Hand Drafting Lovers Rejoice – 100 Posters Still Available

Christopher Schwarz at Lost Art Press announced that they have 100 of the Anarchist tool chest posters still for sale. I thought these had sold out months ago but apparently there was a small batch lurking in the stockroom.atc_poster1_img_2463-1

Detail of nice crisp detail of the poster by Steamwhistle Press. Photo by Chris Schwarz

Detail of nice crisp detail of the poster by Steamwhistle Press. Photo by Chris Schwarz

The drawing is of a traditional English styIe tool chest as outlined in Chris’ now-classic book, The Anarchist Tool Chest. The original artwork for the poster was drawn back in January in pencil, in a late-19th century drafting style on the last remaining bit of well-made 1000H cotton vellum I still had in the studio. The poster, of which only 1000 were made, is beautifully printed on #100 paper stock using a  hand-inked polymer plate on an old offset printing press and each is hand-signed by Chris. This may be one of the last examples of hand drafting you’ll see printed in poster form. My drawing board has fallen into such disuse in the past 6 months that a baby bat has taken up residence under my drafting machine arm.

tool chest perspective cutaway

The Digital Bookshelf – Furniture Mouldings

“There is a tendency among those accustomed to the large-scale of moulding detail on exterior work in wood or stone to make their mouldings on furniture and interior woodwork too large. The full-size furniture moulding so carefully drawn by Mr. Warne should be of the utmost service not only to furniture designers but to students of architecture and interior decoration.”

plate 21_warne

 

plate 4_warne

 

“This book covers many different types of English furniture; bedsteads, bookcases, bureaus, cabinets, chests, cupboards, chairs and others. This book illustrates cover this book covers molding details on English furniture from about 1574 to 1820 molding is the method adopted by the cabinetmaker to give definition to the lines of his work and the sections of molded detail very very much as one style has succeeded another through the oak, walnut, mahogany and satinwood periods of English furniture the workings of moldings was then so laborious that the craftsman use them with greater restraint and obtained more pleasing effects by their use than is frequently the case today when profusion often eliminates interest.”

H. P. Shapland, 1923

 

E.j. Warne’s book, Furniture Mouldings, is still one of the best resources on 16th to 19th century British furniture. Almost never out of print, copies can be had for as little as $1.

Until you get a print copy, you can download a digital scan of the book below. Scanned from an ex library copy, there are a number of damaged pages but you can get a good idea of the scope of the book.

FurnitureMoulding_EJWarne_1923

 

– R.D. Wilkins

 

The Digital Bookshelf – Free Download

The Classical Orders by R. ChithamYou never know what you’re going to find among the digital reference sites of available scanned books. Usually the only free books available are ones that have been long out of print but sometimes you run across one that is current and for some reason being offered as a free download. My latest find is The Classical Orders Of Architecture by Robert Chitham which I think is the best manual available on designing and using the orders.

I found this book over 25 years ago and it went out of print. Chitham wrote an updated edition in 2005 which includes a 96-part module as well as the traditional 100-part system that makes computing the proportions much easier if you’re working in feet and inches.

This book basically replaced Robert Gibb’s Rules For Drawing which had been the standard classical manual for over 200 years.

Ionic Capital and Entablature

The proportions are easy to understand and there is an excellent section on the use of the orders as well as a very good glossary of classical architecture terms.

If you only have one book on classical architecture for design purposes, this should be it.

You can find the pdf for download here.

–  R.D.Wilkins

10 Design Reference Books You Should Have On Your Shelf

 

design book montage_1

I think I’ve already made it clear that you just can’t have too many books, especially ones on design and architecture. But it’s also a real pain dragging a lot of them around with you from job to job and it becomes a bigger job to keep track of them once they’re out of your house. So, I try to only take books to my current workplace that I either don’t have a digital version of or just really need to have close at hand.

If I had to limit myself to just 10 books, these would be the books I’d take to start a job.

Here is my must-have list with sources:

1. Architectural Graphic Standards – 5th Edition – This was when the books were filled with great hand drawings and actually showed you in detail how things were built. Lots of period details as well. Out of print for over 50 years (at least in this edition) you can still find copies for anywhere from $20 to $200. The 3rd edition would be a suitable replacement. the first edition is also good to have and has been reprinted several times. Check Abebooks for copies. Not available digitally.

If you are in Great Britain, McKays is the closest equivalent, and is actually superior in a number of ways from our standpoint as set designers. On the Continent, an older copy of Neufert’s is a must. See this earlier post for details. Not available digitally.

In Germany, the best book on period construction I’ve found is Konstruction Und Form Im Bauen, by Friedrich Hess. There are lots of very nice drawings and measured details. Long out of print but you can still find copies second-hand. In Sweden, an excellent book on traditional construction is Stora Boken Om Byggnadsvård, by Göran Gudmundsson. This is a current book and still in print. Neither are available digitally.

2. Time-Saver Standards for Interior Design and Space Planning, 2nd Edition. This is the design complement to Architectural Graphic Standards and covers nearly every situation regarding building interiors. You can find used copies for around $75. There is a digital version available but it’s not only difficult to navigate because of the size of the book but at the price you’d be better off getting a hardback edition.

3. Styles Of Ornament – Alexander Speltz.  Originally published in 1904, this book uses over 4000 drawings to illustrate 6000 years of historical design. As a general design reference I don’t think it has an equal. Architecture, furniture, text, carving, metalwork are all covered. A must-have. (Handbook Of Ornament by Franz Meyer would be a close second.) Available from a number of publishers for as little as $10. A digital version is available.

Low Budget Option- download the online PDF here.

4. The Stair Builder’s Handbook – T.W. Love – Not a design book per se, but a book of rise and run tables that make stair layout a breeze. Available from Contractor Resource for about $18.

Low Budget Option – download the PDF Common Sense Stairbuilding and Hand-railing. Skip the mind bending section on handrail layout and skip to page 99. Also, Stair building, which has a nice section on ornamental ironwork.

Also, In April a new book will be out called  Simply Stairs – The Definitive Handbook for Stair Builders, by Mark Milner, published by Whittles Publishing in London for £25. Pre-release information on the book makes it look very promising.

5. Backstage Handbook – Paul Carter. Originally a technical manual for theatrical designers, the book is full of great information for film work as well. There are more details in this earlier post from several years ago. Available from Broadway Press for about $22. No digital version is available.

6. American Cinematographers Manual – The new 10th edition will cost you about $80 in hardback and almost the same in it’s digital version through the iTunes and Android sites. There’s a free pdf of the 7th edition here, but much of the latest technology isn’t in it. This is the go-to book for all things dealing with cameras and image capture. A lot of people will tell you you don’t need this. I’m sure you could also have a great career as a car designer without knowing anything about how cars work. Because when it comes down to it, all we’re really doing is designing big, pretty things to bounce light off of. Just remember, if the department names were based on physics we’d be the Light Reflector Design Department.

7. Building Construction Illustrated – Francis Ching. An excellent and thorough book about construction details including wood framing systems as well as masonry. About $30. No digital version is available.

Low Budget Option – access the online PDF here.

8. The Classical Orders of Architecture – Robert Chitham. I think this is the best modern book around that deals with the classical architecture proportional system. This book was out of print for quite a while and fortunately is back in print. The new edition deals with the proportions for both metric and Imperial systems. Used copies can be found for about $45.

Low Budget Option – Get the PDF American Vignola by William Ware and The Five Orders by Vignola. Also, download the very nice PDFs on classical architecture from the The Institute of Classical Architecture & Art.

9. Illustrated Cabinetmaking – Bill Hylton. I covered this book in an earlier post. If you want or need to know basic furniture design and how furniture goes together this is the book you’ll want to refer to. It’s been referred to as the Grey’s Anatomy of furniture building. Full of exploded drawings of many kinds of pieces. Available from Fox Chapel Publishing for $24.95.

10. By Hand & Eye – George R. Walker & Jim Tolpin. Just because this is number 10 on the list doesn’t mean it’s the least important. In fact if you’re just starting out in set design this is the first one I’d tell you to buy. Most bad designs are caused by bad proportions. This book will give you a solid understanding of proportion and keep you from making simple mistakes. You can download a sample chapter here. Also, I wrote a longer post on the book earlier. Walker and Tolpin are promising a workbook that will come out later this year based on the book’s concepts so look for that. Available from Lost Art Press for $38, hardbound.

Low Budget Option – Cut back on the Starbucks for a couple days and buy a digital version for $18. The mental stimulation might be just as good as the caffeine and it’ll be a lot healthier too.

So what have I missed? There are other books I could list these are the best. What’s on your shelf? What books would you say are ‘Must Haves’?

Share your titles with the rest of us. Let me know the important titles I’ve missed here, I’m sure there are a lot. As an incentive, everyone who posts book suggestions goes into a drawing at the end of the week for a free digital version of By Hand & Eye.

C’mon, give us your list.

 

Historical Moulding Catalogues For Download

 

1938 moulding

Chris Schwarz over at Lost Art Press posted a blog entry yesterday with links to three moulding catalogues you can download. The catalogues range from a 1938 catalogue using the old Universal system where the profile numbers were a fairly universal ( at least within the U.S.) numbering system called the 8000 system. The original numbering system begun in the mid 1800’s used a three digit number starting with 1. You can see how the inventory of stock moulds changed over the years as manufacturers offered fewer and fewer profiles. The mid 1800’s catalogues included over 600 different profiles which would dwindle to less than 50 in many catalogues in the early 1950’s.

Here’s three examples that show the slow loss of the variety of stock stop moulds, the first from the 1890’s catalogue, the second from a 1938 catalogue and the last from a booklet from the 1960’s.

 

stops from the 1890 Universal catalogue

stops from the 1890 Universal catalogue

Stop profiles from a 1938 catalogue

Stop profiles from a 1938 catalogue

stop profiles from a 1960's catalogue

stop profiles from a 1960’s catalogue

You can read the blog article and download the catalogues at this link. Special thanks to Chris, Eric Brown and Thor Mikesell for sharing the research material.

The World’s Oldest Film Scenery?

The title ends in a question mark because I’m not sure I have a definitive answer yet on my search for the the oldest existing scenery from a film. So, I’m asking everyone out there to help me with this quest.

The stage of the oldest intact film studio in Sweden, and maybe the world. photo by Reinhold Fryksmo

The stage of the oldest intact film studio in Sweden,  and maybe the world. photo by Reinhold Fryksmo

 

Let’s use this as a starting point: in Kristianstad, Sweden there is what is reported to be the oldest intact film studio from the silent period. Inside the studio museum (Kristianstad Filmmuseet) is a display in what was the original glass-walled studio space. It is dressed as a set from the 1909 film, Fänrik Ståls Sägner, one of three films made at the Kristianstad Biograf-Teater that year. The scenery appeared throughout the film apparently as the same space was used for a number of different scenes. The main element is a multi-panel theatrical style flat painted with a Trompe-l’œil design. If this is truly the original set piece then this is in excellent condition for a 105 year-old flat.

A closer look at the flats. photo by Lotten Bergman

A closer look at the flats. photo by Lotten Bergman

So is this the oldest film scenery in existence? I’d love to hear from other Art Department people out there from around the world with older examples.

“Hand Hewn” vs. Machine Made – Part 2

In the first part of this article I mentioned that traditional hand tools could create a finish superior to their modern day counterparts. Rather than just expect you to take my word for it, I’ll show you the proof.

Traditionally the way to surface wood once it was cut to approximate size with a saw is by using various types of  hand planes.

modern woodworking hand planes

modern woodworking hand planes by Lie-Nielsen

Used for thousands of years the plane is believed to have been designed by the Romans. Basically it was a base of wood or metal which used a wedge to hold a piece of steel with a single-bevel cutting edge at a set angle to the cutting surface. Modern planes have a more refined system for controlling the cut but the basic layout of the tool is still the same.

For bulk planing it’s hard to beat a modern powered thickness planer but for some operations like fitting doors, which requires very careful trimming, the traditional hand plane excels in a number of ways. I thought I’d do a little test and compare the quality of the surface of some wood run through a power planer as compared to a hand plane.

Lie-Neilsen block plane

Lie-Neilsen block plane

the block plane in action

the block plane in action

Here’s a block plane, which is great for quick jobs like fitting doors. This particular plane is an exceptionally good one made by Lie-Neilsen in Maine. The wheel on the rear allows you to adjust the depth of the cut even while planing by as little as a thousandth of an inch.

When the blade is set properly and the plane is held parallel to the wood, you get a beautiful, continuous strip of wood that comes off the work piece. Instead of sawdust from a modern power tool you get this lovely pile of curly shavings. The bottom photo is of the final plane shaving. It’s a few thou of an inch thick or about the thickness of a piece of 1000H vellum. It’s impossible to do that with a power tool.

 

hand plane shaving about the thickness of drafting vellum

hand plane shaving about the thickness of drafting vellum

 

Look closely and you can see the individual wood cells. Great, you say, but who needs wood ribbon? Stay with me, I’m getting to my point.

 

 

 

 

 

below is a piece of wood run through a power thickness planer with a new head.

Surface of wood after being run through a planer

Surface of wood after being run through a planer

 

 

 

 

 

 

It looks pretty smooth, until you do a side-by-side comparison with the hand plane shaving. You can see below that the hand plane shaving is much smoother than the “fuzzy” appearance of the power planer sample. But why?

comparison of power planer cut (left) with a hand plane shaving (right)

comparison of power planer cut (left) with a hand plane shaving (right)

The cutting head on the thickness planer looks like this:

spiral cutter head for a thickness planer

spiral cutter head for a thickness planer

Instead of a single blade that stays in continuous contact like the hand plane, the power plane’s cutter is made up of dozens of small knives that cut at thousands of revolutions a minute, which instead of one continuous cut creates a lot of this:

power planer shavings

power planer shavings

Smoothing planes and card scrapers were used to create a finish as smooth as that created by modern tools using sandpaper. Sandpaper wouldn’t become used universally until the second half of the 19th century. Abrasive material, mainly fish skin, existed during that earlier period but was used mainly for the final polishing of a finish rather than as a way to surface wood like we do today as a replacement for planes.

One national woodworking magazine recently conducted a test, pitting a man with hand planes against another with a power sander to see which could finish a set of doors faster.The hand planes won, smoothing the pieces in less time than the sandpaper process which required sanding the pieces multiple times with different grits of sandpaper.

So why were planes replaced by sandpaper? Because you can hand a power sander to a complete novice and they will be able to get an acceptable finish with very little help. The use of hand planes requires the person to know how to use the tools as well as knowing how to sharpen and adjust them. Power tools have great advantages over hand powered tools when it comes to general output speed and during the industrial revolution they had another advantage; they allowed for the use of a fairly unskilled labor force. With power tools the real control is in the hands of the tool, not the operator. That’s why with power tools there is usually a lot of work involved in setting up or creating jigs  to gain more control over the cutting process.

Because woodworking using had tools was labor intensive, and because prices for items like furniture was usually set by local organizations, only surfaces which were seen were finished to a highly smooth surface. here’s a photo of the underside of a table in the Chicago Art Institute. You can see the plane marks on the underside of the table top:

table top bottom

 

An easy way to tell if a piece of furniture is a period piece or a modern day reproduction is to run your hand along the back of the piece or the underside of a drawer. If it’s an antique it won’t be smooth.

Traditional wood moldings were made much the same way but instead of a flat blade, the blade was cut in a reverse profile to the mould that was to be made. Here are two of the moulding planes from my collection. The oldest of the two, made in London over 250 years ago, still works perfectly once I tuned up the blade. You can see the results, a surface so smooth it doesn’t need to be scraped, much less sanded.

wood moulding planes

wood moulding planes

 

Cyma reversa cut with an 18th century moulding plane

Cyma reversa cut with an 18th century moulding plane

moulding plane1

Moulding plane and the profile it cuts

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

So, if the plane was developed by the Romans that should mean that woodworking before that time must have been pretty bad, right? Nope.

Take the Greeks. The Greek Trireme was as amazing ship for its time for a number of reasons.

Greek_GalleysIn the ancient world ships were built in a completely different way that we think of them. Since around the 1st century ships have been built by making a framework first and then applying boards over the frame. In the ancient world ships were built hull-first., and only after that was a structural frame added for stability. The timber making up the hull was joined edge-to-edge with what is known as loose tenons. These were inserted into slots, or mortises and then pinned with dowels through holes drilled in the sides of the timbers to pull the two pieces together making a glue-less bond that didn’t require any kind of metal fasteners. The average small Greek ship had about 8000 of these tenons.

Greek ship construction - illustration by Eric Gaba

Greek ship construction – illustration by Eric Gaba

 

More modern wood ships had planks nailed to a wooden frame and then tarred rope, or caulking was hammered into the cracks between them to make them watertight. There is no indication the Greeks used any caulking in their ships, which means they were skilled enough with their tools, adzes and chisels, to make the joint between the edges of the planks tight enough that once the wood was exposed to water, the planks would swell together creating a watertight vessel. That’s some pretty amazing woodworking.

Of course this also means that not only was Noah a wiz with a mortise chisel, since a ship the size of the Ark must have contained some 100,000 tenons, but every modern recreation of it I’ve seen is completely wrong.