I believe that people should have beautiful, natural, and sustainable items in their work and living spaces. I enjoy building things that inspire and comfort users.
The natural beauty of wood products inspires makers and admirers alike. The things I make are economical, durable, and serve to infuse an element of nature to living spaces improving mood and comfort. I aim to inspire an appreciation for wood working through my own work.
ABOUT PLATE 11
I founded Plate 11 Woodworking out of my love for for the craft and my own personal need for a solid, versatile workbench. My initial goal was to provide beautiful, functional workbenches to woodworkers who may not have the time, tools, skills, or simply the desire to undertake such an involved project. A build that will require many hours of shop time to complete over the course of weeks, months, or in some cases, years.
Today that mission has expanded to include Shavehorses, Construction Plans, Classes and Accessories. But sharing my enjoyment of woodworking and helping other woodworkers get the most out of their time in the shop remains the driving factor in all that I do.
I was inspired by the illustrated plates in André Jacob Roubo’s L’Art Du Menuisier, an 18th-century master work on all things woodworking. Plate 11 is named for the lithographic plate which depicts the workbench that now bears his name. A high resolution scan of the plate and an English translation of the related text (from the original, archaic French) is located HERE. Both are provided by Lost Art Press, who has published a complete, annotated translation and of two of the four volumes of L’Art Du Menuisier.
My first exposure to woodworking, at about age 9, was helping my grandfather build new cabinets for our home. My job was to hold the outboard end of a sheets of plywood as he ran them through the table saw. After the cabinets were finished, my dad took me along to the lumber yard to pick out the oak for the cabinet doors. So many doors. I spent the next few months sanding the burn marks out of the profiles of raised panels, stiles, and rails as we covered all those cabinets. By the time we were done I had all the knowledge and experience I needed to build my Mom a blanket chest that was bigger than me for the foot of her bed. As I grew up, I continued to tinker in woodworking until girls, cars, and school took nearly all of my attention.
As I completed my Industrial Engineering degree at Georgia Tech, the desire to make began to surface again, so I bought a house to renovate. As I worked through that project, I realized I enjoyed working on my home more than paperwork at my job. I began looking for a way to do something that involved using my hands as well as my head. After mentioning this to my father, I discovered that a distant relative was looking to retire from a small furniture company he had started nearly fifty years before.
I went to Ozark, MO to have a look and before I got back to Atlanta I was making plans to move. In 2004, I set to work to rebuild Norman’s Furniture. During the next several years I learned a lot about production woodworking and running a business, but even more about myself and what I really wanted to do with the precious time I could dedicate to building, when I wasn’t running the business.
I slowly came to be dissatisfied with the mundane process of making the same pieces over and over. Making furniture in larger quantities didn’t give me the personal connection to my work that I had been searching for when I took over the company. I got burned out. To spice things up I began to take on custom jobs, but quickly got frustrated with the limitations of my machines. I turned to hand tools for some new skills and inspiration.
As I browsed through the Lee Valley website in search of a blast gate for a wide belt sander, I was drawn to their hand planes. Before I knew what was happening, I had placed a Low Angle Jack Plane and a copy of “The Anarchists Tool Chest” in my shopping cart.
When the order arrived, I tossed the blast gate aside and pulled the shiny new plane from it’s box. It worked beautifully, but my trusty assembly table had no way to hold the work. I took the book home and devoured it. I read the section on work-holding several times and began planning to build my first real workbench, a Roubo! I bought a book about workbenches, and started reading every woodworking book or blog I could find. I was excited about woodworking again.
Then I hit a road block. Despite a shop full of big machines and all my years of experience, I was completely overwhelmed at the thought of building such a massive project which required such precise joinery. I just didn’t have the skills. So I grabbed a last minute spot in a class… “Build a Campaign Chest with Christopher Schwarz”.
What a blast! I learned so much in such a short time. Setting up a new plane, sharpening, dovetailing, layout… Why hadn’t I done this sooner? Evenings were spent socializing with the instructor and most of the other students. I confessed to my new woodworking friends that I was a little frightened of making my own bench and that I was having trouble getting started. Chris chuckled and started running down the list of tools I might have in my shop. “You got a decent jointer.” Yep. “Big thickness planer?” Yes. “How ’bout a wide belt?” Just got it set up a couple months ago. “Not only should you have a great bench, you should be making them for other people. In fact, if you can get a prototype together in the next 2-1/2 weeks, I’ll put it in my booth at Handworks!”
That was all I needed to hear. Before I headed home from class at the end of the week I had worked out a design. On the drive home, my mind set to work on the process of bench making. 12 days after the end of the class I had a prototype kit loaded in my car and I was on my way to Iowa.
Handworks 2013 – Photo courtesy of Jeff Burk
The first Handworks was a lot of fun, but not what I would call a great success for my business. The bench truly was a prototype. I got some positive feedback, and encouragement from other woodworkers who’s opinions I have come to greatly respect, but nobody really seemd interested in buying. I went home with my tail between my legs and assembled the bench. I put it to work and really began to appreciate what a good bench can do to improve your efficiency in the shop. I installed some hardware that I had picked up at the show and fell in love with the leg vise. Through all that my handtool skills began to develop and I became a better woodworker. I built several more prototypes, filled my shop with workbenches, and began the process of building Plate 11 Woodworking into what it is today.
MORE ABOUT A.J. ROUBO'S PLATE 11
Below is a translation of Plate 11 from A. J. Roubo’s L’Art du Menuisier as it originally appeared on the Lost Art Press Blog. Please visit the original post for the translator’s notes as well a link.
Menuisier, I. Part. Chap. V
On tools for cutting and preparing wood
The workbench is the first and most necessary of all tools for “woodworking” (see translator’s note No. 1 below). It is made up of a top, four legs, four rails and a bottom. The top is made from a sturdy plank or table of 5” to 6” thick by 20” to 25” wide; its length varies from 6’ to 12’, but the most common length is 9’. This table is made out of elm or beech wood but most commonly from the latter, which is very stout and of a tighter grain than the other.
It must be pierced with many holes into which a holdfast can be placed. These holes must have 14 to 16 lines of diameter [1-1/4” to 1-13/32”] and must be pierced through the top of the bench perpendicularly. Their number is not fixed, but in general we must avoid making too many unnecessarily. Eight to nine is appropriate; that is, four placed 8” to 10” in from the front edge of the workbench, one of which will be 14” to 16” inches from the hook, and the others of equal distance starting from the right front leg of the bench until the first hole, like those that are a, a, a, a in Figure 1. The others b, b, b, b are pierced on the other side of the workbench and laid out so that they will be placed in the middle of the spaces between the holes at front, to about 1’ from each end of the workbench.
At 3” from the front edge of the top, we cut a mortise through the top that is 3” square, which must be very perpendicular and precisely straight inside so that the stop, which we insert into it with some resistance and that we raise or lower with a mallet, does not split the sides (of the mortise), which would happen if the inside was concave.
The stop must be 1’ long at least and made with very stiff and dry oak so that it can resist the mallet blows we have to administer to move it. At the top of this stop we place an iron hook, which has teeth similar to those of a saw, to hold the wood in place that we work on. We must observe that the hook is tight in the top of the stop and that the teeth are raised slightly so that when working with very thin pieces, we do not strike the hook and its teeth with the iron of the tools, which would happen if the back of the hook was more elevated than the front. The shank of the hook which enters the stop must be square in form and pointed at the tip. The shank and the top must not be welded but made of one piece that we bend with fire. The teeth of the hook must extend out the front of the stop by six to eight lines [1/2” to 11/16”]; extending the teeth more would be useless and problematic because the teeth could break. See figures 5 and 6, which represent a stop with its hook and a hook by itself.
The legs of the workbench are made from hard oak, very stiff, 6” wide by 3” or 4” in thickness; they are assembled through the top with through-tenons and through-dovetails. The custom is to make the tenon flush with the back of the leg, see figure 2. However, I believe that it would be best to leave a shoulder on the back of this same leg so that the top can rest on the shoulder on the back of the legs like on the front. This is so when workbenches get older, they don’t risk sinking in on their legs like it happens sometimes. The assembly of the legs (to the top) must be extremely tight especially along their width. And to make them even sturdier, we widen the mortises on top to make room for wood shims that we insert by force into the tenons, so that they spread in such a way “that they are as a tail” (maintained in a spread) in the mortises and consequently can’t slip back out.
The legs at the front of the workbench must be pierced by three holes each into which “leg holdfasts” are to be inserted. Around the workbench and 4” to 5” from the bottom of the legs, are assembled four rails of 4” wide or less by 2” thick. The bottom of the bench is filled with planks that are held with supports, figure 4, attached on the rails. Place the length of these planks perpendicular to the width of the workbench in order to give them more strength, like we can see in figure 1.
We must also place a drawer at the end of the workbench so the workmen can store their small tools like gouges, compasses, etc. There are even shops where workbenches are closed with planks all around, which is very convenient because it keeps shavings and dust out and the tools that we place inside are less likely to be lost.
The height of the workbench is ordinarily 30” but because workmen are not all of the same height, suffice it to say that the workbench must not be higher than the top of the thighs of the person working at the bench. If it were higher, it would deprive him of his strength and it would expose him to bad posture in a short time. We must also observe to place the heartwood side of the slab on top because it is harder than the other side. And if it is to move, it will only bulge on top instead of sagging.
Holdfasts are tools made of iron and are used to hold the work on the bench firmly and stably. They are ordinarily 18” to 20” and even 24” long in the shank; their thickness must be between 12 to 15 (1-1/16” to 1-5/16”) lines, and the curve of their paws is 9” to 10” long by around 10” high. They must be of very soft iron, forged in one piece so they don’t break. All their strength is in their head. That is why we will observe that from the head g to the paw k, they get thinner so that their extremity only has two lines (3/16”) of thickness at the most, which will make them more flexible and increase their pressure.
We must curve them so that when they are tightened they will only grip by the tip of the paw, because if they would carry more pressure in the middle they would ruin the work and hold less firmly (figure 4).
Moreover, it is easy to see that after long use, the shank of the holdfast will widen the holes of the workbench; and if it didn’t grip well by the tip, before long, it would soon carry all the pressure on the back of the paw and cause the problem I have mentioned above.
Engage the holdfast by hitting it on the head g with a mallet and release the holdfast by hitting the head in the other way, that is on its side and upward or on the side of the shank i. Holdfasts must never be polished because then they will not hold well. They should only be roughed up with a file or stone (see translator’s note No. 2). Only the paw must be clean and polished so it does not mar the work.
The “leg holdfasts” are not different, other than they are smaller. They hold the wood on its edge along the length of the workbench with the help of the wooden hook m, figure 1. This hook is fastened with screws or strong nails on the front edge of the workbench’s top and is sometimes arrayed with iron points. But because the points often ruin the work, it is best to remove them or to make them like in figure 5 (see the illustration of the hook).
“Ebonists” (Ébénistes) (see translator’s note No. 3) have a vise at the front of their workbenches, which is made of one piece of wood n n, figure 3 and 4, which is 4” to 5” wide by at least 2” thick. This piece is pierced in the middle of its width by a round hole through which passes the screw o p, to which the workbench leg q serves as its nut. This screw is usually wood and through its head passes an iron bolt r, with which tightens and loosens the screw. We adorn the head of the screw with an iron ring to prevent it from splitting.
The use of these vises is very convenient because not only do the vises hold the work very solidly, but they do not mar the work in any way. No matter how delicate the pieces are, we do not fear to ruin them. This is something we can’t do with a leg holdfast, which is holding the work only in one place and will sometimes break it if it is delicate.
I do not know why the “menuisiers en bâtiments” (see translator’s note No. 4) have not adopted this method, which not only is very convenient but is also not a hindrance or embarrassing in any way because the vise can be removed from the bench when it is not needed. When it is used, a wedge of the same thickness as the work must be placed at the bottom so that the screw can apply force everywhere equally. The piece for the vise n should be made slightly concave along its length so that when it is tightened, it grips at its tip. At the rear of the workbench s s, which is opposite the hook, we place a plank of about 18” long by 6” to 8” wide that is attached to wood supports that separate it from the workbench. This plank is named ratelier [rack] and is used to store tools with handles such as chisels, fermoirs, [a big chisel solid enough to receive mallet blows. It could have been for sculpting or mortising or anything that required rough work] etc. That is why we make the plank as wide as possible so that tools that are stored in it are not placed in a way that they can hurt somebody.
Next to this rack and along the length of the workbench we attach a bracket that is lower than the top by about 2” and is pierced at the end by a mortise of 3” long through which passes the blade of a try square [which looks like a triangle] t, which we place there when it is not needed.
Under the top of the workbench, we fasten a hollow piece of wood like a box with a screw into which we put grease to be used on tools to make them slide smoothly (Figure 7).