This gem starts with a wink that’s explained further down on the cover: “Three Practical Ways to Do Every Job—and how to choose the one that’s right for you.” Bob introduces the main woodworking processes from dimensioning stock, to cutting dovetails, and then offers a variety of ways to get the job done using traditional hand tools, modern machinery, and an assortment of slick jigs.
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If you bought this superb polished table in a store, it would cost you a fortune, but our detailed instructions will help you make one for less than $100. And it looks like highly polished stone, but no-one would know it’s actually made from concrete with a wooden base. Also, you can embellish the top with leaf prints, like the table shown here, or personalize it with glass or mosaic tiles or imprints of seashells.
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Woodworking Workbenches are available in a variety of styles. Open Style Wood Workbenches feature a large work surface and a lower shelf. 2-1/4" thick maple top with maple plywood lower shelf. Open Style Wood Workbenches are available as a 2-station unit (28"W) or a 4-station unit (54"W). Open Style Auxiliary Workbenches are used for placement against walls. Shelf features a rear curb to keep contents in place. Solid maple top features angle iron front edge. Plywood shelf is open for maximum functionality. Solid maple legs. Environmentally-friendly UV finish. Units measure 24"D and are available in several lengths and heights. Mitre Box Benches ensure wood pieces are kept flat while mitres are cut. Bench is made using solid maple unit with environmentally-friendly UV finish. Holds a mitre saw up to 26"W and provides a 24" square work surface on both sides. Mitre Box Benches measure 33-3/4"H. Sheet Metal Workbenches are made with a 2-1/4" thick maple top and is protected on two long edges with 2" x 2" angle iron. Solid maple legs and stringers. Plywood shelves are designed to provide open storage of 30" metal sheets. Measures 40"D x 32"H and available in widths of 60" or 96".
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.
When the shelf was full, we called the list done. The results of that debate is the list of books that follows (publishers listed are for the editions we own). It’s by no means a perfect list. It is a list that would probably change a bit if we had the debate again in a couple months. Some of these are classics, some are contemporary. But these are the books that are first in our hearts.
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 simple jigs like a trammel baseplate and T-square, but you’ll also find a vacuum-clamping jig you can use to rout surfaces without clamps getting in the way, a dowel-making fixture, and router jigs to help you make fluted columns and even flamed finials. Bill also included several variations of router tables, including an ultimate table I built for my own shop.
Colour Integration – Brian Newell creates a dynamic relationship between light and dark. Often, when contrast is employed, the focus is about the difference, but here Newell’s focus is about integrating the light and dark. This is achieved by using dark wood (Macassar Ebony), which also contains the same hue as the light wood (Pear), and by creating dark areas on the light wood from the negative space of the pierced carving and the pulls. (Photo by Yoshiaki Kato)
The bench would end up being about 5 feet long. I thought about cutting 5 feet out of my 8 feet long countertop and use the rest for a small support table. However, after a consideration, I decided to bypass the front vise altogether together with the overhang so my bench will be 4 feet long. This allows me to skip the MDF and just glue the two halves of the 8 feet board together.
My bench is MY BENCH. In other words, it’s a thing of evolutionary beauty. I built the top 10 years before deciding on and designing the base. I spared no absurdity. It is supremely stout and the much maligned drawers are accessible from either side. The larger drawers have dust lids and can be extended to provide support for large workpieces or as a step for climbing on top of the bench. The top alone weighs more than most Roubos. So NYAH! Did I mention that I designed it to fit in with the Arts & Crafts vernacular? Who said you can’t build your bench to be furniture? Beautiful as well as useful shop furniture? Just sayin…
Cut off a 21-in.-long board for the shelves, rip it in the middle to make two shelves, and cut 45-degree bevels on the two long front edges with a router or table saw. Bevel the ends of the other board, cut dadoes, which are grooves cut into the wood with a router or a table saw with a dado blade, cross- wise (cut a dado on scrap and test-fit the shelves first!) and cut it into four narrower boards, two at 1-3/8 in. wide and two at 4 in.
The engineering involved in building this garden bench is pretty simple, and we have provided some links to get a full cut list and plans with photos to help you along the way. Additionally, to the stock lumber, you will need wood screws, barrel locks, and hinges to complete the table. A miter saw or hand saw is also extremely helpful for cutting down your stock to the correct angle and length.
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I ended up making a number of practice cuts. The first revealed that I hadn't tightened the screws on the edge guide enough. The second revealed that the design of the edge guide provided very little support at the end of a board, because of the cut-out for the router bit. In the "Getting Started in Woodworking" video, they had screwed a piece of hardwood to the edge-guide, to provide a continuous -- and longer -- bearing surface. I may do that myself, some day, but I didn't have the materials at hand, so I clamped some 2x4 scrap to the end of each board, to provide a continuous bearing surface past the ends. The two grooves in the long stretchers and the side groove in the short stretchers have identical layout. I made practice cuts in scrap until I had the edge guide set correctly, then I cut them all with that one setting. The bottom groove of the short stretchers uses a different setup, so it was back to the scrap, before cutting them.
Skirting traditional woodworking – sometimes seemingly allergic to it – this book shows you things you didn’t think were possible with wood, and many things you wish you had thought of first. The variety of the finished pieces is wonderful and makes for a nice read. Including 89 artists in total, each brief section contains background information, inspirational thoughts and technical details on how each artist completes their work. Wood Art Today 2 covers furniture, turnings, boxes, sculptures and more. One of the things I like most about it is you can open it up to any page and start learning about a specific artist and the work they do. This one is a lot of fun.
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.
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