The building of a workbench often becomes a right of passage for many accomplished woodworkers. For these artisans, it’s a tangible expression of their skills, esthetic, and approach to the craft. It’s also a prized tool. Why a bench looks and works the way it does will not always reveal itself quickly. But if you ever visit the shop of a master craftsman and ask about their bench, you might be amazed at what you’ll learn.

In this video, we get to do just that when we meet master cabinetmaker Patrick Edwards who gives us a guided tour of his massive, hand-built bench designed for working with hand tools. Patrick works almost exclusively with hand tools, most either originals or hand-made reproductions from the 18th and 19th centuries. Patrick says pretty bluntly, “The bench is the first tool. The bench is the beginning tool that every person who works with hand tools has to have.” In Patrick’s case, it truly is the centerpiece of the shop. And it’s easy to see why, because if you can’t hold the work, you can’t use a hand plane or a chisel or any tool that requires the workpiece to be held stationary. For hand-making drawers and dovetails, you really need a purpose-built bench.

Patrick’s bench is influenced by several historic styles. His incorporates characteristics of a typical Northern European style bench which features wooden-screwed tail and shoulder vises complimented by a series of dog holes (the bench style most famously used by Frank Klausz). And he also merged elements of the French style Roubo bench, which makes use of quick-release iron holdfasts. Then for good measure, he added an antique leg vise to one corner (which he purchased from Windsor chair maker, Michael Dunbar). The combination of all these vices and clamping stations allows him to hold almost any workpiece including often difficult to hold turned objects and carvings.

Now decades old, Patrick’s toothing-plane-scrubbed bench has a well earned patina, evidence left behind by the maker working his craft. It’s a patina just waiting to tell us its story. I hope you are inspired. (10 Minute Woodworking Video)

Patrick Edwards is President of Antique Refinishers, Inc. which offers restoration, conservation and reproduction of pre-industrial American and European furniture for dealers, private collectors, and institutions. Mr. Edward also owns and instructs at the American School of French Marquetry, Inc. Both business are based on San Diego, California. Mr. Edwards has also formulated a slow-set, ready-to-use liquid hide glue. which he produces and sells under the brand name “Old Brown Glue”.

The post On Designing & Building A Custom Workbench — Up Close: The Edwards Bench first appeared on WoodTreks.

Animal protein glues (often referred to as “hide glues” or HHG for hot hide glue) have been used for thousands of years. In fact, these glues were the original “super glues,” offering historic people a valuable way of bonding materials. Today, these glues have mostly been replaced by synthetic glues, but for all of the world’s modern advances, there still remain many valuable uses for animal glues including antique restorations, furniture construction, marquetry, and luthierie (guitar, violin & other instrument making). Unlike many newer glues, protein glues are reversible, a characteristic that allows artisans to disassemble and repair parts more easily. Because it tacks fast as it cools, it is useful in clamp-less processes like hammer veneering. And there are other benefits too.

Some modern day artisans favor protein glues for virtually all their work. One of these devotees is California-based furniture conservator Patrick Edwards, an accomplished furniture maker, woodworking historian, and hand-tool expert. Patrick almost exclusively uses animal glues in his colorful urban shop, where a rusty old hot glue-pot is always at the ready. In this video, Patrick shares his 40-some years of experience working wood with animal glues. We learn why he uses animal glues; how he selects from the many types of hide, bone, fish, and rabbit skin glues currently available; and how he mixes and heats the product. Patrick explains the meaning of gram strength, why it matters, and how to purchase the right gram strength glue for your application (He says that for general woodworking, you should use a hide glue with a 192 gram strength). Frankly, it’s not hard to be amazed by the refined characteristics of this non- toxic glue. It’s all here in this lively tutorial. One of the most insightful discussions on selecting and cooking natural glues I’ve ever heard. (9.5 Minute Woodworking Video)

Patrick Edwards is President of Antique Refinishers, Inc. which offers restoration, conservation and reproduction of pre-industrial American and European furniture for dealers, private collectors, and institutions. Mr. Edward also owns and instructs at the American School of French Marquetry, Inc. Both business are based on San Diego, California. Mr. Edwards has also formulated a slow-set, ready-to-use liquid hide glue. which he produces and sells under the brand name “Old Brown Glue”.

The post Hide (& Animal Protein) Glues: Background, Selection and How to Prepare first appeared on WoodTreks.

At a simple level, veneering is the process of applying thin layers of decorative wood over less expensive structural materials. There are many ways to do this, but some of the most refined techniques were developed centuries ago by 17th and 18th century furniture makers who perfected the technique we now call “hammer veneering.” As we learn here, a few modern-day artisans still prefer this time-honored technique to create the highest quality work. One of those practitioners is San Diego-based furniture conservator Patrick Edwards, an accomplished furniture maker, woodworking historian, and hand-tool expert.

In this video, without the benefit of powered vacuum presses or perfectly flat plywood substrates, Patrick reveals an entire hammer veneering process. You’ll learn step-by-step how to “tooth” or make perfectly flat the substrate wood, how to glue down simple veneers using a veneer hammer & animal protein glues, how to create an exquisitely tight veneered joint, how to insert decorative inlays, and how best to prepare the project for final finishing. Patrick has made a career out of preserving the extraordinary skills of the old masters and in so doing he’s become a modern master himself. Patrick is a fantastic teacher and woodworking scholar and I’m confident you’ll enjoy this very special WoodTreks video adventure. (13 Minute Woodworking Video)

Patrick Edwards is President of Antique Refinishers, Inc. which offers restoration, conservation and reproduction of pre-industrial American and European furniture for dealers, private collectors, and institutions. Mr. Edward also owns and instructs at the American School of French Marquetry, Inc. Both business are based on San Diego, California.

The post Hammer Veneering: How To Apply Decorative Veneers Using Only Hand Tools first appeared on WoodTreks.

In this video we learn how to apply flutes (or reeds) to wood turnings. These decorative flourishes are notable design elements incorporated into many historic furniture styles including the Federal, Hepplewhite, and Sheraton schools. But even contemporary makers employ fluting and reeding within their work. You can too.

If you aren’t already familiar with the terminology, flutes are concave grooves cut along the length of an object. Reeds are cut similarly but their profile is convex. Flat moldings and trim can be reeded or fluted, but, in this video we focus on embellishing “round things” like bedposts and table legs. Johnathan Sanbuichi, turning specialist at Irion Company Furniture Makers, demonstrates how he uses a router mounted in a shop-built jig, a custom made indexing tool, and his massive lathe bed to accurately, quickly and repeatedly produce beautifully flowing carved lines. Learn and enjoy. — Keith (10 Minute Woodworking Video)

Johnathan Sanbuichi is a cabinetmaker and turning expert at the The Irion Company, specialists in the restoration, conservation, and hand-made reproduction of American antique furniture from the 18th and 19th century. Irion is based in Christiana, Pennsylvania.

The post How To Apply Decorative Fluting (or Reeding) to Turned Objects first appeared on WoodTreks.

There is something intoxicating about the process of turning — part by-the-book technical, part a fluid freestyle dance. For flat-work artisans, those of us who make cases and cabinets, it’s easy to see why so many woodworkers are drawn to this fascinating, and some might say hypnotic specialty of the wood world.

On my recent visit to The Irion Company Furniture Makers, I was delighted to meet and learn from Johnathan Sanbuichi, an accomplished cabinetmaker and turner. In this video, Johnathan demonstrates his approach to the turning of flats, beads and coves, the core design elements found on many styles of beds, chairs, tables, and cabinets —— especially 18th and 19th century furniture styles. In this video, Johnathan explains how to use a “story stick” to lay out and create “elevation” guides that mark key points in these types of designs, how to use calipers and a parting tool to rough-in depth cuts on the lathe, and how to work with a skew or spindle gouge. And along the way, we get a few thoughts on Johnathan’s life in woodworking. Now, how’s that for a deal?

I hope you enjoy this informative and mesmerizing little peak into Johnathan’s world of turning. – Keith (7 Minute Woodworking Video)

Johnathan Sanbuichi is a cabinetmaker and turning expert at the The Irion Company, specialists in the restoration, conservation, and hand-made reproduction of American antique furniture from the 18th and 19th century. Irion is based in Christiana, Pennsylvania.

The post Turning Coves and Beads on Bedposts, Table Legs, and Chairs first appeared on WoodTreks.

There are many ways to join pieces of wood, but mortise and tenon joints are the standard against which most alternatives are measured. In this comprehensive video (15 minutes), University of Rio Grande program director Eric Matson explains how mortise and tenon joints are used in typical post-and-rail construction — the type of construction often used in high-quality chairs, tables, and beds. In these applications, vertical posts (or legs) are joined with horizontal rails (or aprons). It’s the perfect application for this traditional joint.

In this video, Eric deconstructs a sample side table to show us how high-quality furniture is designed and built. Learn how to layout mortises for maximum strength, how to incorporate and work with split tenons, how to mark-up twin tenoned mortises, and how to account for reveals, offsets, and non-flush designs. Eric’s systematic approach minimizes errors and helps make layout and construction more efficient. For me, that’s the key point; understanding what makes for consistent, repeatable, quality joints. Armed with the information in this video and careful step-by-step application of what you’ve learned, you can craft better, stronger, faster joints. — (15.5 Minute Woodworking Video)

Eric Matson is the Director of the Fine Woodworking Program at Rio Grand University. Rio Grande offers a one year certificate program, as well as two year associates and four year college degree programs. Graduates have the skills and knowledge to be productive in custom furniture shops and architectural/cabinet shops. Rio Grande (pronounced rye-oh) is in Southern Ohio.

The post How to Layout Mortises: Anatomy of Post & Rail Construction first appeared on WoodTreks.

In rough carpentry, deciding how to cut into a board is pretty straight forward — measure to length and chop. But for fine woodworking, slicing up a prized piece of lumber is a more refined skill. In this video, professional cabinetmaker and teacher Eric Matson shows how to evaluate rough lumber prior to cutting. First, he identifies and marks with chalk unusable defects in the stock including knots, checks, and sapwood. Then he decides how cut to the board into rough component pieces for maximum yield and beauty. Part of Eric’s goal is to assure that sectioned boards “wrap” the project (i.e. a piece of furniture) in the same sequence they come off the board. This artful attention to the flow and continuity of the wood’s grain increases the quality of the final project. Grain flow is the core objective, but a complete evaluation also includes identifying highly figured parts of a board, which can be used for focal points (drawer fronts, table tops, etc). And if surplus material remains on the board, Eric makes sure he cuts extra spare parts and “set-up” pieces when possible. — Keith (4 Minute Woodworking Video).

Eric Matson is the Director of the Fine Woodworking Program at Rio Grand University. Rio Grande offers a one year certificate program, as well as two year associates and four year college degree programs. Graduates have the skills and knowledge to be productive in custom furniture shops and architectural/cabinet shops. Rio Grande (pronounced rye-oh) is in Southern Ohio.

The post Layout Rough Boards for Maximum Yield and Beauty first appeared on WoodTreks.

Dimensioning rough boards by breaking them down into smaller, precisely sized parts is one of the key first steps in any woodworking project. This preliminary process certainly isn’t the most glamorous part of working wood, but virtually every skilled artisan will agree it’s one of the key steps for achieving consistent, high-quality results.

In this video, artisan Eric Matson, who is the Director of the University of Rio Grande’s Fine Woodworking Program, walks us through the same eight steps Eric’s students must master early in their college training. Eric explains how even twisted, cupped, bowed or kinked boards can be quickly and safely broken down into smaller rough parts, which can then be milled to tight tolerances and made ready for jointing and other more refined processes. In part one of this two part series, you’ll learn how to rough cut boards to length, rip to rough width, joint one face flat, and plane both faces to thickness. But there’s more to Eric’s approach than just these basic steps. Eric also shows you how to stay organized and mill parts in batches, and why it’s important to prepare extra parts for set-up, testing, and disaster recovery. His entire approach offers you a comprehensive strategy that will help you achieve the tight tolerances essential for master quality work. — Keith (11 Minute Woodworking Video)

Click here for Part Two, the final segment in this series. Watch steps 5 through 8..

Eric Matson is the Director of the Fine Woodworking Program at Rio Grand University. Rio Grande offers a one year certificate program, as well as two year associates and four year college degree programs. Graduates have the skills and knowledge to be productive in custom furniture shops and architectural/cabinet shops. Rio Grande (pronounced rye-oh) is in Southern Ohio.

The post Precisely Dimension Rough Lumber in Eight Steps (Part 1 of 2) first appeared on WoodTreks.

This video is the second half of a two part series on the quick, easy, repeatable way to prep rough lumber. In Part One, (view Part One here) instructor and furniture maker Eric Matson demonstrates how he breaks down rough boards , step-by-step, into smaller rough parts. Now, in this final segment, Eric takes us through the last steps of squaring edges and cutting to precise lengths & widths. Along the way we learn tips, tricks, and secrets that help eliminate errors.

If you take away anything from this series, I hope you’ll agree that guaranteeing consistent results only comes with a proven system. Eric shows us his system, the same proven method that Eric says quickly elevates his students’ work to the next level. See if it works for you. (10 Minute Woodworking Video – Part 2 of 2)

Eric Matson is the Director of the Fine Woodworking Program at Rio Grand University. Rio Grande offers a one year certificate program, as well as two year associates and four year college degree programs. Graduates have the skills and knowledge to be productive in custom furniture shops and architectural/cabinet shops. Rio Grande (pronounced rye-oh) is in Southern Ohio.

The post Precisely Dimension Rough Lumber in Eight Steps (Part 2 of 2) first appeared on WoodTreks.

Sometimes when looking closely through the lens of my camera at a gifted artisan’s working hands, I see movements similar to the supple and exacting hand-motions of a musician. This is especially true when it comes to carving. Woodcarving requires a high-degree of free-hand skill. There are few opportunities to rely on jigs or fixtures. To master the skill, it helps to understand that it’s not simply how a carver slices the chisel’s cutting edge into wood grain, but also how tool grip and hand motion gets transmitted to the sharp end of the tool. If you’re like me, you’ll find this kind of closer examination instructive and inspiring. That’s why I made the video here featuring the Irion Company’s carving expert Brad Ramsay.

Brad is one these naturally gifted artists whose precise and flowing hand movements allow him to wield total control over his work. In this video segment we take a closer look at these motions as Brad explains how he uses his hands in a variety of ways to control his carving tools (chisels, gouges, or sweeps, etc). Among other subtleties, there are five (5) hand grips or motions worth examining in closer detail that increase carving control including; how to add power to your grip, how to use “skewing” motions to cut through difficult grain, how to lock the gouge into your palm & fingers by using your “pinky” or “little” finger, how to form a tool rest with your opposing hand, and how to choke up or down on your grip to alter your leverage and maximize control. — Keith (5 Minute Woodworking Video)

Brad Ramsay is the Irion Company’s in-house carving expert. The Irion Company specializes in the restoration, conservation, and hand-made reproduction of American antique furniture from the 18th and 19th century.

Don’t miss new videos? Subscribe to my email or RSS feed updates for free.

The post “Must See” Carving Grips and Hand Movements first appeared on WoodTreks.