Of all the workbench personalities, only The Undecider has driven me to reconsider my career in woodworking.
Like herpes, when you encounter The Undecider, everything seems kinda normal at first. But then, inexplicably, you cannot get rid of him.
The Undecider: Hey, I LOVE that Robo workbench on your blog. I was wondering if I could ask you a few questions about wood movement, wood selection and anything you would change if you built it again.
Me: Sure…. And blah, blah, blah.
Six weeks pass.
The Undecider: Hey, that Nickelback Bench is amazing! It really got me rethinking my workbench plans. Do you think oak would work for this bench? Could I equip it with a quick-release vise?
Me: Sure…. And blah, blah, blah.
Seven weeks pass.
The Undecider: Hey, I just read the article on John White’s “New-Fangled Workbench.” I was wondering if you could compare the strengths and weaknesses of this bench with the Rubiot bench, the Niklesen and this Newfangled one.
Me: I’ve never even seen one of these benches from John White. I read his article, of course, and it’s very interesting. But I’m afraid you know just as much as I do.
Eight weeks pass.
The Undecider: Hey, have you seen the height-adjustable bench? Do you think that could be combined with a Robo bench and the planing platform from the Newfangled Bench? Love to get your thoughts on how this might work.
I put the email aside. I needed to think of how to answer this email without using the phrase: “How many Hot Wheels can fit up your butt?” This process takes a couple weeks and includes some guided meditation. Finally, I am ready to answer this without sounding like a pirate. Then my email dings.
The Undecider: Hey, me again. I’ve actually been thinking I should just buy a workbench and “get to the good part” – you know, making furniture. But I can’t decide if the Lie-Nielsen bench is really worth the money compared to the Sjoberg. Do you think you could do a side-by-side comparison for me? Can’t wait to hear your thoughts!
Me: Dude, my thoughts would get me arrested in 22 states.
You might have heard: Megan Fitzpatrick is no longer the editor of Popular Woodworking Magazine.
While readers might be wringing their hands or wondering how the magazine will fare without her (hint: it will be just fine), I am personally and selfishly pleased at the news.
Megan was, hands down, the best employee I ever had (followed closely behind by Kara Gebhart). As my managing editor, Megan worked her butt off. She was both passionate and professional. Intensely curious about the craft. Willing to do whatever it took to get the magazine to the printer while refusing to sacrifice quality.
And now, with her days free, she can work for Lost Art Press even more – both editing and writing. As many of you know, nearly every book at Lost Art Press has benefitted from Megan’s careful eye and deadly red pen. And, if I get my way, she’ll allow us to publish a book of hers that’s been percolating for many years.
The community of woodworking editors is small – maybe 30 or 40 people at most. And when someone leaves a publication, one of two things happen. Most editors disappear. They return to their lives as commercial woodworkers or move on to edit a magazine about drones or hospital hand sanitizers. A few (and I can name them on one hand) refuse to leave the world of woodworking and carve out their own place. On their own terms. And they improve the craft (and their own lives).
The smart money says that Megan will do the latter.
So please welcome Megan to the ranks of the Woodworking Editorial Hobo Society (of which I am lifetime member). There’s a warm chair and a cold beverage waiting for you at our next meeting.
I call this type of workbench builder the “Frank Sinatra” because they always do it “My Way.” In other words, a Frank Sinatra workbench is entirely disconnected from tradition and – at times – human reason.
Is this bad? Shouldn’t workbenches be a “I’m OK and You’re OK” kinda thing? If it works for you it’s right, right?
While I don’t seek to poo on anyone’s parade, there are certain guidelines for building things that are related to the human form and the work. If someone came to you and said: I’ve just rethought the idea of the chair – I’ve made the seat 24” deep so there’s more room to relax! Isn’t that great? More, more, more!
Me: Doesn’t that cut off the circulation of blood to the legs?
Designer: Hey, it works for me.
The following descriptions of my encounters with the Frank Sinatras are not an effort to quash innovation in workbench design. Instead, this is a look at what happens if you build a bench without knowing how benches are used.
How it Begins To be honest, I don’t think I’ve ever met a Frank Sinatra in person. Instead, they are the people who read my blog entries and then send me photos of their workbenches with a note that says something like:
“Saw your Rubio bench. Thought I’d show you what a REAL bench looks like. I designed this one myself – an ORIGINAL design. Want to do a story on my bench? It’s awesome.”
The first Frank Sinatra I encountered had made a U-shaped bench that was 12’ wide and 16’ long (yes, 12 feet x 16 feet). It was comprised entirely of kitchen cabinets that were bolted together and then covered in 4×8 sheets of plywood. Imagine a giant “U” covered in plywood. And there were vises every 3’ or so.
Me: Do you run a school? Is this for your employees? Or are you Catholic like my wife and have a lot of kids?
Frank Sinatra: Nope. It’s just me. But it’s the best damn bench I’ve ever seen. Better than your Robo bench for sure.
Your Bench is for Pansies Like many bench builders of the last 2,000 years, I like a bench to have some mass. You can work with a lightweight bench – we’ve all had to do it – but mass makes things easier.
Some people, however, take mass to a ridiculous level. One day I received an email from Frank Sinatra with photos of a bench “that makes your benches look like church picnic tables.”
I opened the attached photos. It was a French-style bench that was made entirely out of 2x12s. The top was all 2x12s that were face-glued (the top was 11” thick). The legs? 2x12s that finished out at 11” x 11”. (Elephants would be jealous.) The stretchers? 2x12s.
In all honesty, it looked like a cartoon sketch of a bench. But I wanted to be diplomatic. After reading the stats provided by the Frank Sinatra (it weighs 575 lbs.!), I asked a simple question.
Me: Bench looks beefy. How do the holdfasts work?
Frank Sinatra: Don’t know. Haven’t used the bench yet. Just finished it last weekend.
Suckier Workholding It’s a simple note via email: You don’t need vises. No one needs vises. Take a look!
The bench in the photos is a 4x4x8 box made of plywood. Every foot or so is a vacuum port. They are on the benchtop. On the end of the box. On the front face. The bench is powered by two large compressors, which, through a venturi nozzle, provide the vacuum power.
Now there is no need for vises. Place your work on the vacuum port and it is immobilized. Cutting dovetails? No problem! The work is held immediately upright, ready for sawing! Planing? Put it on the benchtop and the vacuum ports hold it fast. No planing stops. No tail vises. No nothing.
I ask a question: How does it hold rough stock? Stuff that is fresh off the sawmill?
To this day, I still haven’t heard a reply.
Torsion or Tension? Many times the Frank Sinatras come at me with their torsion box designs – “The T-Box Rules!”
So instead of a simple slab of wood, the T-box designer wants to make a benchtop from thin skins of plywood that cover a baffle system of thin components. This is a great way to make a lightweight tabletop that has a lot of visual presence. But a workbench top?
Me: How will you get holdfasts to hold in a torsion box?
Frank Sinatra: Those areas will be solid wood, surrounded by air.
Me. What about the dog holes?
Frank Sinatra: Same answer. Solid wood in the areas for the dogs.
Me: Don’t you want some mass? This benchtop weighs only 17 lbs.
Frank Sinatra: I’m going to fill all the cavities between the baffles with sand.
It’s Not a Bench. It’s the World A common Frank Sinatra affliction is to add endless functionality to the bench. A table saw is integrated into the benchtop. A planer is in the base. There is tool storage galore. A fridge. A router table. And Bluetooth.
But does it work? Outside of your mind? Outside of a piece of paper?
This Saturday, Dec. 9, will be the last day the Lost Art Press storefront will be open for 2017 (our next open day will be Jan. 13, 2018). So if you need holiday gifts or something with a personal signature, this is the best and last day to get them.
That same evening, Dec. 9, we’re throwing a book release party for Mary May, author of “Carving the Acanthus Leaf” and George Walker, one of the authors of “From Truths to Tools.” Both authors will give brief presentations, and then they’ll be happy to answer your questions and sign books. Lost Art Press will supply drinks and light snacks. The free event is 7 p.m. to 10 p.m. on Saturday and is just about filled up. We still have a few places left – you can register here.
If you haven’t been to the storefront in a while, there is a lot of progress to see. The Horse Garage is nearing completion, and we’re setting up the Covington Mechanical Library in the back room for reading and research.
We’ll also have lots of blemished books and tools for sale at 50 percent of retail (cash only). We also have the “Big Bag of Free T-shirts” for you to dive into. Recently I culled my collection of woodworking T-shirts (from all over the world). Come and get as many as you like to wear or to cut them up for rags.
As always, we are happy to answer any of your woodworking questions during these events. Megan Fitzpatrick and Brendan Gaffney (from Popular Woodworking Magazine) will also be there to help out. Here’s a map to the storefront:
This calendar year has been all about gutting, rebuilding and setting up the Horse Garage, which will store wood and a few machines that I use for processing stock. For 2018, the major project will be setting up a mechanical library in the area formerly known as the storeroom.
Today, Brendan Gaffney and I took the first step on this project by moving all of the book inventory, furniture parts and shelving to the basement below the shop.
I’ve been waiting months for the humidity level in the basement to reach a tolerable level for books and furniture parts. Earlier this year, we dug out the basement floor about 18”, installed French drains and a sump pump and concreted the place. At the time, the humidity levels down there matched the outdoors (or a little higher).
About two weeks ago, the humidity level in the basement began to match the humidity in my shop upstairs.
Tomorrow, I’ll start moving the bulk of my woodworking book collection to our library area. When I run out of shelf space, my plan is to build an entire floor-to-ceiling bank of bookshelves on the blank north wall of the building.
I hope that task will be easier than gutting a building and rebuilding the Horse Garage. But I’ve been wrong before.
The goal of the mechanical library is amorphous for now. There are plenty of excellent mechanical libraries out there (Winterthur and American College of the Building Arts are two wonderful ones that I have visited). But the mechanical societies of the 18th and 19th centuries had other functions that were social and educational. So I’m letting things fall into shape as the community of Covington and our storefront get on their feet.
