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”.

Whether it’s a circular veneered table apron, a contemporary laminated chair back, or a flowing architectural column, if it’s a curve made with wood it’s most likely created using a process called bent wood lamination. One of the most common ways of pressing and clamping these laminations is to use a vacuum bag system.

In this video, the journeyman cabinetmakers at the Robert Treate Hogg Cabinetmakers give us a complete introduction to this versatile and useful technique. It’s a process they use almost daily. RT Hogg’s president, Michael Hoffmeier describes their method, which centers on the use of specialty 3/8th inch flexible plywood. This remarkable material (also known as wacky wood or bending plywood) can be easily formed into tight curves allowing the artisan almost unlimited design possibilities. First, the core is glued-up, vacuum pressed, and dried. And then the finished veneer is applied. With experience the process is efficient and highly controllable. In this video, learn about proper glue selection, flexible ply construction tips and tricks, vacuum bagging and veneering skills. — Keith (9 Minute Woodworking Video)

Robert Treate Hogg Cabinetmakers (pronounced “Hoge”) hand-make commissioned, limited production furniture, architectural cabinets and fixtures. Originally founded in 1936, Hogg specializes in high-end audio-visual lecterns and podiums for higher education. They are based in Oxford, Pennsylvania.

For years, one of the great mysteries to me was, how did artisans of the past make those spectacular decorative twist finials often found on the most elaborate grandfather clocks, highboys, and other high-grade period furniture? In this video, we meet Irion Company staffer Brad Ramsay, an accomplished cabinetmaker and highly skilled carver who shows us the fundamental approach used to carve these flamboyant furniture elements. It’s a technique that can be used to carve spirals in any wood project, be it a finial or even a twisted table leg.

Learn the core skills used including how to secure the workpiece to the workbench, how to start the carving, and how to rough-carve to the layout lines. But most importantly, in my view, Jeff explains how carvers — and all woodworkers — need to read the grain of the wood for feedback. The take-away lesson: let the wood speak to you whether you are carving the twist of a finial or tuning the fit of a dovetail. — Keith (10 Minute Woodworking Video) For more in this series go to: The Big Payoff: Finish Carve a Decorative Spiral (Part 3 of 3)

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The Irion Company specializes in the restoration, conservation, and hand-made reproduction of American antique furniture from the 18th and 19th century. Brad Ramsay is a cabinetmaker and he specializes in period correct carvings.