“Traditional woodworking using hand tools can offer a more satisfying relationship with the wood and the creative woodworking process. It’s quieter, cleaner and maybe even a little spiritual. It’s no surprise that many “”plugged-in”” woodworkers are returning to the roots of this treasured skill. Where some hand-tool books focus solely on the use of hand tools, Made By Hand takes you right to the bench and shows you how to start building furniture using these tools.
MechanicGuides.com is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for website owners to earn advertising fees by advertising and linking to amazon(.com, .co.uk, .ca etc) and any other website that may be affiliated with Amazon Service LLC Associates Program. Amazon and the Amazon logo are trademarks of Amazon.com, Inc. or its affiliates.
Then I flipped the top and the base, lied up the base in the proper location relative to the top, I then positioned the front vise and the support MDF for the end vise, and marked the locations of the bolt holes. Then I flipped the base right side up, drilled small pilot holes from the bottom side where I had marked the locations, and then drilled shallow countersink holes from each side, then a through hole that matched the bolts. Finally I tried out the bolts and washers, and deepened the countersinks until the heads of the bolts were just below flush.
There are a number of tricks to using a router. First, the bit spins in a clockwise direction, as you look down at the router from the top. This means that when you cut with the router from left to right, the bit will tend to pull the router away from you, and when you route from right to left, the router will pull towards you. So, if you're hooking the edge guide along the near side of the board, route from left to right, and when you're hooking it along the far side of the board, route from right to left. Second, always test the position of your bit on scrap material. Your odds of getting it exactly right by eye are nil. Third, don't cut more than 1/4" deep on a single pass. We want a 3/8" deep grove, so make your first pass at 3/16", or thereabouts, and make a second pass to reach the full depth.
Chan’s desire for strong, lasting, easily repeated joints using power tools makes for a fun and educational read. He also has a strong interest in traditional Chinese furniture, and shows how some of those joints can be cut with power tools. This book will not only teach you how to machine about 100 useful joints, but will also open your eyes to using new, fun to make joints in upcoming projects. Chan assumes readers know how to use their machinery and power tools, so he focuses on the procedures required to produce the included joints.
As simple as its elements are, the workbench is more than a tabletop with legs, a well, and a few holes. Virtually everything in the workshop comes to rest on the bench at some point, even if only between operations at other stations. Planning and layout, cutting and shaping, assembling and finishing–all can be, and often are, performed on the benchtop. The better the design, and the better suited its size and configuration to your labors, the more efficient a tool it will be.
Grouping George Nakashima’s The Soul of a Tree and Jim Krenov’s Worker in Wood with Nick Offerman’s Good Clean Fun might seem sacrilegious, but we like how the trio’s perspectives encompass the diverse spirit of woodworking. The older books combine photos of exceptional work with serious reflections on the nature of craftsmanship. Nick is equally passionate about wood and woodworking, but he’s more willing to admit that he’s enjoying himself–a good example for all of us to follow.
The wide variety of landmark furniture pieces, no matter the style, is what makes this book so visually stunning. That, and the fact that all of the 84 pieces that comprise the collection are beautifully photographed and a short description about each maker and piece is included. Many of the great makers from the last 100 years are covered – Sam Maloof, Wendell Castle, Tage Frid, George Nakashima – as well as many lesser known makers. If you read this book one hundred years from now, I’m sure it would be as thought provoking as it is today. These are 84 great pieces, and this is one great book.
I marked out the one hole location, drilled a shallow 1/16" hole into the top. I then put a 1/16" bit through the hole in my template and into the hole I had just drilled. I lined up the template, and drilled a second hole, then put another bit through that. From then on, I worked entirely from the template. With two bits through the holes pinning the template in place, the other holes in the template would be precisely located (or so the theory goes) on a 4x4" grid.
Woodworking Books go hand in hand with the tools and the work. Whether you are a beginner or a master woodworker there is always a new technique or a great tip waiting for you on the pages. We have hundreds of woodworking books to choose from, written by woodworking authors who understand the craft and know the trials and tribulations of the path.
As a teacher I find Ernest Joyce’s “The Technique of Furniture Making” (Batson) invaluable, ’tho it is as far away from an enjoyable read as possible. Similarly Bob Wearing’s “Essential Woodworker” (Lost Art Press). Bob is one of the only people who ever gave insight into traditional English technique. I believe the lack of similar books is due to the apprenticeship tradition of teaching, where nothing was ever written down.
5. The Woodbook: The Complete Plates. This one contains no instructions, no techniques, and no how-to information. Rather, it's the most complete collection of American wood samples ever created. Assembled between between 1888 and 1913 by New Yorker Romeyn Beck Hough and originally published in fourteen volumes, Taschen's publication "reproduces, in painstaking facsimile, all of the specimen pages from the original volumes... For all trees, now arranged in alphabetical order, three different cross-section cuts of wood are represented (radial, horizontal, and tangential), demonstrating the particular characteristics of the grain and the wealth of colors and textures to be found among the many different wood types. Also included in this special edition are lithographs by Charles Sprague Sargent of the leaves and nuts of most trees, as well as texts describing the trees’ geographical origins and physical characteristics."
With the shelf secure, get a couple of friends to come help, and stand the bench on its feet. I said earlier moving the top by yourself is dangerous. Trying to lift the entire bench is foolhardy. Of course, I already said I'm stubborn, so I did it myself by rigging a simple block-and-tackle using lightweight pulleys I got at the hardware store. (Not the lightest-weight pulleys, those are meant for flag poles and have a design load of something like 40 pounds. These had a design load of 420 pounds.)
The Winter 2018 issue of Scroll Saw Woodworking & Crafts features a variety of projects, patterns, and features, as well as interesting techniques. This issue is a part of the regular magazine subscription. It is also available from your favorite retailer or from Fox Chapel Publishing, www.foxchapelpublishing.com, 1-800-457-9112. In This Issue Scroll down […]
Contrast is created when you have two or more related elements that are different. Contrast can be used to add visual interest, depth and to highlight a dominant element. It is also a way to unite a piece and often bestows energy to a design. If there are too many contrasts or the differences are too severe, there is risk they will not only compete for attention, but may also create unbalance, confuse the viewer and create optical illusions. To achieve success with contrast, ensure the differences are obvious enough, but without an overpowering presence. Each design element mentioned in this article can be manipulated to create contrast. Each of the images not only relate to the corresponding element but also exhibit contrast.
1. Cabinet Making and Millwork by John L. Feirer. I read this book cover to cover when I first got into woodworking, and its still my number one reference book when researching a project or technique. I believe it was intended as a textbook for a high school shop class, so it's laid out in great 101 style. It includes descriptions of everything from how sandpaper is made to best practices for shop math, and provides details for both hand and power tools.
Editor’s note: In the September/October 2017 issue (which mails to subscribers on Aug. 1), we have an article from up-and-coming makers on the books that have influenced their work and woodworking philosophy. Below is a similar article we ran in June 2011, asking established makers what they felt were the most important woodworking books, plus we included our staff picks. I’ve linked to our store for the ones we carry, some of which are now available only as eBooks, and to those from Lost Art Press. For titles that are out of print, I recommend Bookfinder.com, or better yet, your local used bookstores. Or, ya know, the library.
I made my version of a Roubo bench over 20 years ago. According to the latest bench rules it is too tall, too wide, has too many vises (I use both sides of my bench and that might be a no no, not sure ), and has far too many holes. Did I mention that I have a double row of dog holes with a user made dual row wagon vise? I had no idea they were called a wagon vise back then. Being a tool maker and tinkerer at heart I just made a vise that I thought at the time was an original idea for the main side. Couple of dowels in a piece of wood straddling the two rows and I have a bench stop, or a different variation gives me a 3 point clamping system. If that isn’t bad enough it also has drawers on the bottom to store seldom used tools and supplies. Maybe if it had taken me a few weeks to drill all those holes and mount a few vises I would only have one vise and 8 holes too. I dunno
Drilling a precisely positioned, deep, wide hole isn't easy, without a drill press. So I bought a WolfCraft drill guide. After experimenting with it, and drilling some test holes, I build a jig around it. I screwed it to a scrap of MDF, and then drilled a carefully-centered 3/4" hole. The MDF can be clamped more easily than the base itself, and the 3/4" hole will keep a 3/4" Forstner bit drilling precisely where it is supposed to.
Planing up some beautiful walnut for a charcuterie board this afternoon. I’ve been getting a lot of requests for some videos with tool-specific demos, and first on the list is how to properly sharpen and tune a handplane for efficient use. I’ll cover everything from what stones to buy to which jigs you need/don’t need. What other questions would you like to see get answered? #woodworking #handtools #shareknowledge #sharpening #buildlikeagirl #preservetradition
Slice, dice and serve in style on this easy, attractive board. We’ll show you a simple way to dry-fit the parts, scribe the arc and then glue the whole thing together. We used a 4-ft. steel ruler to scribe the arcs, but a yardstick or any thin board would also work. Find complete how-to instructions on this woodworking crafts project here. Also, be sure to use water-resistant wood glue and keep your board out of the dishwasher or it might fall apart. And one more thing: Keep the boards as even as possible during glue-up to minimize sanding later. For great tips on gluing wood, check out this collection.
I really like this. I've been busy designing my own workbench to replace the ropey old thing I currently use. You've made me reconsider exactly what I need a bench for - I think I've been more than a little seduced by the idea of a beautiful hardwood bench when, if I'm honest, I don't need one. My cash would be better spend on timber for furniture projects that my family can enjoy rather than a wonderful workbench that I can only use on the weekends.
The base needs to be as wide as the sum of width of the guide strip and the distance from the edge of the shoe, plus a bit extra, With my saw, the overhang is 3-1/2", so I made my guide strip 5-1/2" wide. The distance between from the edge of the shoe to the blade is about 4-1/2", so the base needs to be at least 10" wide. Since I was working with a 24" wide sheet, I just sliced it down the middle.
Tools: I am inspired by tools, whether the tool is a good chef’s knife, a watercolor paintbrush or a lowly marking gauge. I find 18th-century tools particularly beautiful and elegant in their simplicity. To openly admit I am inspired by my tools makes me somewhat of a kook. But here, amongst friends, I suspect I am not alone. I’ve copied many tools in these books and sought tools that resembled these and been a happier person for it.
Before joining the top to the base, loosen the bolts and screws on the lower stretchers to create a little play in the leg posts. Align the top notches with the leg posts and tap the top into place with a hammer and piece of scrap wood, working evenly around the table until all leg posts are level with the tabletop. Tighten the lower stretchers and you’re done. A hefty thanks to Doug Merrill for this weighty idea.
@cahudson42 I bored the holes in my sandwich top with a 3/4" power auger bit with the drill in a portable drill guide that kept it vertical and in a way a bit like a plunge router. The guide screw of the auger was dead easy to centre over the laid out grid points. The holes are dead straight and clean sided. The auger bit was new which probably helped. As stated I have three rows from an end vise running the length of the front as well as from the front vise and holes in the front apron to support long pieces as well.
Drill a pair of 3/8" holes in each end of the short stretchers, just over half of the depth of the dowels, using a brad-pointed bit. These stretchers already have a groove running their length, centered on the bottom edge. Precise placement isn't necessary, but keeping track of which part is which is. We need a hole in each end of each stretcher. Take care to keep these holes square, you don't want them running at angles.