questions about the stool after we sold 100 of the tribolts for the stool last month. (If you want one of the tribolts now, you can buy them direct from Mike Siemsen, who made the bolts for us. Click here to order one – same price, same shipping arrangement.)
You can download the free chapter here:
Be aware that it is more than 12mb – so if you have dial-up, go to your local library.
Also, as promised, here is a description of the physical book and a table of contents:
Like all Lost Art Press books, “Campaign Furniture” is produced entirely in the United States. The book is in a 6” x 9” format, 334 pages and hardbound. The interior is in full-color and printed on paper that is heavy and coated with a matte finish for readability. The interior signatures are sewn for long-term durability.
Table of Contents
1. Campaign Style 1
2. Campaign Woods 38
3. Campaign Hardware 52
4. Campaign Chests 82
5. Campaign Secretaries 122
6. Folding Camp Stool 138
7. Roorkee Chairs 154
8. Strong Trunk 190
9. Field Desk 214
10. Collapsible Bookshelves 234
11. Traveling Bookcase 248
A. Roubo on Campaigning… 269
B. India’s Joiners, by George Cecil… 279
C. Army & Navy Stores… 285
The book is available only through Lost Art Press and our small network of retailers.
— Christopher Schwarz
Filed under: Campaign Furniture
Welcome to Woodworking Masterclasses Sites. This is your first post. Edit or delete it, then start blogging!
My K7 arrived last week and after a few days handling and admiring it, I gave it a try.
The elongated rear infill makes it much more comfortable than antique planes of the same style and the pointed rear nestles right into the palm of the hand. It is surprisingly heavy which is nice.
Konrad has access to some wonderful wood, woodworkers are suckers for great wood and I'm no exception! The metal work tends to be overlooked but it is faultless. You cannot detect the dovetails, the lever cap requires the lightest of touches and the mouth is super fine.
Needless to say it works superbly cleaning up this curly walnut with ease. The Ron Hock high carbon steel blade really sings and the high angle blade takes concertina shavings. If I can find some time to get back to making some furniture this plane will get plenty of use.
I’ve studied furniture from the 17th, 18th and early 19th centuries for decades and done my fair share of inlay (the table leg to the left is an example). When the talk around the office this week turned to Rob Millard’s much-anticipated DVD, “Marquetry, Veneer & Inlay for Furniture Makers” (buy your copy here), it brought up memories for me of Woodworking in America conferences past (learn more about WIA here…OK, […]
“The Furniture of Necessity” book will be written, illustrated and printed in the same spirit as the pieces of furniture between its covers. Instead of relying on SketchUp and digital photographs, the engraver will be making the plates for this book using the actual pieces as her guide.
While this will turn me into a furniture mover for the next 12 months, it also will result in illustrations that are rich in detail and unsanitized, unpasturized and un-homogenized. It will be like drinking the design warm from the the teat of (oh stop this line of thought now).
Today I finished up the six-board chest for the book by nailing on the escutcheon plate to the front. There will be no fake keyholes or keys or hat-tips to modern living. These pieces will work in the same way they worked 300 years ago.
I now have two of the pieces complete for the book. Twelve more to go.
— Christopher Schwarz
Filed under: Furniture of Necessity
Finishing Your Projects Following Mine
There is no doubt in my mind, woodworkers love working with wood, using hand tools and even like to use machines for some of the time. What they do not seem to like too much from what I have learned is no surprise to me. They do not generally like finishing their work. Why is that? Well, I always ask woodworkers what they feel is the most difficult challenge they face in their woodworking. This is my conclusion. In almost all cases they feel inadequate to the task. With so many finish choices available they feel confused as to which finish will work best and therefore inadequate to choose the right finish. With such limited experience and so many different products sold for finishing. Again intimidation seems to them a high risk possibility of failure in that they might fail their project by making the wrong choices or applying the finish with little experience and unskilled hands.
Two Finishes – Simple and Effective
We are working on a series of finishing videos to help minimise failure and take out the possibility of risk and so show simple techniques that minimise risks associated with being a winner at the finish line. This week we concluded filming using two finishes and some techniques on finishing for our upcoming woodworking masterclasses online broadcast. When we made the workbench stools (that are the same as bar stools but ultra hand made and ultra comfortable too) series a few weeks ago we said that we would do this and the stools are ideal pieces for developing skills. Here are the results of this weeks videos. I am happy with the way they turned out and my hope is that finishing and trying techniques will be less intimidating for everyone. I ordered my milk paint from The Old Fashioned Milk paint Company, a long-standing company with masses of experience in this unique and wonderful finish. The second finish I chose is Danish oil. This transparent finish is quick and simple and really a good finish for things like chairs and stools. See for yourself how these two finishes came out.
I acquired more tenon saws on eBay and was surprised at the quality I got. Reworking them was interesting and the outcome my reward. It is still amazing what you can get for under £20. John purchased a very nice I Sorby 1 1/4” bevel-edged chisel he has wanted for some time and will be doing the restoration over the next few days. We have been looking at chisels in greater depth too, as you might tell from some of my recent blogs. I am revamping the Aldi chisels and have decided to see just what it takes to make them top notch for under £3 each including the price of the chisel. I have more yet to offer but I think that you will be surprised with the outcome. Separating the chisel blade from the handle is simpler than I thought even though the two parts are very solidly united with a twist free and unbreakable grip to the handle. The tang is not tapered or traditionally shaped or made in any way. It is substantive though. It’s indeed unusual in that the octagonal tang fits into a carefully sized hole that compresses under the pressure of the hard corners of the tang’s hexagon. That tang was solidly embedded. It took a shift and hammer blows to drive the shaft from the tang.
I worked on this one 3/4” blade, flattened the flat side, refined the bevel and of course shaped the bevel with its refined convex bevel. I like the bevel’s size, not too thin at the edge of the bevel, nicely tapered and enough steel to give me confidence. We’ll show you progress as we go.
Jag har börjat att leta exempel på det hjälpmedel, både ord och föremål, för att hålla fast arbetsstycken som vi anser ha använts vid arbeten på Vasabänken. Roald har gått igenom norskt material i ett inlägg. Det jag hittills hittat i litteratur och frågelistssvar är ytterst begränsat. Jag kommer senare att gå igenom fler frågelistssvar i hopp om att hitta fler exempel.
I Hallén & Nordendahl (1923) finns en bild på en “bänkhållare”. Den beskrivs på följande sätt: ” Bänkhållare, knekt (valet), är ett enkelt redskap, som ofta begagnas för att på hyvelbänken fasthålla trästycken vid avsågning, nedsågning, borrning, stämning m.m. Hållaren, består av en rund järn- eller stålten, i övre änden utsmidd till en stark vinge eller fjäder. Den nedsättes i ett å bänkskivan borrat hål; arbetsstycket lägges under fjädern och fastspännes genom ett slag med klubban på klacken i riktning a och lossas genom ett slag i riktning b.“
Här används benämningarna “bänkhållare” och “knekt”. Knekt är ett återkommande ord för olika slags hjälpmedel inom snickeri. Noterbart är att här nämns också “valet” som är den franska benämningen för en bänkhållare (Diderot & D Àlembert 17??). En kommentar från “johanrubank” till Roalds inlägg om “killingfot” är att det svenska ordet för “holdfast” är “fransk bänkspännare”.
I Stadius ( 2013) ingår en genomgång av några bouppteckningar efter stolmakare i Stockholm. I flera av dem återkommer ordet ”stämhake”. Jag har inte stött på ordet tidigare, men det kan vara en bänkhållare som avses.
När snickarmästaren Ove Malm gick i lära i en verkstad i Lund på 1930-talet hörde han de äldre snickarna använda uttrycket “fans tumme” för en bänkhållare.
För några år sedan köpte jag två bänkhållare av Kalle Melin. Han hade i sin tur köpt dem i Gärds Köpinge i Skåne, av en samlare som specialiserat sig på järnföremål. Enligt Kalle Melin samlade han in föremål inom en radie av ca 10 mil från Gärds Köpinge, dvs. i Skåne och Blekinge.
Roald och jag har bett smeden Mattias Helje i Lima tillverka kopior efter en av bänkhållarna. Vi kommer att använda dem i bänkarna som tillverkas i Stigtomta och Mariestad.
Hallén & Nordendahl (1923). Träslöjd.
Stadius, C (2013). En studie av stoltillverkningen i Stockholm 1750 – 1820.
Malm,O. Muntlig uppgift.
Arkivert under:Killingfot / hallfast / ronghake, Tilbehør høvelbenk, Tomas og Roald snikrar høvelbenk i Mariestad, Tomas snikrar høvelbenk, modell Vasaskipet, Uncategorized
John looked under the bench and found a piece of wood which he thought would do for a wedge, only the end wanted sharpening.
“Shall I take your broad chisel and sharpen it?” said he.
“No,” said Ebenezer. “I have not taught you to use the chisel yet, and it would not be safe.”
“What would be the danger?” asked John, —”that I should cut my fingers?”
“No,” replied Ebenezer. “I am not afraid of that. We don’t usually give ourselves much concern about our apprentice’s fingers. The damage that I fear is, that you might dull my chisel, and that would be of much more consequence. You see if you cut your fingers, they will get well of themselves, after a little time; but it would make me a great deal of trouble to sharpen up my chisel, if you were to get it dull.”
(John then proceeds to finish sawing a board, and Ebenezer comes to inspect the result.)
“Have I sawed it pretty straight?” John asked.
“We don’t praise apprentices much,” said Ebenezer, “especially when they are beginning, for fear it should make them conceited. People that know very little are always apt to be very vain of what little they do know.”
— “The Boy’s Own Workshop” by Jacob Abbott (William P. Nimmo, 1866)
Filed under: Historical Images, Uncategorized
I’ve said this before, but it’s fun to see your name in print at the bookstore.
At the risk of seeming self-serving, if you don’t have a copy of this issue, you really should get one. Besides excellent material from the usual Popular Woodworking Magazine contributors, there are articles by Marc Spagnuolo, Autumn Doucet, Don Williams, Jim Ipekjian, and Bob Rozaieski that are just outstanding.
First, the excuses. We had hoped to release the Classic Leg Vise last week. Obviously that didn't happen. We were in the middle of machining a large run of Crisscross arms when we discovered a problem. This run of Crisscross arms was destined for Classics, but a small error in our molds meant that hundreds of arms had to be melted down and repoured. The cope and drag were shifted just enough to make the machining impossible. So back into the pot they went. We hope to have Classics ready for sale by the end of this month. For those who are chomping at the bit, trust me, it will be worth it. I've been using one in my own shop for that past couple weeks in a high vise. I'm hooked.
And now the opportunity. Since day one we've always used Cocobolo rosewood for all our vise knobs. Recently the wood was placed on the CITES Appendix II list. Supply is already getting short, and the price has doubled as well. We didn't want to raise prices for the sake of the knob, but we also didn't want to eliminate the look and cache that the rosewood provides.
But before I go further, let me mention a couple downsides to using Cocobolo.
Moisture content. It can be all over the map. Waiting for rosewood to dry is sort of like waiting for a drought in the Louisiana bayou. Wet wood shrinks, and when you're trying to put a metal screw into a piece of shrinking wood, things get tight. We usually have to ream some of our knobs so they spin freely on the screw. We also know that some of our customers have to do that as well. Hey, its wood after all, but we want to do better.
We tried a few options. Indian rosewood (same problems as cocobolo), Impregnated maple (too light colored), even transparent aluminum (too expensive). In the end we settled on a material that was at the absolute bottom of our list: DymondWood.
Yes, that ghastly multi-colored birch plywood-based, resin-impregnated, clown-barf abomination that we've all seen on too many amateur knife-maker's blades.
But we discovered that it doesn't all look like that. DymondWood "Rosewood Burgundy" is remarkably close to cocobolo. And it offers a big advantage over rosewood (aside from being made from a super abundant wood-birch), and that is stability. With its resin-impregnated, multi-ply structure, it basically functions like plastic. It won't shrink on the knob, and won't crack either (not that we've ever had a knob crack, to our knowledge). It also feels exactly like a cocobolo knob in your hand.
So in the next week or so, we'll start shipping vises with our new DymondWood knob. I doubt anyone will even notice. In fact, we passed around two knobs this week here, and only one person picked out the DymondWood instantly. Everyone else had to look close.
One of the knobs below is cocobolo, one is DymondWood.