Tip of the week: How to build a workshop
Find a spot; Stock up; Build a bench
Find a spot. Space, light, and power are “primary concerns” when deciding where to put a workshop. “Aesthetics dovetail with practicality here.” Pick a spot that gives you “enough room to maneuver a 12-foot two-by-four or large sheet of plywood.”
Stock up. Purchase a retractable extension cord, which “brings the power to you without the clutter and clumsiness of a conventional cord.” A multi-drawer organizer is also a necessity. Fill it with “every screw type and size you can fit.”
Build a bench. You can get along without a workbench, but having a single place to put everything important will help avoid a “diaspora of tools.” You can buy one, but that doesn’t provide the same satisfaction as building one. “Height is critical,” and you’ll need something with a “solid top that’s sturdy enough to mount a vise.”
The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
Source: Men’s Journal
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
5 capitulating cartoons about the Democrat's shutdown surrenderCartoons Artists take on Democrat's folding, flag-waving, and more
-
How are these Epstein files so damaging to Trump?TODAY'S BIG QUESTION As Republicans and Democrats release dueling tranches of Epstein-related documents, the White House finds itself caught in a mess partially of its own making
-
Margaret Atwood’s memoir, intergenerational trauma and the fight to make spousal rape a crime: Welcome to November booksThe Week Recommends This month's new releases include ‘Book of Lives: A Memoir of Sorts’ by Margaret Atwood, ‘Cursed Daughters’ by Oyinkan Braithwaite and 'Without Consent' by Sarah Weinman