This Saturday’s Open Wire will be hosted by Matt Bickford, owner/planemaker at M.S. Bickford, which offers reproductions of 18th-century-style British moulding planes.
Matt is the author of “Mouldings in Practice,” and he worked with Lie-Nielsen Toolworks to release a DVD with the same name. Both the book and DVD illustrate the process of creating moulding profiles using a simple set of tools. He is currently writing a new book for Lost Art Press detailing the process of making the various tools that he offers.
Open Wire will go live at about 7 a.m. for questions (post them in the comments), and Matt will stop in as his time allows to answer. Comments will close at around 5 p.m. Eastern.
Traditional Shop in Miniature. This workbench scene, owned by tool collector John Sindelar, shows a complete, functioning shop. But what if you don’t own a bench?
The following is excerpted from “The Anarchist’s Workbench,” by Christopher Schwarz. The book is – on the one hand – a detailed plan for a simple workbench that can be built using construction lumber and basic woodworking tools. But it’s also the story of Christopher Schwarz’s 20-year journey researching, building and refining historical workbenches until there was nothing left to improve.
“The Anarchist’s Workbench” is the third and final book in the “anarchist” series, and it attempts to cut through the immense amount of misinformation about building a proper bench. It helps answer the questions that dog every woodworker: What sort of bench should I build? What wood should I use? What dimensions should it be? And what vises should I attach to it?
“The Anarchist’s Workbench” also seeks to open your eyes to simpler workbench designs that eschew metal fasteners and instead rely only on the time-tested mortise-and-tenon joint that’s secured with a drawbored peg. The bench plan in the book is based on a European design that spread across the continent in the 1500s. It has only 12 joints, weighs more than 300 pounds and requires less than $300 in lumber.
And while the bench is immensely simple, it is a versatile design that you can adapt and change as you grow as a woodworker.
There’s only one reason that the cheap-o workbench industry exists. And that’s because people think they need a workbench to build a workbench (or are truly delusional and think it will be fine for furniture making).
So many woodworkers I’ve met have spent $200 to $500 on a bench that isn’t worth the BTUs to burn. The things wobble like a broken finger. The vises hold like the handshake of a creepy vacuum salesman. They are too lightweight for even mild planing tasks.
You don’t need one of these benches to someday construct a “real” bench. In fact, I build benches all the time without the assistance of a workbench. It’s easy. Start with sawhorses. Glue up the benchtop on the sawhorses. Sawhorses + benchtop = ersatz bench. Now build the workbench’s base on top of that ersatz bench. Put the base and the benchtop together. You’re done.
If you want a temporary workbench until you build a “real” workbench, there are ways to get the job done with just a little money and a little frustration. This brief chapter seeks to give you some options.
I know that some of you will insist on buying something as soon as you anoint yourself a woodworker. It’s an instinct we’re trained into as consumers. Here are a few things to put in your shopping cart instead of a cheap workbench:
Buy an industrial steel packing table with a hardwood top. You can get these from many, many suppliers (McMaster-Carr is one). These feature a heavy welded steel base and a wooden top that’s maple, if you’re lucky. These metal tables don’t rack like a cheap workbench and cost less (way less if you find a used one). You can screw thin pieces of wood to the top as planing stops so you can plane the faces of boards and legs and the like. And get a large handscrew clamp to stabilize boards when planing them on edge. These packing tables don’t come with any vises, of course, but you can fix that with your credit card.
Buy a couple bar clamps (you’ll need clamps no matter what) that are long enough to span the width of the top of the packing table. Screw a 4×4 below the benchtop right at the front edge of the top – this will allow you to clamp your work to the front edge of the benchtop so you can work on boards’ edges and ends.
That’s one solution. How about a simpler approach?
Use your kitchen cabinets, kitchen table or dining table as the workbench. You can clamp planing stops to the tabletop (you’ll need a couple F-style clamps for this). Don’t forget to buy a large handscrew clamp to help stabilize boards when planing them on edge on the tabletop.
For working on edges and ends of boards, buy a commercial Moxon vise, which you can clamp to any tabletop or countertop. This vise will let you work on the edges and ends of boards. Even after you build a “real” workbench, you’ll continue to use the Moxon and the handscrews.
Is that still too much money? Do you have a public park nearby?
Use a picnic table. Drive nails or screws into the top to serve as planing stops. With a picnic table you get both high and low working surfaces. You can drive some nails into the picnic table’s benches to act as a planing stop and use them like a Roman workbench.
Buy a couple big handscrew clamps (every woodworker needs these anyway). Clamp or screw these handscrews to the picnic table so they work like vises so you can work on boards’ edges or ends.
Here are other time-honored solutions I have observed in the wild.
Take four pieces of 3/4″ x 24″ x 96″ CDX cheap-o plywood and screw them together face to face to make a 3″-thick benchtop. Screw this benchtop to a used metal desk. The old metal desks that populated schools, warehouses and government offices are ugly, cheap and widely available. They are almost all 30″ high. Add a 3″-thick benchtop and you are in the right height range for most Americans. Some of these desks have MDF desktops. Some have sheet metal tops. Either way, you can screw your plywood benchtop to the desk. Bonus: The drawers give you tool storage. Add workholding as above.
Conscript an old dresser/bureau. This is a three- or four-drawer cabinet for storing clothes. One 19th-century book I read showed how to turn this into a workbench. Attach planing stops to the top of the bureau/dresser. For sawing, keep it simple – use 5-gallon buckets as sawbenches (thanks for that tip, Mike Siemsen). You also could clamp a Moxon vise to the top. The lower drawers are for storing tools. The upper drawer can catch sawdust (not my idea – it was mentioned in the book).
The Apocalypse Workbench When I teach or demonstrate woodworking on the road, the venue is occasionally luxurious and other times it’s more like “Lord of the Flies.” I’ve showed up at woodworking clubs where the workbench on offer was a folding table with metal legs and a particleboard top.
After years of encountering this problem, I learned to travel with an emergency kit of things that allowed me to work without bursting into sweat and tears in front of an audience. Here’s the kit:
Two large handscrews
Two 36″ bar clamps
Two F-style clamps (usually with 12″ bars)
Thin strips of plywood, usually 3″ x 24″ and in two thicknesses: 1/4″ and 1/2″
Small clamping pads of scrap plywood, to prevent denting my work when I pinch it
A few softwood shims
A couple simple bench hooks for sawing.
This kit has converted many desks and tables into somewhat-functioning workbenches. The handscrews and bar clamps act as face vises. The plywood scraps can be made into planing stops for planing with the grain or across it. And the F-style clamps can clamp my work – or other clamps – to the tabletop.
To be sure, I’m always happy to return home to my workbench. But until I find a way to fit it in an airplane’s overhead compartment, this kit has become a way that I can work almost anywhere.
If You Buy (or Inherit) a Cheap Workbench? Let’s say that all your friends warned you against buying a $200 to $300 “hobby” workbench and you went against their advice (“How bad could it be?”). This part of the book is for you. As an experiment, I bought one of these benches for $220 (total with shipping). Out of the box, it weighed just 57 lbs. That’s the sort of bench that you want to feed a sandwich.
An Inexpensive & Lightweight Bench. This bench weighed 57 lbs. out of the box. Our cats could move it around the shop.
I decided to see if I could make it into a decent bench for about $50. I came pretty close. Here’s what I did.
The bench’s base was a lightweight white pine and was assembled with dowels and screws. The two end assemblies were joined with wide pine stretchers. Captured nuts and bolts pulled everything tight, like assembling a bed.
The first thing I did was to glue all the joints in the end assemblies as I put the bench together. The instructions didn’t mention glue, but I added it to the dowels and all the mating surfaces. I “sized” the end grain areas with glue and then re-applied glue if the gluing surfaces became dry before clamping the parts together.
Then I bolted the ends together. I added the thin shelf provided by the manufacturer then slapped three layers of scrap construction plywood on top of the thin shelf. This added much-needed mass. To make the base even more rigid and heavy, I screwed 3/4″-thick plywood panels to the back and ends of the base.
The benchtop was maple and only 1″ thick. So I glued and screwed two layers of 3/4″-thick plywood to the underside of the benchtop. The new benchtop thickness of 2-1/2″ isn’t terrible. I had to drill out the dog holes through the new plywood layers.
The original benchtop was connected to the base with puny screws. I replaced those screws with four sets of 3/8″ hex-head bolts, washers and nuts. While I’m not wild about bolting together a bench, it is a step up from using spindly screws.
The workholding on the bench was a skimpy end vise. So I added holes for holdfasts in the benchtop. Then I drilled holes in the front legs so I could put holdfasts or pegs there. I added a crochet to the front edge of the benchtop. Planing edges of boards is now quite easy.
Then I restrained the bench to the floor with lag screws. You can bolt yours to the shop floor or screw cleats to the floor to fence in the bench’s feet. (While you’re down there, check out the bench’s feet. They might not sit flat and need to be planed, sawn down or shimmed up.)
With all my modifications, the bench weighed about 130 lbs. – a lot more than when it was born from its shipping box. When restrained to the floor it didn’t sway under planing pressure.
Same Bench After Modifications. After adding mass, the bench weighed 130 lbs., and it was almost usable.
It wasn’t the worst bench I had ever worked on. (But, to be fair, I have built stuff on folding tables, a rotting porch and a loading dock. The bar is pretty low.)
I don’t, however, recommend this path unless you inherit one of these benches. Never ever buy a $220 commercial bench. Not even on a bet. That $220 could buy you more than 900 pounds of yellow pine.
Just a reminder that registration is now open on our ticketing site for classes at the Lost Art Press storefront for the first half of 2024. (We’ll post classes for the second half of 2024 in February).
– Fitz
p.s. If you have questions about the classes, please read our FAQs. If, after reading those, you still have a question, email covingtonmechanicals@lostartpress.com (not the LAP help desk).
The following is excerpted from “The Essential Woodworker,” by Robert Wearing. In our opinion, “The Essential Woodworker” is one of the best books on hand-tool usage written in the post-Charles Hayward era. Wearing was classically trained in England as a woodworker and embraced both power and hand tools in his shop and in his teaching.
He begins with a table. As you read the chapter on building a table, Wearing connects the dots for the hand-tool user by showing how all the tools are used in concert to produce accurate work. It’s not just about sawing a tenon or planing an edge. Instead, it is about how to gather these skills and apply them to building furniture – tables, doors, carcases, dovetailed drawers, plinths, etc.
The book is filled with more than 500 hand-drawn illustrations by Wearing that explain every operation in a hand-tool shop. His illustrations are properly drafted, drawn in perspective and masterfully clear.
The accurate sawing of tenons (Fig 119) is a vital skill. They should be sawn with confidence and should fit from the saw. To saw clear of the lines, for safety, is not recommended since whittling an overthick tenon to size is both more difficult and less accurate than sawing correctly in the first place. A 250mm (10in.) tenon or backsaw is the most commonly used for this purpose. Frame saws are used in Europe and by some workers in the USA, but they have never been popular in Britain since the manufacture of good-quality backsaws, and beginners usually find them rather clumsy.
Before starting, check over the names of the parts on Fig 95 [top] and shade in the waste. While there is little chance of throwing away the wrong piece, it is essential that the sawdust should be removed from the waste and not from the tenon. That is, the ‘kerf’ (the sawcut) should be in the waste and just up to the line. Beginners using the thick pencil aid in Fig 105 [see bottom of post] should saw away one pencil line and leave the other intact. The technique is not difficult if the following guidelines are followed: do not saw down two gauge lines at a time; do not saw to a line which is out of sight. (A modification to the saw is described in Appendix B.)
Start sawing always at the farther corner not the nearer one. Beginners may find it useful to chisel a triangular nick there to start the saw accurately (Fig 120). With the rail held vertically in the vice, start to saw at that far corner, slowly lowering the handle until a slot is cut about 3mm (1/8in.) deep (Fig 121). Now tilt the workpiece (Fig 122) and, keeping the saw in the slot, saw from corner to corner. Then turn the work round, or stand on the other side, and saw again from corner to corner, leaving an uncut triangle in the centre (Fig 123). Now grip the work vertically and, running down the two existing sawcuts, remove this last triangle, sawing down to the knife line, but no farther. Keep the saw horizontal (Fig 124).
If there is a set-in or haunch, saw this next. Repeat these stages on all the other tenons (Fig 125). The haunch may be sawn right off now or later.
Sawing the shoulder is most important as this is the piece left exposed. Except on wide rails, which may be planed, the shoulder should go up from the saw.
Cramp to the bench, deepen the knife cut and chisel a shallow groove (Fig 126). Lay a very sharp saw in the groove and draw it back a few times to make a kerf, then saw off the cheek. Take the greatest care not to saw into the tenon (Fig 127), which would then be severely weakened. Should the waste not fall off, the cheek has probably been sawn with an arc-like motion, leaving some waste in the centre (Fig 128). Do not saw the shoulder deeper. Prise off the waste with a chisel, then gently and carefully pare away the obstruction. Saw off the haunch if not sawn previously.
Saw off the set-in with a little to spare, and trim this back to the knife line with a chisel only just wider than the tenon size. This avoids damage to the corner of the shoulder. Finally saw the mitre (Fig 129). The tenons should be lettered or numbered to identify them with their mortices.
Make a preliminary fitting of the joints. The tenon may be too wide or too thick. Check for the latter by inserting it diagonally into the mortice (Fig 130). A tenon may be wrongly thought to be too thick when in fact it is too wide. It may have been sawn too wide or the mortice may have been chopped tapered (Fig 131), in which case trim it square. The most accurate way to correct an overthick tenon is to use a router plane, to the sole of which has been screwed an offcut of rail material (Fig 132).
Having checked that the tenon will enter the mortice, grip the rail in the vice and tap on the mortised member using a woodblock and hammer (Fig 133). The hammer face is small and makes it a more precise tool than the mallet. Check every joint in this way. If the shoulder does not close, either the tenon is too long or the haunch is too long, and either of these problems can easily be corrected. But a badly sawn shoulder can only be corrected by re-squaring and taking back with a shoulder plane.
“Thick Pencil Trick” – Beginners will find it helpful later on, when sawing the tenons, if a thick, soft pencil is run in the gauge marks. This produces a double pencil mark (Fig 105).
Paul Murrett, working on a seven-stick stick chair during an early 2023 class.
Next Monday, Sept. 25, 2023, at 10 a.m. Eastern, bench spaces go on sale for January-June 2024 Covington Mechanicals classes at the Lost Art Press storefront. (And we’re excited to announce that both Roy Underhill and Matt Cianci we be once again make the trek to Kentucky to teach!)
We have only eight benches, so classes are – with rare exceptions – limited to six students (which leaves the not-teaching editors here at LAP one bench on which to work). Thanks in part to the small class size, most classes sell out in nanoseconds – for which we are grateful; thank you. But it does mean that it’s best to be ready to hit “register” the split second classes go live on the Covington Mechanicals Ticket Tailor page (and it helps to have a pinch of luck). If a class is sold out, I recommend registering for the waitlist; we end up filling a slot or two from the waitlists for almost every class.
Dovetailed Shaker Tray class, February 2018 (I wish my knees still bent like that, sans pain).
Upcoming classes are: • Build a Comb-back Stick Chair with Christopher Schwarz, Jan. 15-19, 2024 • Make a Dovetailed Shaker Tray with Megan Fitzpatrick, March 9-10, 2024 • Window Joinery with Roy Underhill, March 23-24, 2024 • Build & Engrave a Shepherd’s Coffer with Christopher Schwarz, April 5-7, 2024 • Build a Traditional Sawbench with Megan Fitzpatrick, April 20-21, 2024 • Saw Sharpening 101 with Matt Cianci, May 18-19, 2024 • Build & Engrave a Shepherd’s Coffer with Christopher Schwarz, June 7-9, 2024
Classes for the second half of 2024 will be posted in February.
Click here to go to our registration site. From there, you can click on each class for more details about it. NOTE: There will be a button on each class page that says “Register Now.” You can click that, but you won’t actually be able to register until 10 a.m. Eastern on Sept. 25.
Check out FAQs about classes here. If, after reading the FAQs you still have questions, please post a comment here, or email covingtonmechanicals@gmail.com. (These classes are independent of Lost Art Press/Crucible Tool, so please do not email the LAP help desk.)
– Fitz
p.s. There are still 2 spots available in my Shaker Tray class in beautiful Berea, Ky., Oct. 14-15, 2023. Come cut some dovetails with me; I promise to pay more attention to my students than to Woodsy, the new Pine Croft shop cat.(Or I at least promise to try.)
