The bench I will be describing differs from both of these in a couple of areas, the most significant of which is the top. Allen's top was made from three layers of 3/4" medium density fiberboard (MDF), topped and edged with 1/4" hardboard. Christiana's top was just two layers of 3/4" MDF. My top is two layers of 3/4" MDF edged with 1/2" oak and topped by a 1-1/2" thick edge-glued oak Ikea countertop. My top is more expensive in both time and money than either Christiana's or Allen's. If you're looking to build something fast and cheap, I'd recommend Allen's approach over Christiana's. The hardboard significantly increases the durability of the top.
I just got this book a few days ago, and I've had a hard time putting it down. There are lots of full-color pictures, with thorough descriptions of almost every aspect of woodworking. I've already learned a lot about different types of wood, how to make several kinds of cuts with several kinds of tools (including suggestions for what to do even though I don't have a large selection of power tools), and have some projects picked out to start as soon as I can get the lumber! It is a very thorough book, unlike several others I looked through at my local bookstore. I would highly recommend it to anyone who's interested in woodworking! It is both fun and informative. Almost half of this substantial book is general background information and instruction, including a detailed glossary, and the rest is a good selection of detailed, well-illustrated plans.
I'd decided on an oil-and-wax finish. Oil finishes are by no means the toughest. In fact, they're really rather pathetic, so far as protecting the wood goes. But they're easy to apply, and not even the toughest finish will stand up to the abuse that a workbench will suffer, so it's more important that it be easy to repair. Wax is usually used to add a high gloss. On a bench, it's there to keep glue from sticking.
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 good news is that you don’t need a lot of shelf space to house a comprehensive collection of basic woodworking knowledge. Get started with Understanding Wood. In this comprehensive bible, professor Bruce Hoadley delves into the nature of wood and how its structure affects strength, workability, and other characteristics. He then shines a light on fundamentals like drying, machining, bending, joining, sanding, gluing, often accompanied by stunning macro photographs that zoom you in to the meat of the matter.
Texture is the surface quality of a material. Texture has great potential to connect the observer emotionally to the work, inviting the person to touch and explore it. On a chair, for example, the texture of fabric can tempt persons to sit in it or immediately reject it. Smooth surfaces reflect light and can appear shiny making a piece feel light. Heavily textured surfaces absorb light. When considering texture, look at it from all angles and under different light conditions to see the full impact of its surface. To help determine scale with texture, the guidelines under pattern and proportion can also be followed.
Pen Turner’s Workbook. If you’ve followed my blog for long, you already know that pen turning is my favorite woodworking hobby. Barry Gross is a superstar in the pen turning world, and his pens speak volumes on his craftsmanship and creativity. If you want to learn the basics of pen turning, or if you want to learn some advanced techniques, this book will not disappoint you. He takes you step-by-step through the pen making process, and the book’s photography is phenomenal.
Begin by cutting off a 10-in. length of the board and setting it aside. Rip the remaining 38-in. board to 6 in. wide and cut five evenly spaced saw kerfs 5/8 in. deep along one face. Crosscut the slotted board into four 9-in. pieces and glue them into a block, being careful not to slop glue into the saw kerfs (you can clean them out with a knife before the glue dries). Saw a 15-degree angle on one end and screw the plywood piece under the angled end of the block.
One quality about this bench that is definitely lacking is space – both tabletop and storage. The Olympia Tools does provide an adequate shelf, but it does not come with any drawers, nor does it offer the option of adding them later. The table top is the smallest we saw at 50” long and 2’ wide, though the width is actually better than most of the other table we reviewed. Still, a significant chunk of that width is occupied by a trough. This trough is designed to hold smaller workpieces to keep them from falling or getting knocked over, but it removes about 6” of width from the tabletop.
The Complete Manual of Woodworking A comprehensive book that covers tons of woodworking topics: woodworking design, hand tools, power tools, workshops, wood carving, joinery, finishing wood. You will also learn a lot about this natural resource we call wood. Filled with great photos, diagrams, and illustrations. If you want to branch out and explore other woodworking endeavors, you will enjoy owning this book.
Featuring each piece in highly-detailed, exploded drawings and applying time-honored dimensions and ergonomic standards, this comprehensive visual sourcebook takes the guesswork out of furniture joinery, assembly, dimension, and style. Woodworkers of any skill level will benefit from more than 1,300 crisp and detailed drawings that explain classic solutions to age-old problems, such as hanging a drawer, attaching a tabletop, and pegging a mortise.”
While $115 may seem expensive, try accurately boring a grid of 20mm holes on 96mm centers in 3/4 MDF. I have for a table for our retirement community shop - - its a pita. Plus the MFT material seems denser and more water resistant than garden-variety MDF. And the single-thickness has proven sufficient the last several years on my original 1080s. Still dead flat.
The Workshop Book: A Craftsman's Guide to Making the Most of Any Work Space by Scott Landis. This is not a new book - it was written in 1987. And the photographs reflect that. But what it lacks in that flip-through-the-pictures-and-get-major-workspace-envy, it makes up for in the actual text. It provides, mostly, creative solutions for a variety of different tasks from real professionals working in limited space. If you're interested in upgrading your space or building your dream shop from scratch, this really is a good place to start. It doesn't have a ton of up-to-date and practical advice; its more of a reflection on the nature of workshops in all their variety. And that never goes out of style.
First, we need to drill out the holes for the screws that will hold them together. While the two layers of MDF are glued, the countertop and the MDF will only be screwed. The oak countertop, like any natural wood product, will expand and contract with humidity changes. If it were glued to the MDF, the difference in expansion of the two layers would cause the countertop to buckle and curl.
This book addresses a key dilemma of the beginning woodworker: how do you build good projects without the basic shop furnishings to get the job done? And, why struggle with makeshift workshop equipment when you can create your own? Now you have the guidance of an expert woodworker to help you build workshop basics that you will use for years to come.
Line is defined by two points and is long relative to its width; it can be thick, thin, vertical, diagonal, straight or curved. Lines are often used to define a space, draw attention to a particular area and guide the viewer's eyes around a piece. To critically examine line in your design, look at the relationship between the lines, including ones which may be created in the negative space. How do they align? Do they lead your eye around the piece or do they stop abruptly and create disorientation?
The 84-906 fits this bill perfectly as the table offers all of the qualities and features that you would expect but does not truly blow you away with any of them. For instance, this bench is made out of rubberwood. This wood is decent in that it provides the strength you want, but it is also extremely porous and rough-grained. The porous nature would generally make it susceptible to rotting and staining, though the bench has been lacquered. The rough grain will potentially cause tools to dull over time if you do not regularly relacquer it.