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Lost Art Press: Chris Schwarz

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Updated: 3 min 50 sec ago

Register for Classes with Megan and Brendan

11 hours 26 min ago

Registration is now open for 2018 classes with Megan Fitzpatrick and Brendan Gaffney. The classes will be held in our storefront and are limited to six participants.


To register for Megan’s April 7-8 class on building a Dovetailed Silverware tray, click here. The class is $250 plus a small materials fee.


To register for Brendan’s April 21-22 class on making a Cabinetmaker’s Sector, click here. The class is $300, which includes all materials.

Full details on the classes can be found here.

Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

Passing It On

12 hours 52 min ago

Published by John A. Gray and Green, printers. Photo courtesy of: Library of Congress, Prints & Photographs Division, LC-DIG-pga-01411.

“Utility furniture is now on the market, and everyone is able to see in what respects it differs from the uncontrolled product, and to form conclusions as to what extent we may expect it to influence furniture design of the future. The story of mankind with all its perverse, twists and turns, its chivalries, its discoveries, its unconquerable vanities, and its tragedies, stamps itself even on our furniture, so that the very line of a chair-leg or the rake of a chair-back may be a dumb witness to the end of an epoch or the herald of a new age. But there is more than mere history in the shapes of things: there is the sum total of human experience.

“When a craftsman of to-day sets to work to make a chair, the knowledge which he takes so much for granted is the stored-up inheritance of generations of craftsmen who had preceded him. He is profiting by their discoveries, their failures, and adding whatever of its own particular worth in new processes the present age has to offer. Only in our own age the ratio of skilled craftsmen is diminishing, and with so much that is good and civilised in process of being destroyed, one wonders how much will survive.

“Not that it is difficult to see that war will leave behind it advancement in some branches of knowledge, not only in weapons of destruction. We may, for instance, look for considerable advance in surgery, learned on the living bodies of shattered men, a considerable advance in chemical discovery, in aviation, but these are not the things on which our civilisation can be rebuilt. We are finding to our cost that men may have these and still be barbarous. Civilisation is founded on a sense of order, measure, proportion, self-control both of the mind and of the body, exactly the qualities which the acquisition of any true skill tends to develop. In fact, we may say that it is upon the world’s craftsmen in wood, stone, clay, who have made it possible for the living thought of one generation to be handed on to the next, to be a living witness of what man can do, and a living challenge, a standard to live up to and, if possible, surpass. To transmute the soaring vision of man’s destiny into a cathedral needed the work of stonemasons, carpenters, glassmakers, just as it took a craftsman to conceive of the letters in wood from which modern bookcraft had its beginning. Always the craftsman has been the conserver, the guardian, who passed on what was imperishable from one age to another, not failing to set his own seal upon it in the doing. Because no man’s work is exactly like anothers. There are always the little individual characteristics that stamp it as his own, giving it just that living touch which the machine will always lack.

“But now that the machine is with us, what are we to do about it? We cannot go back, even if we would. It has brought leisure and amenities which we value, and which could, if we would, be turned to good account. For leisure and amenities provide just that opportunity of developing those creative qualities of which modern life tends to rob us and which will be badly needed in the world after the war. It is only by doing creative work of some sort that a man learns both to know himself and to train himself for more and better work, and it is essentially the mark of the civilised man. To be indifferent, careless of one’s time, to want only to be amused, is to invite personal disintegration, a loss of personality which is not only a loss to oneself but to the community at large. For after the war we shall want men of personality, men of creative ability, men with patience, shrewdness and sound judgment to deal with the problems of peace. The new world cannot be a good world unless we conserve for it all that we have inherited of lasting value from the old. Only the barbarian blindly destroys. It takes civilised man—the man with the craftsman spirit—who is careful to see that beauty does not perish, to pass it on.”

— Charles Hayward, The Woodworker magazine, 1943

Filed under: Honest Labour, Uncategorized
Categories: Hand Tools

Wedging Mortise and Tenon Joints

14 hours 52 min ago

FIG. 1. A. AN OLD METHOD. Tenons and wedges were cut back in the stiles and a “pocket piece“ let in, making a first class finish. B. A BAD METHOD. Wedges are driven into the tenons themselves, causing splits

This is an excerpt from “The Woodworker: The Charles H. Hayward Years: Volume III” published by Lost Art Press. 

“We’ll glue those wedges and tenons!” How often is this explanation heard when gluing up framed work. A usual response being to dip the wedges into the glue and drive them hard home, unless the wedges break off or bottom badly.

If we analyse the reason for wedging a joint we find that the wedges are provided to ensure a compression in the fibres of the tenons to equalise the inevitable movement due to age and conditions. At the same time it is necessary to provide a mortise with parallel sides for the tenon, so allowing for movement.

Take as an example a through mortised and tenoned wedged joint, the shoulders being tightly fitting to ensure rigidity in the work. In framing up we glue the shoulders and a small adjacent area only of the tenon, to allow the movement along the tenon (see Fig. 3 B). It will be obvious that to solidly glue the whole joint is defeating the essential object of that particular joint.

The logical method would be to glue the shoulders as usual, place the long grain edge of the wedge to the tenon, but do not glue (it may in fact be slightly greased), but gluing the remaining parts of the wedge into the mortise of the stile, making a parallel path for the tenon, but under compression. A joint made in this manner will not open at the shoulders.


FIG. 2. DIAGONAL WEDGED TENONS IN THIN WOOD. This method is permissible in this case

In the case of double tenons, drive the outside wedges first to set the compression, the inner ones then being driven to equalise the compression on the tenons.

Good quality work of the old days had the tenons and wedges cut back in the stiles to allow for shrinkage clearance, and a pocket piece let in and flushed off in the stiles, making a workmanlike job (Fig. 1 A).


FIG. 3. A. THE EFFECT OF WEDGES INSERTED IN THE TENON AND GLUING ALL OVER. Tenon is held at outer edge of stile and shrinkage takes place away from shoulder B. THE CORRECT METHOD. Wedges are placed between tenon and sides of mortise, and only the shaded area of tenon is glued. Shrinkage of stile can then take place at its outer edge, but shoulder holds firm

A Bad Fault.
An odious method becoming prevalent to-day is tenon splitting and wedging the tenon out into a fantail in the mortise; it is apparent that the least shrinkage will pull the shoulders right open, when all rigidity in the work vanishes (see Figs. 1B and 3A).

Such a method is only permissible when diagonal wedging in thin material such as carcase construction, shelves to ends (Fig. 2), or in fox-wedging in the appropriate joints.

Selecting suitable joints and framing them up is a complicated matter at times, but consideration on the foregoing lines will amply repay the craftsman in the quality of the work he produces.

Meghan Bates

Filed under: Charles H. Hayward at The Woodworker
Categories: Hand Tools

Barely Legal

Thu, 10/19/2017 - 4:16pm


We had our first inspection from the Covington fire department this week and were told to fix something I’ve been meaning to get around to for 18 months: an exit sign.

We had a lighted exit sign when I purchased “The Blaze” more than two years ago. But the sign was super nasty, painted in glitter and covered (somehow) with hair. Hair? What the…? I ripped down the sign when I removed the odd ventilation fan (also covered in hair) and about three metric miles of sub-code electrical wiring.

Today we installed a hairless exit sign that was 100 percent to code, and we’re added an “anti-blowjob” light to the front door to boot. I feel this light needs explanation.

Our shop is on a busy street corner that is used by everyone from elementary school students to prostitutes. When the sun goes down, some of the prostitutes have decided to use our shop’s stoop for their customer service duties. When this happens, the neighbors call the cops, and I get a nastygram from the police about the illegal activity on my property.

If I receive a couple more of those police reports I’m told I might be declared a nuisance by the city.

And so I debated today as to whether I should install a light above our door or monetize the whole thing with a webcam.

We’re going with the light.

— Christopher Schwarz

Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

Alter the Tips of Your Dividers

Tue, 10/17/2017 - 5:47am


Note: This is crossposted from Crucible Tool.

Dividers work better if the tips match the job you’re doing. For layout chores, such as scribing arcs or setting out your joinery, the dividers’ tips need to match the wood you are using. Sharper tips will prevent the tips from skating on hard woods. And dull tips are needed in soft woods to prevent from marking the work too deeply.

In this video, Raney demonstrates how to make the tips sharper or duller using fine sandpaper stuck to a flat surface (a granite block in this instance). Changing the tips from dull to sharp takes only about two minutes (I timed him). And the results are worth the extra effort.

These techniques work on almost all dividers, not just our Improved Pattern Dividers.

— Christopher Schwarz

Filed under: Crucible Tool, Uncategorized
Categories: Hand Tools

New Book from Nancy Hiller & Lost Art Press

Sun, 10/15/2017 - 5:26pm

Editor’s note: Aside from my family, my three deepest passions in life are woodworking, food and music. Almost every night I cook a meal while listening to music and surrounded by the things I’ve built. I have deep-seated philosophies about kitchens and kitchen tools that parallel my writings on shops, tools and workbenches. So after talking to Nancy Hiller about her approach to kitchens and cabinets, I knew we had to do a book together on this topic.

It will be a book that seeks to overturn the decades of “rip it out” advice you get from television, magazines, books and the Internet. It will be a be a book for people who would rather build than buy. And who want their kitchen to be in harmony with their house, their families and their lives. And so let me turn things over to Nancy.

— Christopher Schwarz

Kitchen cabinets are the poor step-sister of the furniture making world. You know – the homely one with a sixth-grade education who processes fish for a living and always seems to have that smell.

“He builds cabinets,” sniffed one of my woodworking friends a few years back, referring to an acquaintance. The statement was nowhere near as straightforward as those three simple words might suggest. He spoke with a pained expression, lowering his voice to a near-whisper when he got to “cabinets.” Clearly this was some kind of shameful secret; building cabinets made the acquaintance…well, you know, not a real woodworker. He might as well have been telling me the guy’d been caught in flagrante with a blow-up doll.

“Why would I want to build plywood boxes when I could be building 18th-century highboys?” remarked another woodworking friend. The question was rhetorical, more a way of announcing that he’d broken into the East Coast market for period Americana and so escaped the obscurity of the rural workshop where he’d spent years building cabinets, millwork and furniture for the local market.

You get the picture. Among woodworkers, kitchen cabinets are the Zero Bar to the highboys’ Lindt truffle: a species of work beneath those with refined taste and higher skills.


One wall of the kitchen Daniel and I did in Washington, D.C., in 2006, described in the story “Daniel” in Making Things Work.

Most woodworkers who build cabinets do so for the same reason as our furniture-making forebears built coffins in addition to tables and chairs: because they offer a source of income that helps even out the road between freestanding furniture commissions. It’s easy to look down on built-ins when your livelihood doesn’t depend on woodworking, or when you are:

• Retired
• Your woodworking venture is subsidized by a spouse’s income
• You’ve tapped into a rich vein of market popularity
• Etc.

Not everyone is so fortunate.

How did the lowly kitchen cabinet become a friend to many who trained as furniture makers, imagining we’d spend our days hand cutting dovetails and French polishing meticulously inlaid cutlery canteens? The answer has as much to do with publishing, advertising and banking as with wood and tools. Ultimately it boils down to the commodification of the home.

We’re talking real estate. Home ownership today is light years away from that of 200, 100 or even 70 years ago, when the people who owned what’s now my acre of semi-rural land cut down some trees, dug up some rocks and built themselves a simple board-and-batten-sided cabin worthy of Snuffy Smith. Today a massive industry surrounds home ownership, from Realtors (yes, that term is trademarked and officially requires an upper-case “R”) and appraisers to title companies, banks and building inspectors. There has been a serious shift during the past century in how many of us think of our homes: They no longer simply represent shelter and a central base for family, but are the largest financial investment most of us will ever make – one that, with luck, may increase our wealth at a rate that leaves inflation panting breathlessly in the dust.

As with any investment, we’re urged to put ourselves in the hands of expert advisers. And there’s an army of them out there. Take the wildly popular hosts of home improvement shows on HGTV (please, take them) – that cast of smiling, perfectly groomed characters eager to instruct you in the magical art of transforming a hovel into an “urban oasis” or liberating yourself from the corporate rat race by hitching a ride on the house-flipping bandwagon. Take the legions of salespeople at home stores across the nation, who will gladly guide you through one cabinet display after another until you’re dizzy from over-exposure to CNC-routed fretwork, dedicated mixer cabinets with lift-up stands and decorative wine racks. Take the web-based magazines with their daily examples of designer ideas to “steal” and big-name-brand “hacks.” Or that modern means to keep yourself forever in debt, the home equity loan, advertisements for which have long encouraged us to treat our houses as ATMs.

To be a contemporary homeowner is to feel an almost moral obligation to spend money on your house. Never mind how your friends may judge your taste on seeing you still have that Laura Ashley “Dandelion” wallpaper from circa 1983; there’s a sense that if you’re not religiously “updating,” you may be losing financial ground.


I hung this Laura Ashley “Dandelion” wallpaper in the kitchen of the first house my husband and I bought, a skinny terrace (row) house in a working-class neighborhood of the English city Reading. How I loved that wallpaper.

One result of this topsy-turvy mindset is that customers are generally more willing to shell out tens of thousands of dollars on something they believe will increase the value of their house than on a piece of freestanding furniture. Built-in cabinets even fall into a different category in the world of sales tax: They are “improvements to real estate.” People rationalize them as an investment. That artisan-made dining table? Arguably a frivolous buy in comparison.

Of course, you can only get the value of a kitchen remodel out of a house so many times. Property values in most regions don’t increase at anything like the rate that would be necessary to cover the tens (sometimes hundreds) of thousands spent on kitchens. And then there’s the troublesome fact that new cabinets installed as part of a kitchen update undertaken to help sell a house are routinely ripped out by the new homeowners, only to be replaced by something more in line with their own taste. Never mind the so-called “green design” professional who encourages you to tear out your laminate counters and replace them with a “sustainable” composite incorporating recycled glass. The preoccupation with updating results in a mind-boggling amount of waste. These are real-world caveats that some of us point out to prospective clients as we urge them to think about what they really want and need, as distinct from what other experts (and friends, and relatives) are telling them they should want. Despite being urged repeatedly by contractors to blow out the walls of their 1910s kitchens per the dictates of “open concept” design, I have found clients almost giddy with relief at encountering a professional who appreciates the value of rooms.

That said, I understand the desire for a change of scene, a shift in tone. There are ways to rework your kitchen without spending a fortune or increasing the elevation of your local landfill. The first requirement is simply to think. In this process, context is your friend. I’m talking about context broadly understood: where you are in life; what resources you have access to in terms of money, unusual materials or time; the architectural style of your home; and so forth. For the past 20 years I have made my living largely by working with clients to respond creatively to a variety of realities many designers and cabinetmakers consider limitations. The book I’m writing for Lost Art Press will be full of these and other ways to approach kitchen design, build cabinets and devise creative solutions to problems.

— Nancy Hiller, the author of “Making Things Work.”

Filed under: Uncategorized
Categories: Hand Tools

Lay Out a Chair’s Pommel

Sun, 10/15/2017 - 11:57am


There’s a quick tutorial on laying out a traditional pommel on a seat with a French curve and only two points. Check it out on the Crucible Tool site here.

— Christopher Schwarz

Filed under: Crucible Tool, Uncategorized
Categories: Hand Tools

Two More Upcoming Classes at our Storefront

Sun, 10/15/2017 - 6:03am


Megan Fitzpatrick and Brendan Gaffney will each teach a weekend class in April at our storefront in Covington, Ky. Registration will open at noon on Friday, Oct. 20.

Just like with the Welsh stick chair class with Chris Williams, these will be small classes with only six attendees. Also, these are not money-making enterprises for me or Lost Art Press. All proceeds go directly to the instructor.

I’m allowing them to use the space for free because they are my friends, I think they each have something valuable to teach and the classes build the local woodworking community in Covington. Here are the details.


Build a Shaker Silverware Tray with Megan Fitzpatrick
April 7-8, 2018
Cost: $250, plus a small materials fee for wood & cut brads (likely around $30)

Make a classic Shaker silverware tray in this introduction to hand-cut dovetails. In this two-day class, you’ll learn:

  • Dovetail layout using dividers
  • How to use a backsaw to saw to a line
  • How to wield a coping or fret saw
  • How to pare and chop to a line with a chisel
  •  Several strategies for transferring the tails to the pin board
  • Techniques for fitting the joint
  • Why dovetails work – and we’ll look at some examples of long-lasting period dovetails that look as if they were gnawed out by a beaver – “perfection” is overrated when it comes to the efficacy of this joint. (That said, you’ll also learn some “tricks” for fixing less-than-stellar dovetails.)
  • How to lay out then cut and fair the handles (both the hand holds and the curved top edge)
  • How to smooth-plane your surfaces
  • How to use cut nails (to install cleats for the bottom board)
  • And of course, how to put it all together (and why I recommend liquid hide glue).



Build the Cabinetmaker’s Sector with Brendan Gaffney
April 21-22, 2018
Cost: $300, which includes all raw materials

In this two-day class, students will build their own Cabinetmaker’s Sector, my modernized design for the ancient geometer’s tool, used for drawing, drafting and (in my shop) the layout of dimensions and joinery on woodwork. The class will revolve around the skills of modern hand-tool makers, including careful marking and measuring, mixing metal and wood, hand shaping, finishing and (of course) how to use the tool.

Each student will be provided the wood and the necessary brass hinges and pins, everything needed to produce the sector. The first day will revolve around affixing the brass and wooden tabs into the tools, riveting the leaves together, flattening and lapping the tools and reviewing the principles behind the geometry of the sector. The second day will revolve around shaping the sectors, stamping and inking the sector marks, finishing the sectors and learning to use them in the shop. Every student will leave with a completed sector, plus the knowledge of how it works and how to use it.

Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

Its OK to Think Inside the Box

Sun, 10/15/2017 - 5:44am

Box making department of the T.B. Williams Tobacco Company late 1800’s (Wiki Commons)










Yes it’s fine to think inside the box for a change, especially when there’s no need to think at all! At least not if your goal is to divide the box into any number of divisions. Thanks to the geometry of diagonal lines that occur inherently within a square, you need only a straightedge to reveal these fractions. This truth/tool allows you to lay out the baffles that will keep the bottles of spirits from rattling or worse. Of course there are easier ways to come up with these fractions (the sector springs to mind), but this is still a great way to construct by hand and observe by eye these geometric patterns as they spring to life.

See if you can follow the steps below which I’ve sketched on a sheet of graph paper. Why don’t you grab some paper and follow along too? Bet your kid can (and would like to) help you out! Get out a pair of dividers so you can confirm that the intersections do indeed produce perfectly spaced segments along a line.


Now isolate the first square…


…and continue by drawing a pair of diagonal lines as shown in green in the next sketch:


Next draw a horizontal line through the points that have been given to you where the (green) diagonals cross the first set. If you set your dividers to the intersections along this new horizontal line, you’ll find there are exactly/precisely/perfectly three equal-length segments. Now let’s draw another set of diagonals and connect their intersections with the original diagonals with a horizontal line:


As your dividers will reveal to you, that line is now automagically broken into four equal segments. Let’s continue the process with two more sets of lines (I really do highly recommend that you stop right now and grab a sheet of graph paper and watch this happen in real time through your own hands and eyes).


You’ll discover the red lines produces fifth segments while the yellow produce sevenths along their horizontals. Add another set (in blue here) of diagonals and horizontal and you come up with ninths:


Keep going if you like:


You’ll get ninths, elevenths and thirteenths – and on to infinity I suppose. What if you want an even number of divisions along a horizontal line, say tenths along the line of fifths? Well they are there waiting for you to discover with your dividers!

— Jim Tolpin, one of the co-authors of “From Truths to Tools

Filed under: From Truths to Tools
Categories: Hand Tools

Posers need not apply

Fri, 10/13/2017 - 3:30pm

The following is a short excerpt from Making Things Work.


It was a spacious shop, well lit and outfitted with a tidy mix of old and new equipment. “I’m working on a dining table and chairs for a client in Miami,” [my host] told me. “Quite a famous bloke, actually. To tell the truth, he’s got such a big name that I’m not allowed to say it. Not that that’s anything out of the ordinary in my world. These days it’s rare for me to work for anyone who’s not routinely written up in Esquire or Vanity Fair, that sort of thing.”

“Which part of London are you from?” I asked, curious as to the origin of his accent.

Ignoring my question, he turned his head to the right, saying “Come an’ take a look at this table and chairs” as he strode toward his workbench. The dining set was inspired by the work of French Art Deco designer Emile-Jacques Ruhlmann. The table, made of rosewood, was stunning. A cross between Deco and neoclassical, it had an extending top that could seat an intimate foursome or expand to accommodate 10. It was waiting to be finished, as soon as the chairs were ready.

“Double tenons hidden in those miters around the seat,” he remarked. “Ever use those darlin’s? I’m telling you, they are quite the challenge to pull off. But what a sturdy bit of join’ry they are. Those chairs will last forever. On the other hand, so will everything I make. That’s one of the reasons my clients are willing to wait years for an opening in my schedule.”

“I took a look at your website,” he went on. “Nice enough work, but really….’Period-authentic furniture and built-ins?’ It’s all been done before, ‘ain’t it? You couldn’t pay me to do that type of guff for common punters. On the other ‘and, someone’s got to do it, so I daresay it might as well be you.”

Now that he’d established I didn’t even rank high enough to engage in a pissing match (not that I am ever inclined to take part in such b.s.) I thought he might answer my question. “Which part of London are you from?” I asked again.

You can read the scintillating remainder of this tale and learn the origin of my host’s accent in Making Things Work.

Filed under: Uncategorized
Categories: Hand Tools

Saddling the Dugout Chair (and a Cologne Request)

Fri, 10/13/2017 - 1:21pm


I tried to finish the seat of the dugout chair today in preparation for our open day tomorrow (10 a.m. to 5 p.m. – lots to do and see). But I was only able to squeeze in about 30 minutes of work as I was dealing with heavy construction out back with the Lost Art Press Horse Garage.

In any case, I’m trying not to make this seat too refined or precious. I want it to match the ruggedness of the chair. But I don’t want it to look sloppy. So I’m shooting for “done quickly and with purpose.”

This seat is made from the last significant chunk of Eastern white pine from Midwest Woodworking I own. I’m going to miss this stuff.

I don’t wear cologne (heck, I barely wear deodorant). But if someone could make a cologne that smells like Eastern white pine when it’s being cut, I would actually wear that scent. Of course, the scent would only really attract beavers and some bark-eating grubs. But oh well.

— Christopher Schwarz, editor, Lost Art Press
Personal site: christophermschwarz.com

Filed under: Yellow Pine Journalism
Categories: Hand Tools

Registration for Welsh Stick Chair With Chris Williams

Fri, 10/13/2017 - 9:00am

You can now register for the chairbuilding class with Chris Williams via this link.

Note: Registering for the class or the waiting list is free – they won’t ask you for a credit card to register. After the dust settles, we will invoice the six attendees, as discussed here.

If the six slots are filled, please consider signing up for the waiting list. People’s lives will change in the next seven months.

See you in May!

— Christopher Schwarz

Filed under: John Brown Book, Uncategorized
Categories: Hand Tools

Using French Curves

Fri, 10/13/2017 - 6:27am


This morning I posted an entry on our Crucible Tool site about how to use the continuously changing radius on French Curves to join three points. This is a huge help when creating irregular or organic shapes.

Read the entry here.

— Christopher Schwarz

Filed under: Crucible Tool, Uncategorized
Categories: Hand Tools

Sharpening Dividers

Thu, 10/12/2017 - 7:20pm

Today Raney and I shot this short video on how to sharpen dividers with an all-purpose tip. These instructions work with any dividers, including our own. Next up: How to modify the tips to do interesting things.

— Christopher Schwarz

Filed under: Crucible Tool, Uncategorized
Categories: Hand Tools

The Lost Art Press Horse Garage

Wed, 10/11/2017 - 4:18pm

Horse Garage Overall COA

Once you grab a sledgehammer, it’s hard to put it down.

What began as a mild demolition of the interior of the Horse Garage at our storefront blossomed/became infected. Now I am neck-deep in a major construction project that requires all my skills, most of my time and nearly everything in my bank account.

The reward, however, will be that I’ll have a place for the few machines I own, and they’ll be steps away from my bench room. Also, the butt-end of our property will look a lot more like it did the day in 1906 that they constructed the garage behind the store.

In addition to time, money and muscle, this project requires the cooperation of the City of Covington. We’re in an historical overlay district. Luckily, city officials here are helpful and supportive. I’ve yet to encounter an unreasonable roadblock. But you do have to submit paperwork. Lots of it. And I don’t like paperwork.

Horse Garage DoorsToday we proposed our changes and backed them up with archaeological evidence, drawings and a fully signed and dated form. If this gets approved, then I will be on a fast track to build four huge doors, assist in installing a new membrane roof and weatherproof the building before winter arrives.

I’m optimistic. Not only because of the huge carrot dangling in front of me – a nice room for machines – but because of the help of the local Latin American community. The restoration of Covington is being built with the backs of the immigrant laborers, and my building is no different. While I’m on the roof and lifting concrete blocks every dang day, this job would be a nightmare without the help of Manuel, Hugo and a number of other strong backs.


I am not trying to be political here, just honest. They work as hard as I do. They push me to take on as much as I can manage. And they do it all with a laugh and a smile.

As we lift these 50-lb. blocks up into place I can think only of my great-grandparents on the Schwarz side. According to my grandfather, they arrived in the Dakotas from Germany in the early part of the 20th century and were put to work making bricks. They saved enough to move to St. Louis and buy a boarding house. My grandfather was a paper salesman and freelance photographer. My father was the first Schwarz to go to college and became a physician.

And now I’m back to the bricks.

Circular irony aside, it feels damn good.

— Christopher Schwarz

Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

I am a Tool Abuser

Wed, 10/11/2017 - 9:56am


And I do it for you. Details on the Crucible blog here.

— Christopher Schwarz

Filed under: Crucible Tool, Uncategorized
Categories: Hand Tools

This Weekend: Don Williams at our Storefront

Tue, 10/10/2017 - 6:03pm


Here’s a last-minute surprise: Don Williams will be at our storefront this Saturday (Oct. 14) to sign books and talk about all things A.J. Roubo, H.O. Studley and historical finishing.

If you’d like to chat with Don and ask him to sign a book, be sure to stop by between 11 a.m. and 2 p.m. (I don’t want to force him to stay in one place all day.) Don is the author (or co-author) of some of our most intense and rewarding books, including:

With All the Precision Possible: Roubo on Furniture
To Make as Perfectly as Possible: Roubo on Marquetry
Virtuoso: The Tool Cabinet and Workbench of Henry O. Studley

Don is a wellspring of information on historical finishing techniques (he is the only person I know with a shellac collection?). And is a remarkably generous person with his time and his hard-won information. So this visit is a very pleasant surprise.

As I mentioned before, we’ll have lots to see this weekend, including my completed Saalburg workbench (a replica of a surviving 1,800-year-old workbench) and the Horse Garage, which will become our machine room. Plus Megan Fitzpatrick and Brendan Gaffney from Popular Woodworking Magazine will be hanging around. It should be a fun day.

The storefront is located at 837 Willard St. in Covington, Ky. We’re open from 10 a.m. to 5 p.m.

— Christopher Schwarz

Filed under: Lost Art Press Storefront, Uncategorized
Categories: Hand Tools

A Holdfast Rant

Mon, 10/09/2017 - 7:23pm


This evening I posted a rant at Crucible Tool about our holdfasts. I’m not very good at rants and need to take some lessons from Raney. Still, here is is.

— Christopher Schwarz

Filed under: Crucible Tool, Uncategorized
Categories: Hand Tools

Registration Opens Friday for Welsh Stick Chair Class

Mon, 10/09/2017 - 4:37pm

Photo courtesy of Tim Bowen Antiques.

Chris Williams and I have decided to hold this Welsh stick chair class on May 21-25, 2018, at our Covington, Ky., shop. Registration will open at noon Eastern time on Friday, Oct. 13. You can read more about the class and the shop environment here. Here are the particulars of registration:

  1. Registration will be electronic. We will post a link at noon on Friday to sign up. Once the six spots in the class are filled, there will be a waiting list. I strongly encourage you to sign up for the waiting list if you want to attend this class. People’s lives change.
  2. After registering, the six in the class will be sent an invoice for a $500 deposit. The remainder of the fee ($1,000) will be due April 1. Until April 1, your deposit is refundable. After April 1, there are no refunds. I know this is strict, but there are a few students who play a juggling game with classes and deposits. We do not want to play this game.
  3. Attendees will receive a tool list and details on booking accommodations in the Covington area. Don’t worry – there are lots of rooms here.
  4. A small materials fee will be due on the day the class begins. I’m trying to source as much of the material from tree services, so I don’t yet know what the fee will be. Likely about $100.
  5. As mentioned before, we strongly encourage attendees to have some chairmaking experience or a good deal of experience with handwork. The class will be challenging. Chris works to a very high level, and we will do everything to bring you up there as well.
  6. This will be an intense and gratifying week. All your senses will be involved. As Chris’s assistant and ambassador for Covington, I’ll make sure everyone eats and drinks well and gets a good taste of what this area has to offer. Unless you are a devoted hermit, I think you’ll find the evenings as enlightening and stimulating as the classroom time.

Finally, as I mentioned before, this is not a money-making venture for Lost Art Press or myself. I’ll be handling all the particulars myself, and I’m not a professional secretary or university registrar. So please be patient with me as I put together this special event.

— Christopher Schwarz

Filed under: John Brown Book, Uncategorized
Categories: Hand Tools

Review: ‘Carving the Acanthus Leaf’ by Mary May

Mon, 10/09/2017 - 7:05am

CTA_mockup_for_webMary May probably didn’t realize the unintended consequences of one of her chapter titles: “A Rite of Passage for the Classical Carver.” She doesn’t yet know how often she will have to don ministerial robes and confer rites of passage on those who learn to carve acanthus leaves, severely disrupting her woodcarving life.

A “Rite of Passage” is usually something that marks a significant milestone in one’s life. Yet, with Mary’s teaching techniques, passing that milestone just became significantly easier. Besides, most everyone who has attended one of Mary’s in-person classes has already passed the “acanthus milestone.” A simple Acanthus leaf, similar to the first project in this book, is a frequent staple of her classes. Even as a klutzy beginning woodcarver, I brought home an acanthus carving from my first class with her. She makes acanthus carving accessible and achievable.

This book will certainly increase the number of acanthus carvers in this world.

Mary’s step-by-step descriptions and illustrations take you by the hand and lead you on a wonderful journey that includes 13 different acanthus leaf variations. Don’t worry, this is not a journey of increasing difficulty, but one of exploring different uses and different styles. All of them are achievable. Mary guides us through: the basic leaf carving, on mouldings, on cabriole legs, on a turning, on a bracket. And she offers us different styles: the simple leaf, Italian renaissance, Scandinavian, Greek, French Rococo, Baroque.

One might expect this to be simply a how-to book about carving acanthus leaves. It is, but very much more. Yes, we learn to both draw and carve leaves. But Mary also offers a richly illustrated and detailed discussion of the history of the acanthus. Mary leads us through centuries of cultural and stylistic variations. Once we become aware, we’ll start seeing acanthus leaves everywhere.

Interspersed among the carving lessons are short stories from her life. Some of the themes are: miles of mouldings, never too old to carve, display a carving and catch a husband, “opportunities” not mistakes, the atypical jack-o’-lantern, and the young bride in a bed full of wood chips. These are simply delightful insights to how Mary May has become the masterful carver she is today.


On the Technical Side
Mary includes a wholesome “Getting Started with Woodcarving” chapter that is actually a mini-course in beginning woodcarving. She highlights tools and equipment, safety, the all important grain-following techniques, layout tips and tool sharpening techniques.

Yet another “Getting Started” chapter dives into the acanthus itself, with a detailed lesson in leaf anatomy followed by instruction on how to draw and carve a typical leaf. Here we see the beginning of Mary’s step-by-step illustrations. Hundreds of these illustrations and photographs are effective substitutes for when Mary can’t be standing beside the workbench helping us learn.

Drawing instructions? Do we really need to learn to draw to be able to carve effectively? Mary suggests that learning to draw is helpful, that it builds confidence in understanding the design before committing tools to wood.

I agree, from experience…. A little personal diversion: I once undertook a lengthy stay at a place where it was inconvenient to drag along carving tools, my workbench and all the other comforts of carving. Instead, I took a copy of someone else’s book about acanthus leaves, a few pencils, a pad of paper and a big eraser. I spent many hours drawing from photos in that book. I learned that the best looking acanthus leaves are dependent on the constantly changing curves being just right. It was time well spent. Subsequent carving was much easier.

These drawing lessons, one general lesson and one for each leaf, actually double the value of this book. Drawing, for me, is a gateway to understanding carving. When I get a good feeling for the object with the low-cost investment of paper and pencil, the actual carving is enjoyable and stress free. Maybe you will find the same benefit. For those who want to skip drawing, there are drawings provided for each chapter.

By the way, as an “enginerd,” my day job has always been precise and used concise tools. The engineering mindset told me that one can’t make a curve of constantly changing radius, such as a natural spiral, with a fixed-radius tool such as a compass. Mary’s drawing lesson changed that mindset. She shows very clever ways to use fixed-radius drawing tools to get very close to the constantly changing curves we need for the spiral forms of acanthus leaves.


Mary goes on to entertain us with short stories and 13 spectacular carving lessons. Every lesson includes a description of the leaf and photos of how carvings are used in real situations, typically on furniture, or architectural pieces. Then comes a section about drawing, and a section about carving that particular leaf, all abundantly illustrated with step-by-step drawings and photos.

Stock up on paper, pencils and basswood. Prepare for many hours of thoroughly enjoyable carving, and get ready for your rapidly approaching “Rite of Passage.”

Order the book from the Lost Art Press website here. The book ships in late November. You can download a free sample chapter via this link.

This review is based on the digital PDF that one can receive with early ordering. I have not yet held the actual book. It is 8-1/2” x 11”, 336 pages. Christopher Schwarz has promised it to be a durable book that can lie flat on the carving bench, and he always delivers what he promises.

— Bob Easton

About Bob Easton: After 40 years in the Information Technology industry, many as a software engineer, Bob turned to woodworking about 10 years ago. He entered through the door marked “small boats,” built a couple of rudderless boats and then slowly drifted over to woodcarving. He was blessed to meet Mary May many years ago and helped her establish the website for her online Woodcarving School (https://www.marymaycarving.com/carvingschool/). Bob occasionally adds drivel to his own blog at https://bob-easton.com/blog/

Filed under: Carve the Acanthus with Mary May, Uncategorized
Categories: Hand Tools