You might have seen my post from a few weeks ago on my new workshop. Well, it is with mixed feelings today that I am officially closing down the Logan Cabinet Shoppe. This will be my official last blog post under that name.
Recently, my family and I have made the decision to pull up our roots and make a permanent move from Logan Township, NJ to southwest VA. It is somewhat bittersweet, because we have put so much work into our current home, and made so many great friends here, but we know that this is the best thing for our family going forward.
The official move will take place at the end of June, however, we have already started the process. Over Memorial weekend, I disassembled the shop, packed everything up, and we began moving south. So I won’t be doing any woodworking in the near term.
The good news is that I’ll be gaining a 340 sq. ft. standalone shop. The added space of the new shop will give me the opportunity to do some things that I’ve only dreamed about doing in my NJ shop. However, the building needs a bit of work before I can move in. So over the next few months, I’ll be rehabbing the shop and making it ready for the new projects that I have in mind. But for now, everything is simply stacked up in boxes and piles awaiting a new home.
The move also gives me an opportunity to build a new web site. You can find Bob Rozaieski Fine Woodworking at brfinewoodworking.com. I hope to continue my blogging over on the new site once I have the new workshop all set up.
Thanks for your support for all of the years I’ve been doing this! See you from Virginia!
I just returned from a week long “vacation” at our new home in the mountains of VA. I say vacation but there wasn’t much leisure involved. Just lots of cleaning, and we still haven’t finished. But we did manage to get some time to walk our 24 acres.
I also had a little time to check this out.
Compared to my current shop, this one is over 3 times larger. It needs work, but it will make a good project once the rest of the house is done. We just got back to NJ but I’m already anxious to get back to VA.
If the form itself is lacking, the best wood in the world will not make up for it.
This quote (and the title of this post) was taken from George Walker’s Design Matters column in the April 2015 issue of Popular Woodworking Magazine. Truer words were never spoken. So often when we find a really special piece of lumber, we get so focussed on showcasing it, that we miss the bigger picture.
This doesn’t just apply to a really nice piece of wood though. It extends to any decorative element, be it moldings, carvings, inlay, decorative painting and stenciling, or contrasting wood species. Basically, any element who’s main purpose is to highlight. No matter how well done or how numerous these elements, they can’t improve a bad form.
We should even include joinery in this discussion these days. Woodworkers today are obsessed with showy joinery. Air tight dovetails, pillowed through mortise and tenon joints, and fancy ebony pegs are indeed nice to look at, especially to other woodworkers. But if the overall proportions and basic structure of the piece are lacking, it really doesn’t matter how perfect your hand cut dovetails are. Flawless skin cannot improve poor bone structure.
On the other hand, if the underlying form is good, you can get away with a less than perfect complexion. Just look at much of the best furniture in museums. It can be riddled with over sawn dovetails, surface tear out, and inconsistent turnings, and be made with boring figureless wood. But the piece can still be exemplary because its basic form is well executed.
So thank you George for bringing this topic up! In my opinion it’s an all too important topic that is not discussed often enough.
Recently, my friend Mike Siemsen and the folks over at Lost Art Press put out a DVD called “The Naked Woodworker“. The DVD is aimed at the new woodworker who has no tools and no idea where to start. I picked up a copy to watch and then donate to my woodworking club’s library. After watching it, let me just say, that if you are the new woodworker I just described, you need this DVD. It will be the best $20 and the most valuable 4½ hours you can spend before you start woodworking.
The first disc of the 2-DVD sets starts with Mike at the MWTCA meet, buying tools. He tells you what to look for and what to avoid when shopping for tools. But most importantly, he focuses only on what tools you will need to complete your first two projects, a sawbench and a workbench.
This section alone is the kick in the pants that so many new woodworkers need to stay focused. I’ve long suggested that when you’re new to the craft you should focus on a project and let your project dictate the tools you start with, not the other way around. But far too often, the focus of new woodworkers is to try and buy every tool they think they might someday need before they ever cut a single piece of wood. Mike’s no nonsense approach to tool shopping shows you how to focus only on the good user grade tools that you will need to get the two projects done, without spending a fortune in the process.
In the second half of the first disc, Mike talks about how to get your new tools ready to go to work. Regardless of whether you go the new tool or old tool route, you need to know how the tools function, and more importantly, how to maintain them and keep them working like they should. All tools get dull in time, so knowing how to keep them sharp is the most important skill any new woodworker can learn.
The primary focus on this part of the disc is on sharpening plane irons and saws, but Mike does briefly discuss the setup of the rest of the tools he bought as well. Then, using a simple and inexpensive sandpaper setup, Mike sharpens the blades for all of the planes he bought in the first part of the disc, and shows you how to adjust the tools and get them working properly with minimal fussing. There’s no uber tuning and shaving measuring going on here. These tools are set up to build stuff, not show off on internet forums.
After the planes are set up, Mike moves on to the saws. The difficulty of sharpening ones own saws is so over exaggerated it can be sickening. The fact of the matter is that it’s really not that hard. It’s no harder than learning to sharpen a chisel or plane iron. It takes some practice, and while your first sharpening is not likely to result in perfection, it will still result in a saw that cuts better than a dull one. Mike shows you how simple it is and discusses both rip and crosscut saws, again, focusing on getting the saws to an acceptable working level, not striving for perfection.
Disc 2 is all about getting to work with your new tools. Mike builds a sawbench and Nicholson inspired workbench in this disc. The saw bench is straight forward, simple and inexpensive. The design gives you plenty of sawing practice, requires no complex joinery, and results in a rock solid, sturdy sawbench. Oh, and he builds it using only a pair of 5 gallon buckets to work on, because that’s probably all you will have to work with.
Then Mike goes on to build a full sized workbench, again, only using the sawbenches to build it, because that’s all you will have. Mike’s modified Nicholson bench design is really simple to build and incorporates a bunch of really great, inexpensive workholding options. Maybe I like the design because the way he built it is so similar to how I built mine, but it’s simplicity is only outdone by its functionality. Mike has made this bench so easy to build, using no complex joinery, that I’m betting my 9 year old daughter could almost build it with very little help from me. This is the first workbench every new woodworker should build.
So to repeat what I wrote above, if you are a new woodworker, just getting started, buy this DVD before you do anything else. If you follow along with Mike’s teachings in this video, you could have a basic tool kit, a sturdy place to work, and be on your way to building furniture in no more than a week or two.
When the name Andre Roubo is mentioned, most people’s first thoughts are of a massive workbench. However, when you delve into the myriad of plates that were published as part of Roubo’s series of volumes on the many different facets of woodcraft, you will immediately realize that these books are about so much more than a workbench.
My first introduction to Roubo came a little over a decade or so ago, just a few years after I sold most of my power tools and machines. At the time I was engrossed in Moxon and Nicholson, but I was looking for more than what those two books were providing. Somehow, during an internet search of old books on woodworking, I came across a bunch of PDFs of plates from an old French woodworking book. I couldn’t read French, so I couldn’t understand any of the text, but the engravings were so well done that I was able to infer a lot of information just from looking at the various plates. It wasn’t until a year or so later that I found out that I had been studying plates from Roubo’s various volumes.
The plate above, Plate 14 from Roubo on Furniture Making, was one of the first ones I noticed, I think primarily because there were so many things that were familiar on it. From the try square, to the marking gauges, to the winding sticks at the bottom of the page, this plate was really consistent with many of the things I had seen and learned from the historic English texts on the craft. However, the engravings at the very top of the plate were quite interesting to me. It was obvious from the engraving at the top right that he was referring to another type of winding sticks, but these were a bit different than the typical winding sticks I had always seen and used (he appears to picture these at the bottom left of the plate). I tucked the odd winding stick engraving away for awhile and went on doing other things for the next several years.
I came back to this plate recently when I was writing an article for Popular Woodworking Magazine. I was researching the different types of miter squares I had seen for the article, and Roubo’s Plate 14 had one that appeared to have several different angles, so I built a version for the article. I was again reminded of those odd winding sticks, but I hadn’t the time to try them out at the time. So again the image got tucked back into the memory banks to be recalled at a later date.
Recently, Don Williams wrote a short blog about his own version of Roubo’s odd winding sticks. Of course Don is the driving force behind the English translations of several of Roubo’s works, currently available, and soon to be published by the folks over at Lost Art Press. While the volume on marquetry is currently available, the volume on furniture making is still in the works, so don’t go trying to find the above plate in the volume on your book shelf. Don’s recent post reminded me of these unusual winding sticks, so since I had been making a new pair of traditional English style winding sticks anyway, I thought I’d finally make a pair of Roubo’s as well, and try them out for myself.
The first thing you notice about these winding sticks is that they aren’t just a pair of sticks. Instead, each has a pair of “legs” that lift the stick off the surface of the board. At first this seems to not make any sense. How on earth can the sticks be used to assess a board’s flatness if they don’t even touch the board. That’s when I realized that their primary purpose is not to assess flatness at all (though they can be used to do so, as I’ll discuss in a minute). They’re winding sticks, they’re primarily used to assess wind.
Traditional winding sticks, while sometimes ornate like my new pair, can be nothing more than a pair of straight sticks with parallel edges. When placed on the face of a board, they allow one to assess a board’s state of flatness and wind. In the photo above, the gap underneath the bottom of the sticks indicates that there is a slight cup across the face of this board. In addition, there is a very slight twist in the board as well, indicated by the left ebony inlay sitting slightly higher above the top of the front stick than the right ebony inlay.
Traditional winding sticks have a drawback though. They aren’t so reliable when assessing the crowned face of the board. Sure, they’ll tell you if the board is crowned, but they really can’t be reliably used to assess wind on the crowned face because they have to be balanced on the crowned face. This allows the sticks to rock on their centers, which can throw off the reading and make you chase wind that may not even exist. Sure, you could just assess the cupped face, but if the board has enough cup and twist, trying to plane the cupped face can be quite a circus act as the board rocks on its crowned face. Wedges under the high edges can help, but only so much. Sometimes, it’s just easier to flip the board over and work on the crowned face rather than chase the board around the bench.
This is where Roubo’s winding sticks shine. Because these winding sticks have “legs”, they are able to span over the crown in the board, and provide a precise assessment of the state of wind of the board. The legs ensure contact with the board only at the outside edges, where it is most important for assessing wind. But wait, there’s more…..
Closer examination of the engraving in Plate 14 reveals another interesting use of Roubo’s winding sticks on stilts. Because the “legs” span over any irregularities in the face of the board, they make correcting any wind in the board almost as easy as detecting it. Looking closely at the engraving, you can see that the legs of the winding sticks are actually reading off the bottom of a rabbet planed along the edge of the board. This was the light bulb moment for me. Using a simple rabbet plane, the wind in the board can be corrected by planing a rabbet that tapers from shallower at the low corner to deeper at the high corner. When the sticks align, the wind is gone. The resulting tapered rabbets then act as pseudo marking gauge lines. Plane the remainder of the face of the board until the rabbets just disappear, and the face is free of wind. By checking that the floor of the rabbet is flat from one end of the board to the other end, you are also ensured that the face of the board is flat.
In the photo above, the rabbets were planed a bit deeper than they needed to be for illustration purposes. This board actually did not have that much wind, but I made the rabbets a bit deeper than they needed to be just to show how I think these winding sticks would be used.
Above you can see how the rabbet is planed along the edge while the center of the board is left untouched. The rabbets then become depth gauges for planing the board flat and free of wind. As an additional benefit, the rabbets allow you to traverse the board (plane across the grain) without fear of blowing out the grain on the far edge. When you get close to being finished, you can also slide the legs out of the way and use the sticks alone as a straight edge. There’s a lot to like about this method, and these winding sticks.
So after building and using these winding sticks, I’m even more anxious to read Don’s detailed essay on them in the upcoming Roubo on Furniture volume that will hopefully be released later this year. My observations are really based only on the engravings and my own experimentation. I have no text to back any of this up. So I’m interested to see how my experimental archaeology compares with what Roubo (and Don) actually wrote about these winding sticks. I’m curious to see if there are any other uses for them that I haven’t yet discovered.
On the down side, the legs do make assessing minor wind a bit more difficult than traditional winding sticks without the legs. The tops of the legs break up the straight line of the sticks, so when there is only a minor bit of wind, I find it easier to see with the traditional sticks. However, I can see the legged versions being more useful for stock that is a little less flat to start out. And using the rabbet as a marking gauge for planing is, in my eyes, just pure genius. It allows you to more or less plane the entire surface of the board flat without constantly stopping to check for wind during the process, because you are simply planing to a line.
Can’t wait to see what other gems Don and crew have uncovered when the new volume comes out!
It’s Get Woodworking Week 2013, and that means that it’s time once again to do our part to promote woodworking and grow the craft. Of course this should be a year long activity, but this week, we really focus on newcomers and rank beginners to the craft. Today, I want to talk about chisels. There are a lot of different styles as well as specialty chisels designed for specific tasks. They’re not all needed to get started though. You just need a few basic bench chisels. So that’s the topic of today’s tip.
It’s Get Woodworking Week 2013, and that means that it’s time once again to do our part to promote woodworking and grow the craft. Of course this should be a year long activity, but this week, we really focus on newcomers and rank beginners to the craft. Today, I want to talk about an often misunderstood part of traditional woodworking, hot hide glue. Contrary to what some would have us believe, hot hide glue is not complicated to use and is actually very forgiving. You also don’t need expensive glue pots to use it. You can of course buy one, and they do work wonderfully well, but you shouldn’t think that they are necessary to use this glue. In fact, you can get started with little more expense than the glue itself. An empty jelly jar heated in a sauce pan of water on the stove top will work just fine. You can also use an inexpensive hot pot and an empty glass jar, an old cast iron glue pot like I use (about $10 on ebay), and any number of other creative solutions to heat the glue. Whatever you choose to use to heat it, here’s how to go about it.