If you opt for a bench with drawers or cabinets built into its base, don’t forget the toe spaces: Leave a space roughly three inches deep and four inches wide at floor level for your toes, just like kitchen cabinets. The absence of a toe space means you’ll be forever kicking the face or sides of the cabinets which is irksome and, with tools in hand, potentially dangerous. And you’ll have to lean over farther to reach the back of the benchtop.
If you’re more interested in working with wood rather than machining it, you will be relieved to learn that expensive powered machinery isn’t required to build furniture. You can also forget the dust masks, face shields and hearing protection since many of the safety concerns related to woodworking—the use of power tools—are eliminated. In this book, you’ll learn to set up a hand-tool woodworking shop, then discover the toolset, practice the skillset, and understand the mindset—effectively completing a comprehensive course in hand-tool woodworking.
The Handbuilt Home. Ana White has created a wonderful DIY book. It’s filled with 34 projects she describes as simple, stylish, and budget-friendly. And you’ve probably already guest that they are related to improving your home. Each project has diagrams and instructions. And she tells the level of difficulty and project costs. This book resonates with many readers who want to make things themselves, but they may not have the fancy tools or the budget. Ana shows you how to make beautiful and affordable DIY projects.
Shape is critical to the ultimate success or failure of a piece of furniture. Knowing this, custom-furniture maker Lonnie Bird has taken the complex subject of shaping and in this book made it accessible to every woodworker. He guides the reader toward first visualizing, then drawing a shape, and then choosing the appropriate tool for creating it. Shaping techniques of all kinds are covered here — from the simplest ones to more complex bending and carving.”
Dark colours appear heavier and create a feeling of stability, whereas light colours hold less visual weight and can appear unstable. When joining woods of dark and light colour, the visual effect of heavy and light suggest that darker woods work better when used on the bottom. A suggestion from my mentor to help getting proportions right was to spray paint mock-ups with a colour similar to the woods to be used later.
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Our understanding of what makes pleasing proportion is deeply imprinted in our mind and of all the design elements is the least influenced by one’s cultural experience. Desirable proportion has long been based around ratios we see in nature with an emphasis on the human body. The “golden rectangle,” considered to be divine proportion, has been used since at least the Renaissance period in art and design and has largely influenced our common experience with architecture and design. In fact, we often don’t even see proportion until something is out of proportion.
The end vise will have both jaws made out of 1-1/2" thick oak. The front vise has its moving jaw made of 1-1/2" oak, but uses the edge of the bench as its stationary jaw. So while for the end vise, if we mount it lower, we can make both the jaws deeper to compensate, for the front vise we cannot, so we want it mounted as close to the edge of the bench as possible.
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.
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.
Happy bench building folks. I hope you make it your own and not worry too much about what someone else thinks it should be. Use the rules as a guideline, they have validity, but make it your own in the end. If the rules fit you that’s great, if they don’t quite fit you then make it to fit yourself. It’s you using it, not some guy making a nice living off of telling you how he thinks you should do it. One size does not fit all. Never has, never will.
Furniture with Soul sheds light on some of the worlds most respected and revered makers of fine furniture. Going into their shops and learning how they got into the craft, what they most enjoy about it, and hearing some funny stories along they way is what this book is all about. It’s not a how-to in any way, unless you’re talking about how these selected group of makers made a living creating exquisite works of art. Beautiful photos of creative and challenging pieces of furniture are included throughout. My favourite book from the last year.
Assemble the vises, for the final time. You'll not be taking them off again, so tighten everything down, and attach the endplate to the ends of the screw and guide rods. Then mark and drill benchdog holes in the outer jaws inline with the benchdog holes in the top. Generally, through-holes are preferred for benchdogs, so that they don't collect sawdust and gunk. With these vises, that isn't possible, there are screws and guide rods in the way. I drilled them just deep enough to hold a Veritas Bench Pony (their reduced-height benchdog), without it sinking to where I can't get a grip to remove it. Rockler sells some very inexpensive plastic benchdogs that can't be adjusted for height, and aren't as strong as metal or wooden dogs, that I intend to keep in the holes full-time, to keep sawdust from collecting in them.
In terms of size, this bench is another Sjobergs that is a bit on the small side, though it is actually far more squared than some others. While its length is a bit disappointing at 54″, the width is over 24″ wide which does provide for more diverse projects. Even better, this product still features the incredibly 500-pound weight capacity and continues the Sjobergs trend of avoiding joints that are not as durable as they otherwise could be.
Even with all of those faults my only regret is that it is too ugly. I didn’t take the time to make it more visually attractive as I was eager to get right into making beautiful furniture instead. Twenty years later the furniture is still beautiful (or not) but I go out to the shop and look at a drab uninspiring workplace. Yeah, nothing wrong with having a visually inspiring workplace in my opinion. All that shop furniture I slapped together years ago with no concern about aesthetics is getting replaced bit by bit. Why should my shop be downright ugly when it is one of my favorite places in the world to spend my time? I see no reason for that, but that’s just my opinion and as we all know everyone has their own one of those… Sadly, no one pays nor reveres me when I offer mine. bummer, I could be a rich egotistical maniac if they did coz I sure offer it enough. 😉
Anyway, the reason I bring all this up is not to brag, but to alert you to a great deal. Recently, we had a chance to acquire the last print copies of these five books, which were sitting, overlooked, in a warehouse. The books mainly have black and white interiors and beautiful hand-drawn illustrations. And every one offers more than 300 pages of excellent advice on woodworking projects and techniques.
Comprehensive is the only word to describe this three-book set on joinery, shaping wood and furniture and cabinet construction. The three authors answer questions you didn’t even know you had. They also do it in a clear, concise and visually pleasing way. Even beginning to list the topics covered would be futile. Safe to say, if you want to learn about something that would fit under these three headings, this set will steer you in the right direction. Each book starts out with the basics and builds on that information, finishing off with quite advanced techniques.
Penland School of Crafts has been operating in the foothills of the Blue Ridge Mountains for over 75 years. This book details how ten instructors – all experts in their fields – make some of the furniture for which they are best known. Each instructor is vastly different from the next, and the tips they detail are highly innovative yet understandable and useful to the amateur woodworker. The director of the school, Jean McLaughlin, says the aim of the book is threefold. “To give the reader insight into the creative and technical processes of leading woodworkers, to provide detailed, intermediate-level technical information, and to showcase a range of approaches to the material.” The book excels on all three levels. Even when Istrongly disliked the style of furniture being discussed, revelled in the unique approach the maker took to break new ground to complete the finished piece. If you would like to see how one-of-a-kind pieces of studio furniture are made, and start to add some new techniques to your arsenal, either take a trip to North Carolina or pick up this book.
Working on one side at a time, glue and nail the side to the back. Apply glue and drive three 1-5/8-in. nails into each shelf, attach the other side and nail those shelves into place to secure them. Clamps are helpful to hold the unit together while you’re driving nails. Center the top piece, leaving a 2-in. overhang on both sides, and glue and nail it into place. Paint or stain the unit and then drill pilot holes into the top face of each side of the unit and screw in the hooks to hold your ironing board. Mount the shelf on drywall using screw-in wall anchors.
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)
Big Book of Scroll Saw Woodworking. This book is jammed packed with scroll saw projects. Sixty projects to be exact. Topics include working with patterns, choosing materials, and blade selection. The projects are from many contributing experts on scroll saw woodworking. You’ll learn to make puzzles, boxes, toys, baskets, intarsia, portraits. Projects range from beginner to advanced.
I used the factory edge of the half-panel of hardboard as a guide for cutting the ply. I wanted to cut a 5-1/2" strip, and my saw cuts 4-1/2" from the edge of the shoe, so I wanted the edge of the hardboard 10" from the edge of the ply. So I set my combination square to 10", and used it to mechanically set the distance. Hint - if you need two things to be precisely the same length, try to avoid measuring them separately. Use some mechanical mechanism for setting the distance.
To corral shelf-dwelling books or DVDs that like to wander, cut 3/4-in.-thick hardwood pieces into 6-in. x 6-in. squares. Use a band saw or jigsaw to cut a slot along one edge (with the grain) that’s a smidgen wider than the shelf thickness. Stop the notch 3/4 in. from the other edge. Finish the bookend and slide it on the shelf. Want to build the shelves, too? We’ve got complete plans for great-looking shelves here.
Of course, few benches can be ideal, and this one does have some drawbacks. That being said, most of the disadvantages of this bench are minor annoyances rather than deal breakers. For instance, this bench does not include any kind of storage whatsoever. Though, it does have the option of adding numerous additional features like a storage area. Still, for the bench, you would expect a drawer at the very least, maybe a shelf below the main table area.