Woodworking Crafts July 2016

Issue 15 July 2016
HAND, POWER & GREEN WOODWORKING TURNING RESTORATION DIY
Building for
the future
Design students at Stratford
Perfect joint
cutting with Moravian
a stand-up vice chair project
RECYCLED BOX CHAIR RESTORATION ROUTING SOLUTIONS
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Community
6 80
In the
July issue... 25
COMMUNITY POWER WOODWORKING HAND WOODWORKING
14 News & events 19 Making and using a finger 5 Design inspiration
joint jig for the router table
22 Hints, tips & jigs 6 Moravian chair
30 Regency chair restoration 13 Insight – Making a
41 A class apart
37 Tool cabinet console table
59 Book reviews
25 Turned baby’s rattle
47 Wasted celebrations
64 Woodland ways – a 69 Door repair
woodsman’s shelter 52 Routing problems
80 Bread slice and keeper
78 Ask the experts 67 Castle doorstop
88 Next issue
KIT & TOOLS
38 Kitted out
Woodwork on the web 63 Reader group test
To find more great projects, tests and techniques like these, visit our
fantastic website at: www.woodworkersinstitute.com 74 Four-position orbital
sander holder
2 www.woodworkersinstitute.com
WWC_15_2_3_CONTENTS_&_LEADER.JRABbd.indd 2 13/05/2016 11:53

Community
41
Welcome
to the July issue
of Woodworking Crafts
ello Everyone and welcome to the July edition of
H Woodworking Crafts. True to our belief in thrift, in

recycling, the environment and creating homemade
solutions rather than the ready-made variety, we have a good
spread of projects, techniques and features to hopefully
pique your interest.
One I would like to mention in particular is the Building
Crafts College, Stratford, East London. Situated in a vibrant
expanding part of the metropolitan cityscape and run on
behalf of the Worshipful Company of Carpenters, it teaches
a variety of craft skills to young people. These are essential,
traditional skills which this country needs and sadly have
gone into a massive decline in the education system. This
establishment and a few others are bucking the trend and
shouldering a massive burden where the state should be
intervening much more. Tellingly, the course leader Neil
Austen, has moved from Bucks New University where all
furniture related courses have shut and the long established
workshops lie empty and unused and gathering dust. This
contrasts with France for example, where much emphasis
is placed on training current and future generations with
practical, transferable skills. This UK madness really needs to
stop, personally I think universities should be downgraded
in favour of technical colleges, why should someone with an
expensive degree have to drive buses instead, for example?
30 Surely better an NVQ Level 3 or 4 if it gets you a skilled

occupation? Why not write to your MP if you feel as I do,
about the eradication of craft teaching from every level of
the state education system? I have, and my local MP has
promised to let me know the response from the Department
of Education in due course.
Anthony Bailey, Editor

Email: [email protected]
67
Woodworking Crafts issue 15 3
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Hand woodworking
Shaker chairs hanging on a peg rail
PHOTOGRAPHS COURTESY OF WIKIPEDIA COMMONS, UNLESS OTHERWISE STATED
Rocker in the Shaker

Village at Pleasant Hill
Design
Inspiration
Simple 'early' chairs have a lot of charm
and in the case of original Shaker examples,
can be worth a lot of money. These were
functional, utilitarian pieces of sitting
furniture that bore very little decoration,
but reduced the construction to the bare
essentials and used minimal amounts of
material to build them. Because they were
created for complete communities, they were
produced in batches by skilled craftsmen.
PHOTOGRAPH COURTESY OF SHUTTERSTOCK.COM
Above: Old chair at Mission San

Buenaventura, California, ca.1906
One of many
A Thonet bentwood Moravian chair
re-interpretaধon of back designs
the Moravian style
WWC_15_5_INSPIRATION_BD.JR.indd 5 13/05/2016 12:17

Hand woodworking
Sharon
Moravian
Moravian church
chair
Michael T Collins brings us
a design of chair with an
intriguing past
he Moravians,
ns, who can trace their roots
T back to the 15th century, re-emerged in
Germans were members

ntury in Bavaria. These colonial
the 18th century
mbers of the Moravian church and
John
Valenধne
they came to America ca for the same reason others Haidt – Young
also did around the same time: to escape religious Moravian Girl
PHOTOGRAPHS COURTESY OF WIKIPEDIA COMMONS

persecution in Europe.pe. – Smithsonian
The first Americann settlement was in Bethlehem,
Pennsylvania, around d 1740 and it was there that the
Moravians began to build a reputation as artisans.
In the early 1750s a group of the Pennsylvania
Moravians moved to o Salem, North Carolina and in
ntre of trade. In a
1766 establish a centre
54,
letter dated May 1754,
the Reverend
Johann Jacob Friis
(1708–1793) wrote,
‘I made the top of a
table for myself, andd […] cut
wood for feet […] They shall
be Lyons Claws; is not that too
much?’. He went on to say of
the first Moravians inn North
Carolina, ‘one day I am a
rver;
joiner, the next a carver;
what could I not learnrn if I
eeping
was not too old?’ Keeping
its history in mind, let’s
now make a chair!
PHOTOGRAPHS BY MICHAEL T COLLINS EXCEPT WHERE OTHERWISE STATED
Salem girls
WHAT YOU
WILL NEED In photographs I have
Tools
• Carpenters’ square
are
seen of Moravian chairs
the back rest does not
a l G e r
• Shoulder plane appear to have ever been
c o l o n i f t h
• 6mm chisel
• 19mm chisel
• Marking knife
fastened into the seat
in a permanent manner.
Perhaps it was made this
s e
The members chur o
were ravian me
• Gauge way for easy storage
• Two bevel gauges when packing up and
Mdo they ca
• Brace travelling. The legs, on the
• 19mm and 25mm twist bits other hand, are very much
secured in place with glue
an
and wedges.
WWC_15_6_10_MORAVIAN_CHAIR_MTC_bdABMTC.JR.indd 6 13/05/2016 12:18

Hand woodworking
425
19
29 3 13
10 25
76 6
LEG
BACK ELEVATION OF SEAT 51
DETAILS
Shaped back with long
311 tenons through seat,
44 angled at 1:7 to seat
51
96 19
25 Seat bevelled at bottom

95 Ø25 around front and side edges
406
337
95
76
51 406
PLAN OF SEAT
38 44 114 44 38 Seat brace or slider, inserted
Grid = into sliding dovetail mortice
1 inch square Back angled from back face of seat
backwards at 1:7
relative to seat Octagonal legs with 25mm
Front and back legs diameter through wedged
angled outwards at 1:5 tenon intoseat at top
Legs chamfered all

round at bottom ends
Front legs angled
forwards at 1:8
Back legs angled
backwards at 1:2.25
The seat
1 First, joint and cut the seat to shape,
then decide on the location of the
sliding dovetails. I covered jointing
boards in Woodworking Crafts, issue
2. Mark two pairs of parallel lines
75mm apart and continue them down
the back edge of the seat, marking a
9mm depth for the dovetail socket.
With the carpenter’s square set the
bevel gauge so the gauge crosses the
25mm and 75mm markers. This will
give a 1:3 angle (approximately 18°).
1 2
2 With the bevel gauge connect the
75mm line with the 9mm depth
line. This will form the dovetail socket.
m
er 3a n s Alternatively, come in 3.2mm
and then connect the base of the
f the
vertical line with this new line.
h ur c h 4 Drill two 25mm holes at the end

of each sliding dovetail socket,
about 50mm from the front edge and
me
to a depth of 12mm – this will form a
pocket where the sawdust will go to
prevent the saw from binding. We did
the same thing when making a Shaker
candle stand in Woodworking Crafts,
issue 13. Check the depth. 3 4

Hand woodworking
5 If you consistently use the same

twist bits you will know how many
turns it takes to go to a certain depth.
The dovetail jig

6 This is the simplest dovetail jig
you will ever make. It consists of a
strip of wood, about 380mm long and
ripped at an angle of 18°. Clamp this
to the seat, allowing you to saw down
the sloping side, staying on the waste
side. The thicker the wood, the easier
it will be to keep the saw at the correct
angle. Apply a piece of masking tape to
the saw blade 12mm from the teeth so
5 6
that the kerf depth can be determined.
7 Once the angled cuts have been

made, chop out the bulk of the
waste with a chisel. As a rule, always
remove the bulk of the wood with the
tool that is easiest to sharpen.
8 Clean up the socket with either

a paring chisel or a router plane
– make sure the corners are crisp.
Do not attempt to remove too much at
a time. Make several passes, lowering
the cutter 2mm as you go. It is a good
idea to remove the wood at the mouth
of the socket so the wood does not 7 8
burst out as you exit.
The sliders
9 The sliders are made from hard
maple or oak and serve several
functions: they are stronger than the
seat material and so will prevent the
seat from cupping, and provide a
strong support for both the legs and
the back board. The width of the
slider is the width of the socket’s
floor. Using the same bevel angle used
to make the dovetail socket, mark the
end of the slider. Mark a line 9mm up
and mark the waste material.
9 10
10 Use a combination plane to cut
a groove just shy of the depth
and then remove the waste using a
shoulder plane.
11 Check the fit and fine tune,

if necessary. The slider needs
to fit with some resistance.
The leg mortises

12 With the sliding dovetails
clamped in place, work from the
underside of the seat to locate the legs’
mortise positions. Now you need two
bevel gauges.
11 12

Hand woodworking
Leg splay angles

All legs are splayed to the sides at
an angle of 1:5, the front legs are
splayed 1:8 forward and the back are
splayed 1:2¼ backwards. All angles are
approximate. These angles will cant
the seat slightly back. To get these
angles, place the bevel gauge on the
carpenter’s square so the bevel spans
the 25mm, 125mm, etc. Clamp the
sliders in position. With the bevels set
in the correct orientation, and keeping
the brace and bit in line with both of
the bevels, begin to bore the mortises.
Before the twist bit’s spur goes too far 13 14
into the wood double check the angles.
13 Before going any further, plane

a 38 x 10mm bevel on the
underside of the seat. This will give
the illusion of a thinner seat, without
compromising its strength.
The legs
14 The legs are octagonal and
made from straight grain oak.
The fastest way I know to get an
octagon shape is to draw the diagonals
on the end of the leg, and then draw
the circle on the end of the leg (in
this case 25mm). With a combination 15 16
square draw the tangents to the circle
where the circle cuts the diagonals.
15 With a pencil, and using your

fingers as a fence, continue the
lines down the entire length on all
faces – leaving eight lines on each leg.
16 With a jointer plane or

drawknife, remove the wood
between the lines. The tenons on the
ends are 50mm long and to make these
without a lathe is very straightforward.
Note, if using construction lumber for
the seat make the tenon 75mm long.
17 18
17 Cut the shoulder by sawing
around the leg to a depth of
6mm, at the apexes of the octagon you
will need to saw slightly deeper.
18 Then, from the end carefully

chop the waste away. If you
need to deepen the cut do it gradually.
19 Test fit all the legs. I use a 25mm

spanner, but a pair of callipers is
more traditional.
20 Continue paring away the waste,

checking the diameter and test
fit the tenon regularly. Set the legs
aside for now to work on the back.
19 20

Hand woodworking
21 The back is made from a piece

of 19mm straight grained pine,
which is laid out with a pattern based
on a traditional Moravian design. Lay
out the pattern on paper and transfer
it to a piece of 6mm ply. Create half
the design, this way you can trace
around the template, then flip it along
a centreline and create a symmetrical
pattern on the other side.
22 Saw out the design using a bow

saw and coping saw. Internal
designs, such as the heart shape, are
cut using a 25mm twist bit, boring 21 22
from both sides to avoid tear out.
23 Use a spokeshave and rasp to

clean up the edges. For a really
crisp edge use a very sharp paring
chisel and work your way around the
outline. If your design has areas of
concavity you may need to use an
in-cannel (bevel inside) gouge.
The back rest mortises

24 Cut the mortises at an angle of
1:7. Remove most of the waste
with a 19mm bit. Set the bevel gauge
and drill two holes at the ends of each
mortise location. 23 24
25 Chop out the waste in between,

use a bevel to check the angle
and clean up the holes. Test fit the
backrest tenons, they need to be tight
front-to-back and very little play side-
to-side.
Back to the legs

26 Saw a slot in the top of each
tenon and then with the slot
oriented so that it is perpendicular
to the seat’s grain, glue the legs in
place, make four slim wedges, glue
and hammer into place. Once the
glue has dried saw off the protruding 25 26
end and clean up the surface with
a block plane.
Michael T Collins
27 To shape the bottom of the legs
place the chair on a perfectly
level surface and with a block of wood
British-born Michael
has been working with
and a pencil, set to the height of the wood off and on for
gap between the end of the leg and 40 years. He moved to
the flat surface, draw a line around New York in 1996 and
the ends. Repeat this for all the legs over the years, has made bespoke
then saw off the waste. furniture, including clocks, inlay work,
Finally, with a block plane, bevel all Adams fireplaces, book cases and
the ends – this will prevent the wood reproduction furniture.
from splitting when moved across the Web:
floor. So pull up a chair, lean back and www.sawdustandwoodchips.com
remember the Moravian’s simple way Twitter: @sawdustandwood
of life. ■ 27

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012_WWC_015.indd 12 5/12/16 4:08 PM

Hand woodworking
Both halving joints

were cut by hand
The legs were set up on the rod

board and the joints marked out
Paper templates
laid out on the
walnut board
The bandsawn legs
Insight were leđ to seħle

ađer cuষng
Making a console table

Student Adam Burtenshaw wends his
serpentine way through a console table project
he process of designing and large paper to form layout templates while its mate was sat straddling
T making a bespoke piece of

furniture takes a series of ever
demanding steps. The entire process
to be placed on the board. We carefully
worked around the knots and natural
defects within the board and all pieces
it, again sitting between tulipwood
location blocks and supported on
the offcuts of the legs to hold it level.
begins with a design brief or an initial were laid out to produce the grain The profile of the curved leg was
concept sketch. direction running along the length scribed onto its partner before they
Adam Burtenshaw, one of my nine- of the leg for strength. were swapped and the process
month professional course students, The legs were then bandsawn repeated on the other leg. With a
is now well on the way with his current before being left to settle. Following good tenon saw and a sharp chisel
project, a console table. The drawings this they were planed and thicknessed, the halving joint was formed on both
are done, the construction decisions and profiled on the spindle moulder pairs of frames – the initial sketch
have been worked out and the timber with a spiral block to reduce breakout then came to life! ■
has been selected and paid for. while working both with, and against
the grain. Once the profiling of the
Console shape four legs was complete, they were Peter Seđon
Adam is making a console table in cramped together and the ends Peter Sefton is a well-
walnut with a pair of cross frames planed in by hand to the same length known furniture maker
in serpentine-shaped legs. Getting and angle, to match the full-siz e who runs courses in fine
the four legs cut from one board is MDF template. woodworking, teaching
preferred to keep the colour consistent One of the trickiest jobs was marking and mentoring students att th
the
throughout the structure, so a large out the cross-housing joint as the legs Peter Sefton Furniture School. He
board of 50mm walnut was selected, form their crossover; this was done also owns Wood Workers Workshop
about 250mm wide, which needed on the MDF rod again, but set up with and is a Liveryman of the Worshipful
to be sap-free for the legs. An MDF tulipwood blocks, temporarily fixed Company of Furniture Makers.
template was produced by hand, with double-sided tape to hold the Web:
taken from a full siz e drawing and legs in position. www.peterseftonfurnitureschool.com
then replicated onto four pieces of One leg was held flat on the board,
WWC_15_13_INSIGHT_PETER_SEFTON_bdABPS.JR.indd 13 19/05/2016 11:17

Community
NEWS & EVENTS

All the latest events and news from the world of woodworking...
PHOTOGRAPH BY HELEN PUGH PHOTOGRAPHY

PHOTOGRAPH COURTESY OF NEWARK COLLEGE
Corrin Grier (left) and Antonia Di Ciacca
(right) putting the finishing touches of
paint to the hive in Bellsquarry Wood
Young students
Dawn Glasscoe (far left) with some of her fellow Newark students involved
in the National Trust project win with
Woodland
National Trust enlists Trust Scotland
Newark students on Children from Bellsquarry Primary School
in Livingston have added a splash of
‘curiosity cabinet’ colour to the beehive sculpture in their

local community orchard, thanks to the
Woodland Trust Scotland and players of
he National Trust has chosen a group of Newark College students People’s Postcode Lottery.
T to make a ‘curiosity cabinet’ for one of its Lincolnshire properties.

The cabinet is due to go on display at Gunby Estate, Hall and
Gardens in the summer and forms part of the National Trust’s campaign
The pupils used stencils to paint
colourful fl owers, honeycombs and
bees on to the sculpture in Bellsquarry
to educate the public about its conservation work. Community Orchard. They also planted
Wendy Jackson, house steward at Gunby, said the cabinet was a positive dozens of native trees to create a new
way to engage visitors. “This beautiful cabinet will be displayed in the hedge that will boost wildlife in the wood.
Family Exhibition Room,” she added. “We commissioned this so that our Jill Donnachie from the Woodland Trust
visitors can enjoy a hands-on experience and also understand why we ask Scotland said: “Bellsquarry Community
them not to touch many of the more delicate items in our collections.” Orchard will develop into a great source
Dating back to 1700, Gunby was originally owned by Sir William of nectar for wildlife, from both fruit trees
Massingberd and the cabinet will bear his family crest as well as the Newark and wild fl owers. The stencils are beautiful
College logo, which will be inlaid in veneer as a marquetry design. and they demonstrate the connection
Dawn Glasscoe, one of the Newark group making the cabinet, said between fl owers, honey and bees.
the project was equally as important to the students. “Working with the “We’re delighted that players of
National Trust is a valuable and unique opportunity and will definitely help People’s Postcode Lottery are supporting
us with our future careers,” she explained, “and it’s great that the cabinet this project. Their help is allowing us to
will actually be used and on display to the public.” work with the local community to create
a valuable green space that benefits both
Contact: Newark College Web: www.newark.ac.uk people and wildlife.”
Where: Gunby Estate, Gunby, Lincolnshire, PE23 5SS
Web: www.nationaltrust.org.uk Contact: Woodland Trust Scotland
Web: www.woodlandtrust.org.uk
WWC_15_14_15_NEWS_&_EVENTS_bdAB.JR.indd 14 19/05/2016 11:18

Community
Adam’s
PHOTOGRAPH COURTESY OF WESTSWOODFAIR.CO.UK

Axminster Leigh jig
Axe Men
at West’s
demo dates
Wood Fair
PHOTOGRAPH COURTESY OF AXMINSTER

FAIRS & FESTIVALS
West’s Wood Fair
West’s Wood Fair exhibitors include
trade stands and demonstrations,
Axminster Skill Centre students being shown how to use a Leigh jig such as hurdle-making and chainsaw
carving. Join in with activities such as
Join Shaun Vincent or Peter Hibbin on the following dates for demonstrations axe throwing and archery, and you’ll
of the Leigh range of dovetail jigs in Axminster and Sittingbourne. Peter will be also have an opportunity to win a
at the Sittingbourne store on Saturday 18 June, 2016 and Shaun at the Axminster Husqvarna saw in the chainsaw race!
store on Saturday 16 July, 2016. Workshops and showrooms will be
The Leigh system can be a complex kit, but it is capable of producing excellent open for visitors, so take a look at the
dovetails. A key member of staff in each Axminster store has been specially trained fine furniture and joinery, and see
to show just how easy it is to create perfect dovetails. In addition, there will be the woodworking machines in use.
opportunity for customers to try before they buy and have their machine set up for
free when they actually purchase a Leigh jig. When: 18–19 June, 2016
There will also be a chance later in the year to see Leigh jigs being demonstrated Where: East Dean, Nr Chichester,
at the North of England Woodworking & Power Tool Show in Harrogate from West Sussex
18–20 November, 2016. Web: www.westswoodfair.co.uk
Contact: Axminster Tools & Machinery Scything & Rural Crađs

Tel: 0800 371822
Web: www.axminsterskillcentre.co.uk Weekend
A weekend celebrating scything
and rural crafts including rural
Ooh Betty! – Scientists identify tree skills courses, stalls and displays,
culminating in the Eastern Counties
showing tolerance to ash dieback scything competition on Sunday.
Researchers from a government- When: 25–26 June, 2016

PHOTOGRAPH COURTESY OF THE LIVING ASH PROJECT
backed consortium and universities Where: Scything Festival, Wimpole

and research centres have discovered Estate, Arrington, Royston,
‘Betty’, an 18 metre-high tree, which is Cambridgeshire
unusually tolerant to the ash dieback Web: www.nationaltrust.org.uk
disease; the disease has killed 90% of
ash trees in Denmark and is spreading
throughout Europe. Woodfest 2016
The 200-year-old tree, which was An interactive festival, full of exciting
coppiced 50 years ago, is untouched things to do for all the family. Step back
by the fungal disease that has killed in time and see craftsmen and women
half the ash trees in Ashwellthorpe, carrying out traditional crafts and
Norfolk. Ashwellthorpe was the Blackened leaves, a sign of the Chalara skills – creating beautiful, fascinating
fraxinea fungus
first ancient woodland in Britain to and functional art, sculptures, objects,
succumb to ash dieback in 2012. our environment for centuries to come buildings and more.
Lord Gardiner, spokesperson for the and this vital work is a major step
Department for Environment, Food towards ensuring just that.” When: 24–26 June, 2016
and Rural Affairs in the Lords, said: Betty is offering hope that the Where: Caerwys, North Wales
“We want to guarantee the graceful ash dieback disease will not be as Web: www.woodfestwales.co.uk
ash tree continues to have a place in destructive as first feared.
WWC_15_14_15_NEWS_&_EVENTS_bdAB.JR.indd 15 20/05/2016 15:08

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.99 DRILL/ DRIVERS 64EX.VAT
£ .99
speed s4ILTINGHEAD £ MODEL MOTOR CFM TANK EXC.VAT INC.VAT INC.VAT
£
FROM ONLY METABO
ALSO *Black & Decker CPF13 53.99
INC.VAT 8/250 2HP 7.5 24ltr £79.98 £95.98 77INC.VAT
£ .99
129.98
EXC.VAT
AVAILABLE MODEL MOTOR EXC.VAT INC.VAT
7/250 2 HP 7 24ltr £89.98 £107.98
£
155.98
INC.VAT
CPF13 400W/230V £44.99 £53.99
11/250 2.5HP
8/510 2HP
9.5 24ltr
7.5 50ltr
£109.98 £143.98
£119.98 £155.98
£131.98
£143.98
CBS1-5
KA900E* 350W/230V £59.98 £71.98 s1UALITY
11/510 2.5HP 9.5 50ltr £139.98 £179.98 £167.98 )NDUCTION
16/510* 3 HP 14.5 50ltr £209.00 £263.98 £250.80 300w motor
CBS16 FROM ONLY
£ 16/1010*3 HP 14.5 100ltr £259.98 £323.98 £311.98
DRILL BIT SHARPENER
CON18Li 36EXC.VAT
.99
£
s0OWERFUL 'REATFORMMTO £PRICE .98 CUT 44INC.VAT
.39
ROTARY TOOL
4" BELT/
MM(33DRILLBITS 19EXC.VAT KIT
750W motor
70W motor Drill £23INC.VAT .98 8" DISC SANDER
sLITREBAGCAPACITY
s&LOWRATEOF-H BITGUIDEENSURES WAS £26.36 inc.VAT CRT40 s )NCLUDES
sharpening at the PSR18 TWOTABLES
correct angle 3AVES £
29EX.VAT
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FLOW BAG COSTOFNEWDRILLS VIDEO MODEL VOLTS BATTS EXC. VAT INC.VAT £
MODEL MOTOR RATE CAP. EXC.VAT INC.VAT
ON-LINE
CCD180 18V 1 £36.99 £44.39 35INC.VAT
.98
s 550W
CDE35B 750W 450 M3/h 56Ltrs £129.98 £155.98 CCD240 24V 1 £39.98 £47.98 Kit includes: 230V motor
CDE7B 750W 850 M3/h 114Ltrs £149.98 £179.98 Bosch PSR18 18V 1 £54.99 £65.99 s Height adjustable stand with clamp s2OTARYTOOL £
FROM ONLY
sMmEXIBLEDRIVEsXACCESSORIESCONSUMABLES 139 EXC.VAT
#/..I 6 X.I #D £59.98 £71.98 .98
£
POWER £23EXC.VAT
.99 WET
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CON18Li 18V 2 x Li-Ion £84.99 £101.99
167.98
£
INC.VAT
£
PLANERS £ & DRY 57INC.VAT
.59
PRICE CUT STATIC PHASE CS4-8
28INC.VAT
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VACUUM *33
NOW FROM ONLY CONVERTERS DISC SANDER
£
CLEANERS 3TAINLESS STAPLE/ 18EXC.VAT
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s Run big 3 phase PC60 (305MM)
#OMPACTHIGH 3TEEL NAIL GUNS £
22.79 INC.VAT woodworking 0OWERFULBENCHMOUNTED
PERFORMANCE !LLMODELSINCLUDE WAS £23.98 inc.VAT machines disc sander 7
WETDRY nail/staple pack and from 1 phase No load
vacuum cleaners tough moulded case supply disc speed:
FORUSEAROUNDTHEHOME s6ARIABLE RPM
s 82mm output power 305mm
cutting WORKSHOPGARAGEETC CONSN18LiB
MODEL MOTOR CAPACITY EXC. INC. to match HP Disc Dia.
width OFMOTORTO (1 x 60 grit
CEP1 WET/DRY VAT VAT
NEW
CVAC20P 1250W 16/12ltr £47.99 £57.59 BERUN sanding disc
CVAC20SS* 1400W 16/12ltr £59.98 £71.98 INCLUDED
MODEL DEPTH EXC.VAT INC.VAT ROTARY Dust
M OTOR OF CUT CVAC25SS* 1400W 19/17ltr £64.99 £77.99 PHASE £
Clarke CEP1 650W 2mm £23.99 £28.79 CVAC30SSR*1400W 24/21ltr £86.99 £104.39 SPARE NAILS /
STAPLES IN STOCK
CONVERTERS
FROM ONLY
extraction
port
119.98
EXC.VAT
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Einhell RT-PL82 850W
"$+7+ '" 7
3mm £49.98
MM £57.99
£59.98
£69.59
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ALSO IN STOCK £
209EXC.VAT .00 CDS300B 143.98
INC.VAT
£
3EXC.VAT
.99
*WASaINC6!4 ELECTRIC AND CORDLESS
MODELS IN STOCK
CONVERT 230V £
250INC.VAT
.80
CLAMPS
£
4INC.VAT
.79 sWASaINC6!4 1PH TO 400V 3PH
QUALITY CAST STAPLE/NAIL EXC. INC. MODEL MAX. FUSE EXC.VAT INC.VAT
IRON STOVES MODEL TYPE GAUGE VAT VAT MOTOR HP SHEET
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89EXC.VAT
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HUGE CHOICE CESNG1*
CCT48 s
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#ORDLESS
22/18 £18.99 £22.79 PC20 2HP 10Amps £209.00 £250.80 SANDERS
£ OF SASH, PC40 3.5HP 20Amps £249.00 £298.80
STYLES ON DISPLAY 107.98
INC.VAT SPRING, SCREW, 4.8v Ni-MH 22/18 £24.99 £29.99 PC60 5.5HP 32Amps £299.00 £358.80 FROM ONLY
POT SPREADER AND CESNG2 Electric 18/18 £39.98 £47.98 CON300 £
11.8kW BELLY 6.9kW G-CLAMPS CONSN18LiB #ORDLESS CIRCULAR SAWS 13EXC.VAT
.99
£
NEW 18v Lithium-Ion 18/18 £99.98 £119.98 'REATRANGEOF$)9 £
FROM ONLY *110V in stock
.79
16INC.VAT
UP TO
1800mm ANDPROFESSIONAL 34EXC.VAT
.99
MODEL SHEET SIZE MOTOR EXC.VAT INC.VAT
£
CAPACITY BELT saws )DEAL 41INC.VAT
.99 COS200 190X90mm 150W £13.99 £16.79
SANDERS FORBEVEL C0N300 230X115mm 330W £32.99 £39.59
HARDWOOD cutting Makita 112X102mm 200W £54.99 £65.99
s)DEALFORSURFACEREMOVAL ª BO4555*
WORKBENCH sanding and finishing
)NCLUDESBENCHDOGSANDGUIDEHOLESFOR CON185 PORTABLE
VARIABLEWORKPOSITIONING (EAVY$UTY6ICES ABRASIVE SANDING
LARGE & XL
Large storage draw 3UNKENTOOLTROUGH BELTS IN STOCK s Max thickness THICKNESSER
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LxWxH 1520x620x855mm cap. 125mm and
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£ *)NCLUDES
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s Planing depths
ADJUSTABLE
£ .80
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.98 s0OWERFUL
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£
29EX.VAT MODEL MOTOR MAX CUT
1250W motor
BS1 90/45
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EXC.VAT
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35 .98
INC.VAT
(mm) EXC.VAT INC.VAT s 8000rpm
no-load speed
IN STOCK
.80
238
INC.VAT MODEL MOTOR M/MIN EXC.VAT INC.VAT CCS185B 1200W 65/44 £34.99 £41.99 £
WAS £298.80 inc.VAT
£ Clarke BS1 900W 380 £29.98 £35.98 CON185*# 1600W 60/40 £54.99 £65.99 189EXC.VAT
.98
129EXC.VAT
.98
Clarke CBS2 1200W 480 £69.98 £83.98 CCS2 1300W 60/45 £59.98 £71.98 £
227INC.VAT
.98 CPT250
£
BUCKINGHAM 155INC.VAT
.98
Makita 9911 650W 75-270 £94.99 £113.99 #WASaINC6!4
OSCILLATING
BOLTLESS s 3IMPLEFASTASSEMBLY FROM ONLY
SAVE CPT800 BOBBIN SANDER
Provides exceptional finishes for deep
10%
.98
SHELVING BENCHES INMINUTESUSINGONLYA £
29EX.VAT PLANERS & & wide work pieces, front
hammer £
35.98
INC.VAT THICKNESSERS edges & narrow inner curves
s$USTCOLLECTION COBS1
WHEN YOU BUY s )DEALFOR
ANY MIX OF 5 PORTs)NC
FROM THIS RANGE $)9 sanding sleeves
SAVE AT LEAST (OBBYUSE BOBBINS
£17.99 INC.VAT s$UALPURPOSE sMMTABLE
CHOICE OF 5 COLOURS FORBOTHlNISHING FROM ONLY HEIGHTsMM
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169EXC.VAT
.98
oscillating
TIMBER £
RED, BLUE, BLACK,
SILVER & GALVANISED
.98
203INC.VAT stroke
ONLY
EVENLY EVENLY STEEL MODEL PLANING MAX THICK. EXC. INC. £
119EXC.VAT
.98
350
ALSO WIDTH CAPACITY VAT VAT
DISTRIBUTED DISTRIBUTED EXTRA WIDE MODEL DIMS £
3TRONGMM KG
3TRONGMM INDUSTRIAL WxDxH(mm) EXC.VAT INC.VAT CPT600 6" 120mm £169.98 £203.98 143INC.VAT
.98
lBREBOARD lBREBOARD UNITS 150kg 800x300x1500 £29.98 £35.98 CPT800 8" 120mm £199.98 £239.98
PER SHELF shelves PER SHELF shelves AVAILABLE 350kg 900x400x1800 £49.98 £59.98 CPT1000 NEW 10" 120mm £269.98 £323.98
25218LH
016_017_WWC_015.indd 16 5/9/16 3:04 PM

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MITRE SAWS 149EXC.VAT
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MORTISING Top Quality Bandsaws - ideal

for professional workshop use.
MACHINE Strong steel body with solid cast
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FROM ONLY Table size 150 x BANDSAWS s Table tilts 45° s Adjustable blade
£
56EXC.VAT
.99 340mm Max. chisel
stroke 76mm
FROM ONLY guide s3UPPLIEDWITHSTAND40)
£ CBM1B WOODCUTTINGBLADERIPFENCEMITRE
68INC.VAT
.39
Robust cast iron base
£
99EXC.VAT
.98
GUIDEMITREGAUGEANDPUSHSTICK
£
COLUMNENSURES
STABILITYACCURACY
119INC.VAT
.98
TC-SM 2534 95mm depth of cut 0RODUCEFAST

s Quality Range of Mitre saws and blades in stock PRECISEMITRE
MODEL BLADE DIA/ MAX CUT EXC. INC. longitudinal cuts
BORE (mm) DEPTH/CROSS VAT VAT #UTSINWOOD
Einhell 210/30 55/120mm £56.99 £68.39 CHISELS “..fast and accurate with a good solid PLASTICETC MAGNIFIED QUICK
AVAILABLE FROM feel…Excellent value for money.” MITRE RELEASE
TH-MS 2112 THROAT
Evolution 210/25.4 60/220mm £119.98 £143.98 £8.39 INC VAT See www.machinemart.co.uk MODEL MOTOR SIZE EXC.VAT INC.VAT
GUIDE FENCE
Fury 3 TC-SB200 180W 8" £99.98 £119.98
Einhell 250/30 75/340mm £159.98 £191.98 CBS190 350W 7.5" £114.99 £137.99
TC-SM2534 MITRESAW STAND
DRIVE-BELT
Makita 260/30 95/130mm £199.98 £239.98 CFMSS1 TENSIONING
LS1040 PRICE CUT
NOW ONLY
SOLID
£
59EXC.VAT
.98 DRILL PRESSES GROUND
DETAIL £ s Range of precision
SANDERS
s Suitable for most 71INC.VAT
.98
BENCHmOORPRESSESFOR
CAST
IRON CBS350
sizes/makes of saw WAS £77.99 inc.VAT
CBS300 £
s)NCOUTRIGGERSROLLERS ENTHUSIASTENGINEERING £
349EXC.VAT
.98
TABLE 449EXC.VAT
.00
industrial £
s Perfect for smooth and fine finishing along NEW FOLDING MITRE SAW £
419INC.VAT
.98 538INC.VAT
.80
with hard to reach areas or curved STAND IN STOCK – CONMW1

applications
NEW
surfaces ONLY £119.98 INC VAT
£
FROM ONLY
59EXC.VAT
.98 RANGE MODELS ALSO FEATURE:
£
71INC.VAT CDP152B
.98 MULTI-
STEP DUST
REMOVABLE
BLADE
MULTI FUNCTION B = Bench mounted EXTRACTION
DUST TRAY FLEXIBLE
TENSIONING
CDS-1V LED
TOOL WITH ACCESSORY KIT &&LOORSTANDING OUTLET WORKLIGHT CONTROL
s'REATFORSAWINGCUTTINGSANDINGPOLISHING V = Variable speed
CHISELLINGMUCHMOREs 250W motor MOTOR (W) EXC. INC. MODEL THROAT DEPTH MAX CUT 90° MAX CUT 45° EXC.VAT INC.VAT
FROM ONLY sVariable speed MODEL SPEEDS VAT VAT CBS300 305mm/12" 165mm 115mm £349.98 £419.98
£
17EXC.VAT
.99
£ CDP5EB 350 / 5 £59.98 £71.98 CBS350 340mm/14" 225mm 160mm £449.00 £538.80
ALL MODELS
£ 36EXC.VAT
.99
CDP102B 350 / 5 £69.98 £83.98
INC. SANDING 21INC.VAT
.59
£
44INC.VAT
.39 CDP152B 450 / 12 £119.98 £143.98
SHEETS
CMFT250 CDP202B 450 / 16 £159.98 £191.98 ROUTERS BENCH GRINDERS
MODEL WATTS EXC.VAT INC.VAT CDP10B 370 / 12 £169.98 £203.98 & STANDS
PS105 105W £17.99 £21.59 CDP352F 550 / 16 £199.98 £239.98 sStands come complete with bolt mountings
RT-0S13 130W £22.99 £27.59 CDP350V 550 / V £219.00 £262.80 and feet anchor holes
CDS-1V 280W £24.99 £29.99 CDP502F 1100 / 12 £449.00 £538.80 STANDS IN STOCK
s Powerful FROM ONLY
heavy duty £37.98 EXC. VAT
13" MINI ROUTER TABLE machines £47.98 INC. VAT
ideal for
WOOD LATHE CRT-1
Router not trade and
£
134EX.VAT
.99
included DIY use
£
161INC.VAT
.99
CBG6SB
JIGSAWS CR2
FROM ONLY
£
12EXC.VAT
.99
£
59EX.VAT
.98
£
15INC.VAT
.59
s Converts your router £
71INC.VAT
.98
CR2 INCLUDES
*DIY #Professional CJS380 CWL325V into a stationary router 15 PIECE KIT FROM ONLY
table s Suitable for most £
MODEL POWER DEPTH
(W) OF CUT EXC. INC
s Ideal for enthusiasts/ routers (up to 155mm dia. Base plate)
WORTH OVER £20 .98
29EX.VAT
hobbyists with small workshops £
(WOOD/STEEL) VAT VAT s 325mm distance between centres s 200mm 35INC.VAT
.98
6" & 8"
Clarke CJS380* 420W 55/6mm £12.99 £15.59 max. turning capacity (dia) s 0.2HP motor 12" FROM ONLY AVAILABLE
.98 WITH LIGHT
Clarke CON750#
Bosch PST700E*
750W 80/10mm £24.99 £29.99
500W 70/4mm £44.99 £53.99
DOVETAIL JIG £
39EX.VAT
SCROLL SAWS s3IMPLEEASYTOSETUPUSEFORPRODUCINGA
Einhell RT-JS 85 NEW 750W 85/5mm £49.98 £59.98 variety of joints s Cuts work pieces with a
£
47.98
INC.VAT
FROM ONLY thickness of 8-32mm s Includes a 1/2" comb

£
BISCUIT JOINTER 69EXC.VAT
.98 template guide
HOLESFOR
CR1C
CBG8W features
£
11000rpm Operating Speed 83INC.VAT
.98
bench mounting WHETSTONE
860W Motor 14mm Cutting 6"drystone.
Depth Inc. dust bag s 50mm # With sanding belt
and storage case max cut thickness ‡ was £67.19 inc.VAT CBG6RP
s Air-blower removes MODEL DUTY WHEEL
dust from cutting area *DIY DIA. EXC.VAT INC.VAT
s Table tilts 0-45° CSS16V MODEL MOTOR PLUNGE EXC.VAT INC.VAT CBG6RP DIY 150mm £29.98 £35.98
£ SPEED EXC. INC. (W) (mm) CBG6RZ PRO 150mm £39.98 £47.98
49EXC.VAT
.98
MODEL MOTOR RPM VAT VAT
CDTJ12 CR1C* 1200 0-50 £39.98 £47.98 CBG6RSC HD 150mm £49.98 £59.98
£
59INC.VAT
.98
CSS400B 85W 1450 £69.98 £83.98 £
49EXC.VAT
.98 Bosch
POF1400ACE
1400 0-55 £79.98 £95.98 CBG6SB#
CBG6RWC
PRO 150mm £49.98
HD 150mm £54.99
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BT-BJ900
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V OPEN MON-FRI 8.30-6.00,
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016_017_WWC_015.indd 17 5/9/16 3:04 PM

EXTRA PAIR OF HANDS
INFLATABLE SHIM
Great for leveling
appliances, installing
cabinets, & other
woodworking projects
www.WINBAG.FV
The Inventor of the WINBAGS®
018_WWC_015.indd 18 5/9/16 3:05 PM
Power woodworking
PHOTOGRAPHS BY WALTER HALL
Making and using Things you will need

• 10mm and 18mm MDF
a finger joint jig for • 2 x oak strips – 1 @ 20 x 20mm

– 1 to be cut and planed
• Sharp bevel edged chisel
• Drill
the router table • Mounting screws

• Clamps
• Router cutter
• Extractor or vacuum
Walter Hall doesn’t get his fingers • PPE
• Glue
burnt with his latest router jointing jig
inger joints are an excellent Woodworking Crafts, issue 13 and to
F means of making small boxes,

and a router in a table is a good
way of cutting the joints.
cut 12mm fingers, but it could easily be
modified to fit any commercial or user
built table and altered to suit different
There are commercially available jigs siz ed finger joints.
for this but like most of the workshop
made ones I have seen, they mostly Making the jig
lack any form of guarding for the
exposed cutter. I cannot see where
my fingers are in relation to the cutter
1 Start by making the base. The main
components for the base are a sheet
of 10mm MDF and two oak strips,
1
from behind the jig so I wanted to one 20 x 20mm, to run against the
make something that would be much edge of the table, the other cut and
safer and also incorporate a facility planed to run smoothly in the mitre
for extraction. slot of my table.
This design draws on ideas from
many other jigs I have seen and
combines those ideas to make what
I consider to be a safe, easy-to-use and
2 Drill and countersink both of
the oak strips at three points to
accept the mounting screws and clear
effective jig. The jig is designed to fit up any breakout at the exit holes with
my router table that was described in a sharp bevel edged chisel. 2
WWC_15_19_21_FINGER_JOINTING_bdAB.JR.indd 19 20/05/2016 15:09

Hand woodworking
3 With the edge strip temporarily

clamped to the top surface of the
MDF board, carefully align the mitre
25
18
slot strip and screw it to the bottom 145 100 102 SIDE ELEVATION
12.7
of the board. Flip the board over and, 165
18
with the mitre slot strip located in the 12.7
145 100 102
50
slot, clamp the edge strip to its correct 12.7
position on the bottom of the board. 18
18 10
4 Next, flip the board back over

again, with the strip still clamped
to it ready to be screwed into its
420
245
25
102
215
18 8 35 Ø62
final position. 365 80
5
8
Fit the router cutter that will be
EXTRACTOR OUTLET
used to cut the fingers to the table PLAN 70
and use it to cut its own slot in the
base of the jig. Begin with the cutter 25 18
just below the surface.
Fence from two 18mm MDF
Adjustable extractor outlet clamped to base
sections biscuited together,
6
in use, located with dowel and clamping bolt
Carefully position and align the jig screwed and glued to base
base and then, holding down the
board with your hands well clear of the
cutter area, raise the cutter through the
board to begin the cut.
7 Complete the cut by sliding the

base against the cutter until the
slot is the length you require. Use an
extractor or vacuum to collect the dust
and always wear suitable respiratory
protection when working with MDF.
Locating bolt and Fence position
dowel in hardwood
8 The fence is made using two

18mm MDF boards, biscuit
jointed together. Take care to cut
piece, screwed to base
Hardwood peg, space and

these square and be sure to make cutter slot all equal widths
the biscuit joints as accurately as
possible. Any inaccuracies will be
Outer oak strip, screwed to
compounded when it is used to Inner oak strip runs underside of base runs
make joints. in table mitre slot against edge of router table
3 4 5
6 7 8

Power woodworking
9 Glue and clamp the fence

components together carefully,
checking for square, then leave it
overnight to set completely before
moving on to the next step.
10 Once dry, screw and glue the

hardwood support blocks in
place to give added strength to the 9 10
fence, to keep it square against the
forces that will be applied when
cutting. Carry out a final check to make
sure everything is square and true.
11 The fence must be fitted to the

base absolutely dead square
to the cutter slot, or inaccurate joints
will result. Squareness is facilitated
by cutting a peg to fit exactly into the
11 12
width of the slot. This peg will also
be used to form part of the jig so its
thickness should be just slightly less
than the thinnest boards you intend to
use in your finger joint projects. The fit
of the width in the slot is critical so cut
slightly oversiz e and plane down until
a perfect fit is achieved.
12 With the peg located in the

slot use a square to accurately
position the fence, then clamp to the
13 14
base. Take great care at this stage to

achieve perfect alignment with the slot.
Using the jig Repeat this process until all of the
1 To use the jig, fit an appropriately slots are cut.

sized cutter in the router collet and
13 Once accurately clamped,
turn over the assembly and
attach the fence to the base by means
adjust so the cutting height is equal to
the thickness of the jig base, plus the 3 To achieve a perfect fit, position
the last notch of the first workpiece
material that is to be used. over the peg and butt the second
of countersunk screws. Make sure the workpiece against it and cut the
countersinks are deep enough so that
2 Hold or clamp the workpiece first notch in the second workpiece.
the screw heads are just below the against the fence with the edge Then continue as for the first piece
surface to enable the jig to slide freely. butted up against the peg and run the to cut the remainder of the slots.
jig through the cutter to make the first
14 Use a piece of plywood or

MDF, with two 8mm wide slots
to take a dowel and the mounting
finger slot. Then position the first slot
over the peg and cut the second slot. 4 The result should be a perfect
fitting joint every time. ■
bolt, to make the guard and extractor

assembly. Use a Forstner bit to cut a
hole for the extractor outlet and screw
the extractor port, which was made
by cutting the end from stepped hose
adaptor, over the outlet hole.
Walter Hall 1 2
Walter Hall is a
woodturner who has
specialised in making
pens and pencils for more
than 20 years. Based on
the beautiful Northumberland coast in
the UK, Walter sells his bespoke pens
and pencils through local craft centres
and via his website.
3 4
Web: www.walterhall.co.uk

Community
Hints, Tips ★ STAR

TIP
& Jigs
Your chance to pass on all your
crafty hints, tips and jigs to the
readers and maybe even win a prize!
A FLAT BOTTOM
Here’s an easy way to clean the bottom of a mortise... by
using a large Allen key. The end needs to be ground at a
suitable angle to act like a chisel. Then the sides which
stick out due to the hex profile, need to be ground
inwards towards the tip so they taper. You end up with a
taper profile chisel tip which can get into the corners of
the socket. I turned a simple handle shape and drilled it
a bit smaller than the hex shape. Then, I just hammered
the Allen key into the hole and job done!
My next step is to shorten the tip so it will get into
shorter mortises. However, the steel is quite tough so
it will take a bit of grinding without letting the metal
overheat and ‘lose its temper’.
Brian Mosley
Much easier working in front of you than on the bench
EASY FINISHING
It’s a lot easier doing finishing work if the job is
vertical(ish) rather than lying down. I got fed up
working over the top of objects like panels and doors
so I tried putting a board in the vice and resting the job
against it. What I needed was to keep it off the bench
top for even brush strokes and avoid picking up dust.
I put a piece of wood against bench stops and rested a
panel on it. The panel wanted to slide forward but the
easy answer was to cut the heads off panel pins and tap
them into the bottom edge so the sharp ends would dig
in and stop the panel sliding forward. It is now so much
easier to brush or paint and I can see how good my
work really is – or not!
A hardened Allen key grinds nicely into a boħom cuষng chisel Jo Hemsley
STAR TIP PRIZE SPONSORED BY RECORD POWER

Record Power, suppliers of high-quality woodworking machinery Power stockist. Find your nearest stockist at www.recordpower.
and accessories, are pleased to be sponsoring the hints, ধps and co.uk/dealers or call Record Power on 01246 571 020.
jigs secধon in collaboraধon with GMC Publicaধons. Each issue’s Send your tips to: The Editor, Woodworking Crafts, 86 High
‘Star Tip’ will receive a Record Power voucher to the value of Street, Lewes, East Sussex BN7 1XN.
£75 while all other published ধps will receive a £35 voucher. Alternatively email:
These vouchers can be redeemed at any authorised Record [email protected]
WWC_15_22_23_HINTS_TIPS_JIGS_bdAB.JR.indd 22 13/05/2016 12:27

Community
Trapped MDF can’t Make sure you drill

split open making for far enough away
a good solid screwed from where the
buħ joint steel rod is buried
in the handle
GETTING A GRIP
I bought a lot of F-clamps a while ago. They work fine but
NO SPLITTING my only criticism is trying to get enough leverage to tighten
MDF and ply can easily spread and split when screwing them. It came to a head when I tried using them to make
into the edge. My easy answer is to put the job in a veneer caul, where a lot of pressure is needed to close it
the vice clamped low down, or clamp a couple of properly when gluing. So I cautiously tried drilling a hole
battens either side of the MDF. That way, even if you through a handle to see what happened. I did it halfway
drill proper pilot holes and still get ‘puffing’, it won’t up as I hoped it would miss the metal rod on the end of
happen this way because the board fibres are held the threaded section and it worked! I found that using
firmly. You do need to use parallel twinshank screws a screwdriver I could apply extra pressure without the
when doing this though, traditional taper-shaped handle breaking up. I’ve since done it to all my F-clamps
screws aren’t suitable. and it works perfectly and I could use it on my veneer caul
Barry Rogers successfully.
Roger Gleave
MAKE A STAND
I know most people need higher benches for
comfortable working but I have the other problem
because when I’m working with a belt sander I need the
bench to be lower for a better working position.
So instead I’ve made a work platform to stand on.
Because it’s not fixed I can stow it away when it isn’t
needed. Just a thick piece of board and two sections of
100 x 50mm or bigger do the job perfectly.
Gerry Smith
VIBRATION DECREASE
I made something I’d like to share with fellow woodturners
and woodworkers. Ever since I have fixed my lathe to my
workshop wall, vibration has decreased spectacularly.
My photographs show an iron L-shape rod with two 8mm
bolts screwed up on the lathe stand and fixed to the wall. It
is important to place vibration blocks between the wall and Make the work
the L-shaped rods. I used two heavy L-shaped rods, one on plaĤorm big
each side (headstock and tailstock). enough to stand
The result is really effective. on safely
Luc Boeye
By submitting your tips, you agree that GMC Publications may publish your Work in its magazines, websites, electronic or any other mediums known now or invented in the
future. In addition GMC may sell or distribute the Work, on its own, or with other related material. This material must not have been submitted for publication elsewhere
WWC_15_22_23_HINTS_TIPS_JIGS_bdAB.JR.indd 23 19/05/2016 11:21

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024_WWC_015.indd 24 5/12/16 4:12 PM

Hand woodworking
GREEN WOODWORKING
PHOTOGRAPHS BY PETER WOOD
Wood
Turned I’m lucky in that I’ve just picked up
the remains of a rotten damson tree.
The main trunk was full of rot, but
Baby’s rattle the remaining branch wood could be

used to turn lots of different small
items. Most of the smaller diameter
branches are going to be turned ‘in
the round’, but one of the branches
Peter Wood decides was just over 100mm in diameter
Tools used and straight enough to cleave. The
not to throw his toys • 100mm diameter greenwood pith was off centre, but that just
means the larger quarter can be
out of the pram and – or equivalent
• Mallet used for the rattle.
instead makes himself • Axe

• Side axe
a rattle… • Drawknife
Toy safety
• Roughing gouge
To avoid any risk of choke hazard do
I
• Skew chisel
n this article I’m going to show you make sure that the turned rings are thick
• Spindle gouge
how to turn a baby’s rattle on the enough not to break up easily as the
• Ideally ‘ferret’ or undercutting chisel
pole lathe. It’ll allow you to try out wood dries out as ‘short-grain’ can split.
some captive ring turning on the lathe.
WWC_15_25_28_BABIES_RATTLE_PW_bdABPW.JR.indd 25 13/05/2016 12:28

Hand woodworking
1 Use a small axe to cleave the wood

to size . Place the axe where you
want the split to start and hit the axe
with a mallet. Start your first split
through the central pith.
2 Damson grain can be fabulous,

and it turns well on the lathe, but
the twisty nature of the wood makes
it harder to shape the wood before
mounting it on the lathe.
3 The billet I’m working is short,

ideally I would have cut a longer
piece but the branch was too twisted
1 2
to allow this. Being careful of your
fingers, trim the corners until you
have an approximate cylinder.
4 Because the billet is short it’s

awkward to hold in the shaving
horse, so I’m not going to use the
drawknife to refine the shape, but just
centre it straight on the lathe.
“It is much quicker

to take smaller
cuts smoothly, rather 3 4
than large cuts”
5 Use the large gouge to slowly
rough out the billet – remember
to take light cuts and work your way
evenly along the wood. It is much
quicker to take smaller cuts smoothly,
rather than large cuts. The larger cuts
will ‘bounce’, creating a jagged edge
that will then need to be smoothed
later and create more work! Aim for
a minimum diameter of 50mm.
6 One problem when turning on

the pole lathe is where the string
runs. As there is nowhere for the string 5 6
to run smoothly on the completed
rattle, turn a hollow on the waste
end of the billet for the string to run
around. You will cut this off when
you finish the rattle.
7 Use a spindle gouge to round

the end of the rattle over. Leave a
little on the end that you’ll remove
on completion.
8 You can now use the tip of the

skew chisel to mark out where
you’re turning your captive rings.
Make each ring approximately 8mm
wide, leaving approximately 20mm
between each ring.
7 8

Hand woodworking
9 Use the tip of the skew chisel

to create the vertical sides of
each ring.
10 Then, use either the tip of

the skew chisel or the spindle
gouge to cut the waste away between
the rings.
11 Using the centre section of the

skew chisel roll over the top
of each ring to create a bead. Make
sure you keep the blade at a low angle
riding on its bevel and keep the cut
well away from the heel or tip. 9 10
12 As you cut the bottom of the

bead be sure to bring the ‘heel’
of the skew in to create a crisp line.
13 Alternatively, use the tip of the

skew to straighten the sides and
create a crisp line.
14 Now hold a handful of shavings

on the tops of your rings and
polish/burnish. You’ll not be able
to polish like this when you have
successfully cut under the rings.
11 12
15 To free each ring, roll the tip
of the skew over and start to
undercut. Cut in evenly from both
sides and just keep undercutting
until the ring comes free.
16 Remember to take the chisel

off the work as your treadling
foot comes up, otherwise the chisel
can be dragged forward out of position
and into the wood.
17 Alternatively, you can use a

tool specifically designed for
this job. Here I’m using a pair of
‘ferrets’ designed by Mike Abbott
(a fellow ‘bodger’). 13 14
15 16 17

Hand woodworking
18 These ‘ferrets’ will make light

work of undercutting the rings,
but you must make sure that as with
all turning on the pole lathe, you pull
the tool away from the cut just before
your foot finishes the downward stroke
otherwise the blade catches under the
ring and it will split!
19 Once you’ve freed each ring,

it’s now a question of cleaning
under the rings and finishing the body.
20 Reduce the diameter of the main

stem using the spindle gouge.
This will allow the rings to move freely
18 19
and you can move them all to one side
while cleaning up the wood.
21 I like to have a nice curve in

the transition between each
end and the smaller diameter body.
The larger gouge gives a nice curve
and if sharpened well, leaves a good
finish. Work along the stem with the
gouge until it’s your required diameter,
this one is 18mm minimum.
22 Finish all this section using the

large gouge coming from both
ends, remember to cut working from
large to small diameter. 20 21
23 Now use the tip of the skew

chisel to add some lines on
each end of the rattle.
24 Finally, turn the opposite end

of the rattle to match. Use a
handful of shavings to polish the wood,
then leave to dry. You can either leave
the ends connected until the drying
has finished – this slows moisture
loss from the end grain, reducing the
chances of it splitting – or trim the
ends and cover with a finish of your
choice. At the moment I like to just
liberally coat with sunflower oil! ■
22 23
Peter Wood
Peter has been a skilled green
wood craftsperson making
Windsor chairs and other
creations for over 25 years. He
demonstrates these skills around the country,
d th t
gives lectures and runs hands-on workshops
for all ages. He set up Greenwood Days in the
National Forest as a centre to teach a range of
traditional and contemporary crafts. He is also
the current world champion pole lathe turner!
Web: www.greenwooddays.co.uk
24

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15-128 WWC subs ad 2015.indd 29 5/19/16 10:05 AM

PHOTOGRAPHS BY LOUISE BIGGS
Power woodworking
REGENCY CHAIR
restoration
Louise Biggs’ Assessment
• All the chairs had loose joints, some had parted completely and some were
clients can always pivoting within the joints.
• The arms on the two carvers were loose.
take comfort from • On one chair, the top front of the sabre leg had broken away, exposing the
the quality of her mortise and tenon joint.

• The polish had not only been affected by water on the bottom half of the legs,
workmanship as this but the backs of some had clearly been too close to a heat source at some point.
• The seats were to be re-covered, but after discussion it was decided they were to
restoration job proves be completely re-upholstered.
• With the polish
was asked to view a set of dining in a degraded
I chairs (along with the matching

dining table) that were in need of
restoration. My customer inherited
state and
bleached, it was
decided that I
the set from her grandparents. The needed to strip
sabre legs and lyre-shaped back splat and re-polish
designs date from the Regency period, all of the chairs,
circa 1810–1820. More varieties of bringing them
wood were being used from this period back to match
onwards and these were made of their original
sapele. Used on a daily basis, I restored colour and the
the chairs in two lots, to leave the dining table.
family something to sit on. I took the
three chairs in the worst condition first.
WWC_15_30_34_SIX_CHAIRS_LB_bdAB.JR.indd 30 13/05/2016 12:30

Power woodworking
Tools used
• Screwdrivers
• Rubber mallet
• Chisels – various sizes
• Sash clamps
• ‘G’ clamps
• Utility knife
• Bandsaw
• Spokeshave – flat and round
bottom
• Square
• Mortiser or mortise chisel
• Callipers
• Dovetail saw 1
• Scratchstock
• Polishing equipment
• PPE – eye protection or face shield
and breathing equipment
Wood
Sapele (Entandrophragma cylindricum)
Stages of restoration
1 When knocking apart more than
one chair, I always clearly label
all components of each chair so that
they go back the way they came apart.
I use masking tape on inside faces and
write on the tape before placing on
2 3
the wood as pen or pencil can leave an
indentation. Polished surfaces require
low tack tape and a test first to make old chisel for this job as the hard
sure the tape does not disturb the glue, etc. will damage the edge of
polish when peeled off. a chisel. Before re-gluing the chairs
and having the necessary face shield
2 I started by removing the corner

blocks, which had been re-glued
to try and stabilise the chairs. As the
and mask in place, I stripped the
component parts of the existing finish,
neutralised them with methylated
screws on corner blocks tend to get spirits and then sanded all the parts
some glue in the threads when they to remove any residual stripper debris
are put in, I usually start by tightening and watermarks and prepared them
4
them, this usually breaks any glue for re-polishing. With a new front
residue and allows you to then leg being made for the one chair,
unscrew as normal. Once removed, the broken leg would be kept as
the old glue can then be cleaned off. a colour matching pattern.
3 A visual check is needed over

each joint area for evidence of
any nails or wooden plugs which
5 Using sash cramps and animal/
hide glue I then re-glued the back
and front frames using wooden blocks
disguise screw heads. With the absence to prevent the cramps damaging the
of these the frames were knocked frames and checked that they were
apart using a rubber mallet. If a joint square. The frames were glued up
is loose but will not come apart and is with the side rails in the same way.
glued with animal/ hide glue, I dribble Depending on the shape of the legs
or inject methylated spirits into the and seat plan, wedge shaped blocks
joint as this will dissolve the glue, would be needed in order to clamp
although caution is needed to protect the chairs more effectively. It was
a French polish finish. important to check the ‘rake’ of the
chair to keep the angle of all the backs
4 The joints could then be cleaned

up using a chisel to remove all
the old glue, wax and dirt. I keep an
the same. Ideally, this measurement is
taken from the most stable chair, but
the ‘rake’ on carver chairs can differ. 5

Power woodworking
6 7
6 With the carver chair arms,

the screws joining the bottom of
the arm to the seat rail were removed
a glue joint as the remaining area
was the mortise for the joint, the side
rail mortise also came into the leg
9
and the dowel joint where the arms at the same height. Strengthening
join the back legs gently tapped apart, dowels drilled at compound angles
the joints could then be cleaned up. would show on the front of the leg
but would be ineffective if drilled
7 When gluing the frame of the

carver chairs, the arms were
glued into position at the same time.
through from the back and I cannot
bring myself to strengthen a repair
with screws and nails, if only for the
The screws in the seat rail were benefit of any restorer following
replaced and the dowel joint closed me later on.
using a sash cramp. This ensured that
the ‘rake’ of the chair was correct and
then I checked for square across the
front, where the arm joined the seat
9 The first stage was to make a
template of the shape using a piece
of card. Using an undamaged front leg
rail to the top of the arm, to make sure from one of the other chairs, I marked
that both arms were at the same angle. around the shape and the positions of
the mortises for the front and side rails
Making a new front leg on the card.
8 Although the customer had the

section of broken leg, the joint
was always going to be vulnerable as 10 Using callipers I double checked
the measurements of the leg
it took the strain of the front frame. against the template. This could then
There was only a small area to form be cut to shape using a utility knife.
10

Power woodworking
11 12
11 The timber was planed to the

correct thickness. The shape
of the template and positions of the
mortises could then be marked on
the timber. The surfaces were parallel
at the top of the leg, front and back,
so I lined up the top front of the leg
with the edge of the timber.
12 I then cut out the shape of the

leg using a bandsaw, keeping
my hands to the side of the blade.
I positioned the fence in order to cut
the parallel back edge at the top of the
leg, the remainder was cut freehand
on the waste side of the line to allow
for cleaning up the shape.
13 I started by cleaning up the

surface for the side rail joint
using a chisel and spokeshave and
made sure they were flat and square
to allow for a good fitting joint. 13
14 Next I cleaned up the front

and back shapes with a
spokeshave, checking the shape against
the template and then marked the
positions of the mortises.
15 The mortises were cut out

using a mortiser and a packing
piece to clear the shape of the leg
when clamping it in the mortiser,
for cutting the front rail mortise.
With the joints cut I did a dry test
fit of the frame and then cleaned up
the new leg using a cabinet scraper
and abrasives. The front frame and
remainder of the chair was glued, as in
step 5. The rebate at the top of the leg
was cut flush with the inside edge of
the side rail and top of the front rail.
14 15

Power woodworking
16 17 18
16 I used a flat bottomed

spokeshave to finish shaping
the top front of the leg.
them being glued into the rails. After a
final clean up the frames were stained.
The grain was raised on the new leg
upholstered by a colleague, with the
new front leg matched in to the other
chairs – left hand chair, front left leg.
with water and sanded before staining. One very happy client as a result! ■
17 Using a piece of old hacksaw

blade, I cut and filed it to the
shape of the existing reed on the front
I used Vandyke crystals dissolved in
hot water as the colour can be adjusted
by adding more water to weaken the Louise Biggs
leg of the chair. stain or more crystals to strengthen it. Having completed
It is applied with a brush to get in all her City and Guilds,
18 The cutter was fitted into a

scratchstock then pulled along
the two edges of the leg cutting the
the corners and after a few minutes the
excess wiped off and allowed to dry.
Louise trained for a
further four years at
the London College of
grain ‘downhill’ to support the wood
fibres and prevent tearout. With the
detail cut, the final shaping of the
20 Sealing and French polishing
used the same procedures
as shown in my article in issue 4.
Furniture. She joined a London firm
working for the top antique dealers
and interior designers in London,
front edges could be carried out It was important to get into corners before starting her own business
using a spokeshave. but avoid any runs of French polish. designing and making bespoke
The chairs were rubbed back with furniture and restoring furniture.
19 All the corner blocks were

replaced, the screw threads
lubricated with candle wax to prevent
wirewool grade ‘0000’ and waxed to
cut the high shine to the polish on
the table. The drop-in seats were re-
Web:
www.anthemion-furniture.co.uk
19 20

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S
ince no two workshops will the back of each door, the front of Carcass tops/bottoms 2 @ Ex 749 x 250 x 19
ever have identical sets of which is a simple mitred frame with Carcass sides 2 @ Ex 900 x 250 x 19
tools, it seems pretty sensible a plywood panel let into grooves Central divider 1 @ 870 x 172 x 19
to design storage to be as flexible all round. Screw and glue the box Back 1 @ 882 x 731 x 6
as possible, to fit a variety of shapes frame to the front frame, and cut French cleat 1 @ Ex 731 x 405 x 19
and siz es. Space too, is usually at out the chisel supports, which can Door rails 4 @ 372 x 44 x 15
a real premium, and so the first be fixed at heights to suit. Door stiles 4 @ 900 x 44 x 15
important feature of this cabinet The main carcass has a rebate Door panels 2 @ 830 x 302 x 6
is that it is mounted on the wall all round at the back to take the Chisel supports 2 @ 334 x 40 x 12
using French cleats. Y ou need to back panel and the French cleat, Shelves 4 @ 346 x 172 x 12
fix the bottom cleat securely to the housings in the sides and bottom Top drawer shelves 2 @ 352 x 172 x 19
wall, and the same goes with the for the drawer dividers and Drawer supports 2 @ 352 x 172 x 12
top half, which sits just behind supports, and a central housing Dividers 2 @ 106 x 172 x 12
the plywood back in a deep rebate top and bottom for the central Drawer fronts 2 @ 346 x 65 x 15
in the carcass sides. The beauty divider, which provides support for Drawer backs 2 @ 346 x 53 x 9
of this type of wall fixing is that the adjustable shelves and drawer Drawer sides 4 @ 166 x 65 x 9
you can lift the cabinet off at any supports. Holes for the supporting Drawer bottoms 2 @ 334 x 163 x 6
time (weight permitting). studs for the shelves should be Drawer fronts 4 @ 167 x 100 x 15
The carcass is through dovetailed drilled using a template to give Drawer backs 4 @ 167 x 88 x 9
for strength and should be made even spacing on all four faces. Drawer sides 8 @ 166 x 100 x 9
as a complete box, with the door The number, thickness and Drawer bottoms 4 @ 155 x 163 x 6
section separated by sawing spacing of the shelves can be
through once it is glued up, so adjusted to suit your requirements. Carcass size is given as overall, includes front
allow additional width for the saw There are six drawers at the bottom and back sections before cutting. French cleat
kerf and cleaning up. Then simply of the cabinet to store all those has additional 5mm for 45° central cut.
saw the top and bottom sections of odds and ends. The doors have an Shelf and chisel support numbers are to suit.
the door frame at the midpoint and additional central hinge to carry
add additional stiles where the two extra weight, and you can add a 9 731 9
19
doors meet, to form a box frame to door catch of your choice. ■
6
198 346 346
Dovetail jointed carcass rebated French cleat; top section screwed SECTIONS 172
19 19 19
to 26mm for ply back and french into carcass along top three edges, 3
334 37
cleat; drilled for metal studs to bottom section fixed securely to wall
support adjustable shelves 43 40
6
15 46 279 47 297
15 43 3 5
198
19 44
172 346
19
400
112
44 284 44
346
12 882 870 812 830
12
302
30
352
Chisel storage 19
screwed through 15
side frame 148 9 65 334
Ply panel in groove
in mitred frame 12 100
Dovetailed drawers with dividers 163 155 106
Dovetailed door back frame 6
glued and screwed to front grooved into sides and bottom 44
19
259 749
WWC_15_37_PLANS_FOR_YOU_SR_bdAB.JR.indd 37 13/05/2016 12:32

Kit & Tools
KITTED OUT
Take a look at the tools, gadgets and gizmos that
we think you will enjoy using in your workshop
JSS-16A Scroll Saw
Fitted with a powerful DC motor, this variable speed
(550–1600/min) scroll saw can cut a wide variety of
materials up to 50mm deep. The two blade arms are
independently pivoted, giving a straight up-and-down
motion to the blade for a better quality cut. The saw is
supplied with five pinned end blades, but accepts
pinned or plain end blades. A blower helps
keep the cutting line clean and easily seen.
When changing blades a quick release
£119.95 tension knob allows quick and easy change.
The heavy cast-iron base gives stability and
ensures low vibration.
From
Contact: BriMarc
Tel: 03332 406967
£94
Web: brimarc.com
REVIEW
Nic Westermann greenwood carving blades
I’m relatively new to green settle the blade in. All Nic’s blades
woodworking being more of a are surgically sharp and I didn’t want Bosch mulধcuħers
general woodworker myself. So this to A) cut myself in the process and B) Bosch has recently launched five new
was the perfect excuse to have a go. damage Nic’s lovely blade creation. multi-cutters with universal Starlock
I thought I would try creating a I found for creating a tight scoop accessories mounting system. There
spoon or a scoop and ended up with shape it worked best cutting cross are three professional corded tools, the
the latter creation. I found a slim grain, although working downhill GOP 55-36 Professional, GOP 40-30
birch branch that would convert with the grain was also very effective Professional and GOP 30-28 Professional
quite easily and started off using an to start with. As I gradually got the and in the professional cordless range,
axe to rough shape it, then several shape I wanted, this blade rubbing the GOP 18V-28 Professional and GOP
knives, but my real interest was on its bevelled back could take out 10.8V-28 Professional.
trying the slightly inappropriately wafer thin slices. Using my thumb as These multi-cutters come in three
named ‘roughing blade’. The first a touch guide to unevenness I could performance classes with accessories
job was fitting the handle and I opted then use the blade to gently even up for every application and the ‘Snap-In’
for using a pair of grips on the blade the scoop shape. Once the wood has Starlock system for tool-free and quick
tang and winding it into the handle dried out in a couple of weeks I’m accessory change. All specified prices are
before tapping the handle to finally going to use abrasive to smooth the recommended retail prices excluding VAT.
rough exterior surfaces but not the
scoop itself as this ‘roughing blade’ Corded:
gives such a smooth finish! GOP 55-36 Professional: From £179
From There is a wide range of blades GOP 40-30 Professional: From £129
some are available in left and right GOP 30-28 Professional: From £94
£39 hand versions.
Cordless:
PRICES: GOP 18V-28 Professional: TBC
Roughing blade: £39.00 GOP 10.8V-28 Professional: TBC
Finishing blade: £42.00
65mm Twca Cam: £52.00 Contact: Bosch
Web: www.nicwestermann.co.uk Tel: 018772 672499
Web: www.boschtools.com
WWC_15_38_39_KITTED_OUT_.JR.indd - WAITING PRICES .indd 38 19/05/2016 11:25

REVIEW MINI TEST
Carvers chops plans
It depends very much on the type of work you
do and how you feel about clamping methods,
but the wooden design of ‘carvers chops’ has
a lot to commend it. There has to be metal
involved somewhere, but it has to be more of a
pleasure when working with wooden clamps,
cramps and jigs. So if you want to make your
own carvers chops you can get a set of plans for
a modest price from The Rocking Horse Shop.
Price: £11.99
Web: www.rockinghorse.co.uk
£11.99
Triton TBJ001 Biscuit Jointer
Part of an ever burgeoning Triton range of powertools this
model is a predictable addition as biscuit jointing is such a basic
and efficient method of joining components. It is pretty much
a dead ringer for a number of other jointers with its six stage
depth setting and flip down front and slide up-down fence.
The plunge rods are quite slim but the action is quite smooth.
The six-tooth anti-kickback design blade is accessed by undoing
the knob on the blade casing underneath. A blade spanner and
Gorilla
G ill GGripper
i dustbag are provided, but no case for this machine.
The Gorilla Gripper has been designed to grip, lift and
carry large sheets of material from the top. No bending or Verdict
lifting, using your back, or using your wrists and fingers. The base and face of the machine are ground, meeting at
Turns a two man job into a one man, single-handed 90°, although click-stopping is absent. The lock on the fence
job saving time, effort and money! A safer and faster protractor seems very free but locks securely. The fence face was
way to carry sheet materials including plasterboard, just ‘as cast’, not ground so it had a slightly raised, roughened
MDF, hardboard, aluminium and many more. Large, surface. Worse than that, it wasn’t quite square to the machine’s
comfortable grip for ease of use. face, so I resorted to grinding it on a static disc sander until
it was true and smooth. It was clearly a manufacturing step
Contact: Ironmongery Direct omitted to save cost, which is regrettable in an otherwise very
Tel: 0808 168 28 28 functional machine. Overall the TBJ001 doesn’t ‘bring anything
Web: www.ironmongery new to the party’ but it will serve you well for fast, efficient
direct.com biscuit jointing.
Input power: 760 watts

Speed: 11,600rpm
£46.50 Six stage depth setting £119.56
Depth adjustment: 0–40mm
Price: £119.56
Web: www.tritontools.com
New UJK Technology Parf Guide System

The Parf Guide System (PGS) provides an infallible method of making a track saw cutting
station on site in less than 30 minutes. With the PGS, you will be able to make a custom
bench top or portable cutting board whenever the need arises.
The PGS uses two Parf sticks along with a 3mm drill guide and 3mm drill bit
to create an accurately placed series of holes with the rows at perfect
right angles to the columns. Then the guide block and the
special 20mm bit come into play to produce the
final pattern of 20mm holes.
Contact: Axminster Tools & Machinery £99.96

Tel: 0800 371822
Web: www.axminster.co.uk
WWC_15_38_39_KITTED_OUT_.JR.indd - WAITING PRICES .indd 39 13/05/2016 12:38

"Out of trust,
I only work with
THE ORIGINAL"
- Josche Frankenberger, prop maker and
furniture designer
www.fein.com/original
New range of FEIN oscillating tools now with:
3 seconds
It makes tool changes possible in just .
At the same time, it guarantees a perfect fit for accessories
and therefore maximum power transmission. Resulting in even
more work progress in every application.
www.fein-uk.co.uk FEIN.UnitedKingdom FEIN_UK
040_WWC_015.indd 40 5/17/16 9:44 AM

Community
PHOTOGRAPHS BY GMC/ANTHONY BAILEY

A class
Building the
apartdinghy
Nutshell
It may be best known for its
role in the London Olympics,
but Stratford is also home to
a gem of a crafts college, as
Catherine Kielthy learns
O
lympic legacy, Westfield, the orbital sculpture
and the late Dame Z aha Hadid’s aquatic centre
might hog the headlines (and skylines) when
it comes to Stratford in east London, but scratch the
surface and there are a raft of alternative gems hidden
under the recently applied veneer of this outlying
strip of the capital. Chief among them is surely the
Building Crafts College (BCC). Founded in 1893 by
the Worshipful Company of Carpenters to train young
people in a range of construction crafts, the BCC
relocated from its central London site to its current
purpose-built facility in 2001 and now sits a stone’s
throw from Stratford’s all-singing, all-dancing transport
hub. Emerging from the steel-and-glass structure, you
can’t help but suspect the modernity of the regenerated
Stratford will contrast greatly with the traditional crafts
Callum Flood being taught inside the college complex. And it does.
assesses his final- But there are also many similarities, which become
year veneered evident as you open the BCC’s doors and are hit by its
American black contemporary, welcoming environment and the terrific
walnut desk, with buz z of enthusiastic students.
sycamore inlay
and legs
WWC_15_41_45_BUILDING_CRAFTS_COLLEGE_CK_bdABNA.JR.indd 41 13/05/2016 12:40

Community
Award-winning lecturers
We’re here to meet Neil Austin, a
former programme leader at Bucks
New University and now lead tutor on
the BCC’s fine woodwork and furniture
making course, and visiting tutor Rod
Wales from award-winning furniture
design duo Wales& Wales. Neil joined
the Stratford team last September and
is in the process of applying his wealth
of experience in furniture making,
designing and teaching to restructure
the course after a period of transition
overseen by Rod and fellow visiting
tutor Tom Kealy. “ It’s been a bit of a
rollercoaster with staff changes,” says
Rod, “ but doing this is great. Making a
difference is a highlight and you make
a difference with teaching.”
Neil is equally as enthusiastic about
his new role. “ This college is different.
It likes to support people who are
passionate about making, passionate
about wood – at whatever level – and
give them the opportunity to achieve
their goals, from younger people Neil Austin kicks off the afternoon Visiting tutor Rod Wales (left) discusses
to those on second careers. A lot lecture with an outline of a client brief ideas with final-year student Donat Fatet
of people now want to follow their
passions. And furniture in particular
has become very popular, especially
working with timber. This college is for
anyone with aptitude or passion.”
“Unique place”
That word, ‘passion’, sums up every
aspect of the college as Neil gives us
a guided tour of the workshops and
introduces us to several students
en-route. First up is Hannah
Blackmore, who is studying for a
BA in Historic Building Conservation. Jade Watts from
Her degree, which is run in partnership the first year of
with Kingston University, has an the fine woodwork
academic focus but the BCC gives course sanding her
her an opportunity to gain a fuller timber satchel
Michael Stevenson’s
oak-veneered table
with metal legs. “I
wasn’t sure until it
came together that
it would happen,”
he admitted
Under the watchful eye of tutor Jim, Michael Pavlou is preparing

to enter this year’s Carpenters’ Craft Competition

Community
understanding of the field with

practical experience. We find her
making an E frame under the guidance
of the college’s inspirational chief
instructor Jim O’Brien. “ It helps me to
understand different joints and to get
an idea of the challenges the original
makers [of historic buildings] might
have faced,” explains Hannah. “ I love
coming here. I didn’t want to do art
history, I just wanted to learn how to
conserve and repair old buildings and
the BCC had the exact course. And it’s
great to be among people studying
crafts, joinery and stonemasonry [see
panel, page 45]. It’s a unique place.”
Unsurprisingly, Jim is pretty pleased
PHOTOGRAPHS BY ANTHONY BAILEY/GMC PUBLICATIONS

with this assessment. But Hannah’s not
fishing for higher marks, just giving an
honest appraisal of the scene.
Create expectations
There is a real feeling here of an
inclusive, progressive and supportive
environment that nurtures students
while at the same time encouraging
them to fulfil their potential. And the
tutors have high expectations of every Building conservation student Hannah Jim’s desire to share his knowledge
student. “ The discipline here is that learns basic joints on an E frame even extended to this visiting journo
whether you’re a carpenter, joiner or
furniture maker, you all need the basic
background,” explains Jim.
“ So, in the first year, we don’t
distinguish between any of that;
we don’t pin a label on the students.
We make it as rounded a course as
possible. The students are trained to
use machinery and there are English
and maths classes. We make sure they
know how to cost projects, liaise with
clients and put together paperwork.
One of the best things is that I have
a group of students from day one.
I know what they need and can tell
if they require additional support.
I can pick up if the wind’s changed
and they’re having a funny day!”
Nick Bannister (left) and Jamie Churchman practising
their skills in Jim’s joinery workshop
Joe Phillips’ ‘Stow desk’

constructed with American
Alana Madden cutting dovetails on her drawer sides black walnut and white ash

Community
Problem-solving skills
Working hard as we go round are a
string of Level 3 diploma students
who have taken up Jim’s suggestion of
pursuing an extension to their course
and are busy making games consoles
and corner cabinets. Some of them
will go on to join Neil’s fine woodwork
and furniture making course. Before
then, however, they must pass
through Y ear 1 of fine woodwork led
by charismatic tutor Cheryl Mattey,
who takes time out from assessing the
results of her students’ most recent
project – to make an old-style school
satchel from timber – to talk to us.
“ The exercises in the first year are
vehicles for them to learn lots of
different techniques and skills,” she
explains. “ One of them is to problem-
solve ways of creating things like,
say, stitching, if we’re not allowed to
use the real thing. So, one student
invented a tool that he shaped to be
able to punch the stitching, while
others used carving. They’ve also had
to tackle how to get a timber version
to hang and sag as a bag would when
it’s hanging on a hook. I’ve got 18
very different students and they’ve all
created something very delightful.”
Tricky assignment
Moving on from Y ear One, Neil leads
us to his own students, who are in
the middle of finishing their latest
assignment. They’ve had five weeks
to design and make a table from
scratch and, while few of them jump
at the chance to be photographed for
Woodworking Crafts, they’re all happy
to explain the creative processes and
ideas that led to their final designs.
The results range from Noah Kay’s
circular elm table with its Ercol-esque
underframe to Louis Maurelet’s ash
table/ desk with copper underframe.
Space prevents us picturing them all
Clockwise from top: Neil’s students included Noah Kay, whose circular plinthsthhs were
“harder than expected”; Patrick Ronayne with his American white oak desk;; Piers
Peel, who drew inspiration from agricultural buildings in his maple table; Scott
ottt Gormley
used American ash for his work; and Ben Hooper juxtaposed curves with angles ng
gles in his
‘laptop’ desk. Right: Noah Morgan’s country-kitchen style ‘dining table for two’
w in oak
wo’

Community
here, but you can see more images

of the students’ work on the BCC’s
Facebook page. Neil is pleased with
their efforts, but you can tell he keeps
the bar high to ensure all 15 students
reach their full potential. And with
good reason. They’ll need excellent
skills and a lot of drive to succeed
outside the college.
Pitching in
A taster of what might lie ahead
comes after lunch when we sit in on a
lecture given by Rod. He outlines a real-
life brief for which the BCC students
have been invited to pitch. The client
is LendLease, which is co-developing
Stratford’s International Q uarter,
and it’s a prestigious assignment. Set in stone
The students have a two-week slot As well as timber courses, the BCC is
to design, develop and produce home to some fantastic stone masonry
rendered drawings, supported sketches tuition. The students mostly go on to
and fifth scale models for their ideas. conservation roles, so they are using
Previous successful assignments have the same tools as their predecessors
included finial designs for Richard did in the Renaissance. “You’re passing
Rogers’ Transport for London and back hundreds of years coming into a
FSA buildings. The good news for the place like this,” says Neil. To find out
students is they’re in the best place more about the BCC’s stone masonry Main image: The stone office in the BCC
to get all the guidance they need to and carving courses, and meet one of its workshop has been made and carved
by the college’s students over the years
produce their best work. As Neil says, many talented students, look out issue
Inset: Talented carver Nazar Dmiuterko
“ This is a small college with a dedicated 151 of Woodworking Crafts’ sister title,
will feature in issue 151 of Woodcarving
team. We’re here for the students.” Woodcarving, on sale 23 June, 2016.
Up to now, it’s also been one of
Stratford’s best-kept secrets, but we
suspect that might be about to change. ■ Joined-up thinking
The BCC is a multi-craft facility offering more than 40 qualifications in a range of
subjects including bench joinery, heritage crafts, wood machining and construction
Contact details site management. Entry requirements, age bands (from 16–23+) and fees vary
Building Crafts College, depending on the course which are clearly outlined on the college’s website.
Kennard Road, Stratford, There is also a schools programme that introduces 14–16 year olds to a range of
London E15 1AH construction crafts. Constituted as an educational charity, the college is governed
Web: www.thebcc.ac.uk and financially supported by the Worshipful Company of Carpenters. Around
Email: [email protected] 60% of its income is derived from public sources, 25% in fees and 15% from
Tel: 020 8522 1705 charitable sources, mainly the Carpenters’ Company Charitable Trust which
Instagram: #bccfurniture provides grants to support students’ fees.
Year 1 fine woodworking students Glen Griffiths (left) and John Final-year student Louis Maurelet’s turned items – made from
Blow create carved wooden bags that look like leather recycled skateboards – sit atop his ash table/desk

Power woodworking
Recycling & Restoration

PHOTOGRAPHS BY ANDREW POTOCNIK
Wasted celebrations
Andrew Potocnik makes a decorative box out of pallet wood
o often one encounters timber the Association is passionate about
S considered worthy of nothing

better than firewood, but in
the right hands and minds willing
converting waste timbers into high
quality end products that celebrate
inherent qualities of wood. His
TOOLS USED:
• Chopsaw
• Tablesaw
to investigate further and contribute business would otherwise pulp the
• Wire-brush
significant time, a whole new future pallets into garden mulch… and they
• Guillotine
can be found for the timber, giving deal with thousands of cubic metres
• Tape
the final product a special meaning. of waste wood per year! So he set a
• Abrasives
Here is an example of where a waste challenge for the Association; make
product was converted into something whatever you wish from two pallets • Pallet wood
well beyond its initial purpose; and then we have an exhibition!
illustrating how the humble pallet can Rising to the challenge, I opted to few weeks to stabilise. It’s wise to stack
become an object that will live long make a couple of boxes that could boards and add ‘stickers’ (i.e. spacers)
beyond its original industrial intention. possibly celebrate the timber hidden between individual boards to allow
Pallets have a very short lifespan. within these pallets, seeing as many air to circulate. This ensures that they
They are part of a one-way journey of them originate from the USA and adjust to local air moisture content,
designed to provide a form of are constructed of low grade maple, but it’s also a good idea to add weights
transportation for other products that ash, pin oak, possibly laburnum on top of the stack to reduce possible
enrich our lives from one part of the and many other species still to be warping of boards as they stabilise.
world to another. Once the journey is identified correctly, but I really wanted Wood loves to move, which can be
completed, they are too expensive to to highlight the most degraded and the bane of woodworkers and
ship elsewhere, so are sent to the scrap cracked timber as a feature on the controlling distortion as it dries can
heap, but they can yield a vast array of lid of this box. be a nightmare, depending on location.
beautiful timbers – provided you have So, as this wood hadn’t been kiln
the time to expose them.
Where did the inspiration for this
box arise? I am a member of the
1 Once the pallet was dismantled,
nails removed and dirt cleared with
a wire-brush, I could begin to ‘rip’
dried, there was a likelihood it would
move, so I put it aside to settle.
Victor ian Woodworkers Association

in Australia. Another member of
timber to about 8mm thickness on a
table saw and then put it aside for a 2 Some weeks later the boards were
thicknessed to about 5–6mm with
WWC_15_46_51_RECYCLED_BOX_AP_bdABAP.JR.indd 46 13/05/2016 12:43

Power woodworking
the expectation that wood movement

had settled (fingers crossed!). Each
board could now be assessed for
grain pattern and location in the
box. Keep in mind, there were cracks
that developed in the drying process
and imperfections that I hadn’t picked
up before.
3 The material could now be cut to

70mm width on a table saw and
reduced to appropriate lengths on a
drop saw. Keeping in mind that my
initial intention was to fit cracked
end grain pieces of this wood to the 1 2
lid, all measurements were based
on the inserts, so I was now faced
with a situation where I had to think
backwards from how big each insert
would be and how much open space
I thought was needed to ‘frame’ the
inserts within the overall box lid.
Difficult to explain, even more difficult
to work out in the making!
4 Once size s were established and

the sides and ends cut to siz e,
I moved to a guillotine to carefully
slice away waste to form cleanly cut
mitre joints. So far, this has been the
most accurate method I’ve found, 3 4
providing material isn’t too wide for
the guillotine to handle. Alternatively,
you could cut mitres on a chopsaw
or even a table saw. For purists, you
could hand cut and shoot joints,
providing you have the skills.
5 Then, all components were cut to

correct angles and taped together,
ready for the next stage of production.
6 I like to sand all interior surfaces

completely before assembly, so
each inner face was hand sanded
through to 320 grit.
5 6
7 A 3mm cutter fitted to a router
on a router table was used to cut
slots about 5mm in from each edge
for the top and base of the box to fit
into. Generally known as ‘floating
panels’, this method of fitting allows
wood to expand and contract across
the grain and not force joints to fail,
all going well!
8 I like to ‘ease’ edges and get rid

of possible tear-out resulting from
the routing process using sandpaper
and a sanding block. In the long run,
it makes assembly smoother later on
as it’s easier to fit the top and base into
a chamfered groove. 7 8

Power woodworking
280 280
16
70 75
54
SIDE ELEVATION PLAN OF TOP
3
272
54
3
5
SECTION
OVERALL DIMENSIONS FOR ILLUSTRATION ONLY
67
6 63 6
Bottom and lid housed in 3mm
grooves in carcass all round
Splines allowing panels to “float” SECTION
75
Mitred corner joints

3
re-inforced with 3mm
thick splines set at
45 degrees to sides
ELEVATION
Box lid and base

9 The box lid and base were cut
to size on a chopsaw, ensuring
all components would fit together
accurately and still allowing the joints
to meet neatly and the top and base to
sit in place. It is wise to allow a little
space for expansion and contraction of
the two parts, so make them a whisker
narrower than the space they fit into.
10 I like to pre-finish all of the

components prior to assembly,
so a wipe on/wip e off application of 9 10
polyurethane was used with care, so
the finish didn’t stray onto surfaces
soon to be glued.
11 Intending the lid to be a feature

of this box I chose to bleach the
top prior to assembly, but pre-finished
the underside with polyurethane.
Bleached white wood would form
a neutral background that I hoped
would highlight the end-grain burnt
feature pieces.
Assembly preparation
12 Preparing to assemble the box,
I laid all components out in
a way that was logical in my mind 11 12

Power woodworking
with all required materials on hand

including masking tape and glue.
Call me anal, but I like things to work
in sequence, rather than search for
things once the process begins.
13 With glue neatly applied to

surfaces of the joints and all
components slipped into place (don’t
forget I did a ‘dry’ trial to be sure
before) masking tape was applied to all
mating surfaces to ensure all of them
met neatly and the box was ‘square’.
13 14
14 Once the glue had set it was
time to cut slots for splines,
which would add strength to each
joint. Keen to make this process time
efficient, I set up a small laminate
trimmer on a very reduced version of
a router table, and with the aid of a
carrier cut a series of 3mm slots at 45°
through each of the corners. To make
the process as quick as possible, I used
a series of 3mm MDF packers between
the fence and box to alter where the
slots were cut.
15 The timber was thicknessed to

3mm, then cut and glued into
place to reinforce each joint. A small 15 16
piece of veneer helped spread glue
throughout each joint.
16 Once dry, excess timber was

trimmed down with a skewed
carving tool, but I later worked out a
more efficient way of trimming these,
using… well that’s another story.
All excess splines were then sanded
flat and level on a sanding board.
The feature
17 Now to create a feature from
the least wanted component
of these pallets. I searched for the
most cracked and degraded piece 17 18
of timber I could find, settling on
a bearer with heart wood that had
‘exploded’ and seemed beyond any decimated into fragments well beyond
fine woodworking use, but would any imaginable use.
be ideal for my desired effect!
18 Wrapped in masking tape to

ensure slices would stay intact;
19 Following a number of possible
configurations (all numbered
and recorded with a camera for future
I set up my chopsaw with a stop-block reference) I worked out how the
to ensure a series of evenly crosscut individual pieces would work best
cracked gems would remain ready for with regard to my initial idea. Keep in
the next stage of my mind’s lateral mind, what starts out as a fine idea can
thinking. Experience has taught me to alter drastically as a project develops.
wait for the blade to stop spinning after Sometimes great ideas end up looking
each cut before raising it and facing horrible, while not such great ideas
the likelihood of cut material catching turn out to look great, so don’t be
on the spinning blade and being shy to experiment! 19

Power woodworking
20 Settling on pieces that best

served my initial idea, that of
creating a landscape effect, I broke
suited pieces and burnt them quite
heavily with a gas torch to remove
soft parts of the grain and leave hard
sections prominent.
21 Once the timber had cooled and

settled, I could remove charred
remnants with a brass wire brush to
expose growth rings and ‘softened’
cracked edges. Exposing timber to
the harshness of a gas flame causes
it to curl up on the burnt face, but 20 21
it will flatten to some extent as the
timber cools.
22 Fitting feature sections into

the lid required a bit of ‘to-ing
and fro-ing’. Some scrap timber was
cut to width and fitted between the
top edge of the box lid and burnt
feature pieces so I could determine
how much to trim from the lower
edge of matching feature pieces.
This was marked onto masking tape
before trimming on my bandsaw and
another round of burning of edges.
23 With all parts glued securely

in place, I could now separate
the top and bottom of the box. There
22 23
are so many ways to do this; on a table surfaces. The final stage is to cut and
saw, a bandsaw, cutting by hand, or the fit a thin piece of timber on the inner
way I opted; on my drill press. I have long edges of the lid to allow it to slide
a blade fitted to an arbor that I can neatly into position and stay located
grip in the chuck of my drill press, just as it was before the two halves
so it was relatively noise-free to work were separated.
my way around the box, leaving a
small amount of intact wood at each
corner which I later cut away with
a fine-bladed saw.
25 This is a somewhat simple
project, but there isn’t any
doubt, it always gets easier after
your first hundred! ■
24 Separating the top and bottom

is easy, just slice away the
remaining nub with a knife and then
Woods
sand all surfaces flat and smooth on
Maple (Acer spp.) 24
Ash (Fraxinus spp.)
a sanding board, followed by easing Pin oak (Quercus palustris)
of all edges with hand sanding and Laburnum (Laburnum
(L b spp.))
applying a finish to newly created raw
Andrew Potocnik
Andrew sees inspiration
around him every
day. He ‘arrived’
on the Australian
woodworking scene in
1983, and since then, his work
has developed into areas of sculpture,
furniture making and the odd bit
of cabinetwork.
25
25

The Rocking Horse Shop
Make a Unique Traditional Rocking Horse, 17 Superb Designs
Plans, books, DVD’s,

timber packs, accessories & fittings.
Carving Courses
Whether you are an experienced carver
or have never carved before, you will
benefit enormously from one of our
courses.
www.rockinghorse.co.uk : Tel: 0800 7315418 : Fangfoss, YORK YO41 5JH
051_WWC_015.indd 51 5/17/16 11:52 AM

Power woodworking

Routing
problems
The Editor turns to those routing

difficulties that keep coming
around again and again
t still amaze s me that the same difficulties faced by router
I users persist, unless you have been taught properly.

It is easy to fall into the trap of making some basic
errors or simply not appreciating some of the vagaries of
working with routers. A router is a powerful high-speed
machine, which has the potential to cause havoc if you don’t
respect it. Whenever you are making adjustments switch off Collets – these come in diøerent types, very small simple
and unplug your machine. A cable break or switch fault can ones and longer mulধ-slit collets. These hold cuħers beħer
bring it to life unexpectedly! with far less vibraধon, especially with long cuħers giving a
smoother finish. Make sure the collet is the same opening
size as the shank.
Cuħers must not be used with only a
limited amount of shank in the collet.
Cuħers should have a ‘K’ mark, which
denotes the amount to be held in the
collet, usually about 19mm or so.
Choose the correct operaধng

speed. Small cuħers can be run
at high speed, large diameter
cuħers need to be at a lower
speed and plasধcs need an
even lower speed.
WWC_15_52_53_ROUTING_FAULTS_AB_bdAB.JR.indd 52 13/05/2016 12:45

Power woodworking
Take repeat passes to final depth.

For example, a roundover cuħer only
needs a few passes but a cove cuħer
removes far more wood, so you
must take more passes or
the cuħer will get
strained and may
start sliding from
the collet when
machining.
Plunge routers ođen have a waggle on the columns

(see above) which goes once the plunge mechanism is
locked. Therefore, you should plunge and lock so the
cut remains accurate from end to end.
Routers need control, this is the basis

of good accurate rouধng. One way
of achieving this is the use of guide Blunt cuħers, of course, don’t cut so well
bushes. These fit in the base of the router Good quality cuħers are safer, last longer and may cause burning to the surface of
and are used with jigs and templates. and give beħer results. Cheap cuħers the workpiece. Cleaning and light honing
Does your machine have one? Can you have thin carbide edges and lack boħom with a diamond card hone can improve
fit other sizes? cuষng inserts, generally best avoided. the cuষng performance.
In the next issue...

The Editor looks at routing extraction.
When rouধng always pull the router towards you with the If you get light burning on end grain, you can try pushing the
cuষng edge advancing into the workpiece. There is an plunge down firmly, re-locking it and running it again which
excepধon to this called ‘climb cuষng’, which I will discuss can be enough to skim oø the scorched surface. ■
in a future arধcle.
WWC_15_52_53_ROUTING_FAULTS_AB_bdAB.JR.indd 53 13/05/2016 12:46

054_WWC_015.indd 54 5/11/16 11:50 AM
Hand woodworking
PHOTOGRAPHS BY COLIN SULLIVAN, UNLESS STATED OTHERWISE

PHOTOGRAPH BY GMC/ANTHONY BAILEY
Standup vice
How many times do you have to bend
down to cut accurate joints? You don’t
have to, if you build a ‘standup’ vice
like Colin Sullivan’s design…
his simple bench top vice
T allows you to do fine work,

like dovetail cutting, at a more
sensible height than a conventional
The standup vice
clamped to the
bench vice. With the work raised it workbench with the
is much easier to saw accurately and opধonal top clamping
follow the marked lines of joints, bar in posiধon
I believe this jig will help you achieve
a better result with your joints. Construcধon details between the threads was ample for
I can be made from any hardwood
It the work I do, but you may want to
o
offcuts lying around the workshop you make it wider. The renowned Moxon
m
may have been saving for jig making. vice is very good, but enormous and
I used walnut leftovers for the vice very heavy, for a jig that is only used
jjaws and 18mm birch ply for the top occasionally. I marked where I wanted
aand the underframe. The two screws the screws and then clamped the
aare salvaged from two old 150mm jaws together, drilling a hole through
G
G-clamps that were no longer used, both pieces big enough for the G
tthey turned out to be ideal. I began clamp screws to pass through. I then
b
by cutting off the pressure pads at the counterbored and fitted the two nuts
e
end of the screws to release them from flush with the back of the jaws.
tthe clamps and then sawing off the Two plain bushes as shown on the
A rear view tthreaded part of the cast-iron G clamp drawing hold the front jaw in position
showing the simple tto act as receiving nuts. I had to decide for opening the vice. Even the Moxon
construcধon of the vice h
how wide I want the vice to be, 230mm vice does not have this and you have ➤
WWC_15_55_56_STAND_UP_VICE_CS_bdABCS.JR.indd 55 13/05/2016 12:47

Hand woodworking
45 Rear jaw fitted with

45mm x 45mm clamping bar
nuts flush to back face
and biscuited to ply top
45
40 40
18 Front jaw with 10mm
bush inserts
70
144 180
Grub screw with access 150
via drilled hole
SIDE ELEVATION
18
170
350
380 170
45
40
Base clamped to bench
PLAN Plywood top and base screwed

40 through into vertical pieces
230
to withdraw the front jaw each time was needed for the baseboard, this is Vice uses
you open the vice I believe. Now the used for clamping the whole vice to the Clamp the vice to the top of your bench
jaws were made and working, I fixed bench top. The two upright pieces of to begin with and put a piece of wood
the top piece of ply flush with the top 18mm ply were cut to approximately in vertically about the siz e of a drawer
of the rear jaw using biscuit joints 130mm high although it isn’t critical. side and make a few cuts on the end to
between the two, then glued up and All the components were then glued get a feel of this new raised position for
checked the face of the jaw was square and screwed together as shown on the sawing. The clamping bar can be used
and flush to the top panel. After the drawing. The clamping bar on the top for holding the work when marking the
glue had set properly, I put the front panel is 45 x 45mm in section and held pins against the tails when dovetailing
jaw on using the two G clamp screws with two 10mm diameter threaded and the square face of the bar can be
and planed the vice off flush to the Bristol lever screws into two 10mm star used to pare up against when making
top panel. One piece of 18mm ply sockets driven in from under the top. the pins and tails. It is also useful for
holding quite thin pieces of wood to
plane edges. If you think this is worth
The Mark II with lever handles and dogs making and using we would like to have
for fl at clamping or it accepts a top some feedback about how useful you
clamping bar found it – email the Editor. ■
Colin Sullivan
After studying at
Beckenham School
of Art and two years
National Service,
Colin attended the Royal College
of Art Furniture School, where he
met his long time working partner.
They soon set up business together,
designing and making furniture. Colin
now makes furniture and more, and
demonstrates at Amberley Museum.
WWC_15_55_56_STAND_UP_VICE_CS_bdABCS.JR.indd 56 19/05/2016 11:28

©
Great Big Scroll Saw

Ideal for internal cuts in thick timber
e n on
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057_WWC_015.indd 57 5/11/16 11:51 AM

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058_WWC_015.indd 58 5/9/16 3:06 PM
Community
BOOK REVIEWS
This month we review DIY Furniture 2,
Making Wood Jewelry and Whittling Handbook
DIY Furniture 2
by Christopher Stuart
This title is the follow-up to DIY Furniture, which was published in 2011.
The book features 30 brand-new designs, showing you how to make high
quality, unique furniture. The projects are divided into seven categories:
shelves and storage, tables and desks, seating, lighting, bedroom, outdoor
and ‘miscellaneous’, which includes items such as candlesticks and bookends.
Each project is accompanied with hand-drawn diagrams, photographs and short,
step-by-step instructions. The instructions are easy to follow although the type
used is rather small! The projects range in difficulty from simple makes aimed at
beginners to more complicated designs suitable for those with a bit more experience.
The designs have been contributed by some of the world’s best designer-makers
and all have a contemporary look. Many of the projects make clever use of found
objects and materials, such as pizza trays being turned into side tables and a chair ISBN: 9781780673677
made from PVC pipes. Even if you don’t make all the projects, this book is sure to Price: £17.95
get you thinking creatively about materials! Web: www.laurenceking.com
Making Wood Jewelry: Southwest Style

by Thomas Freese
As the subtitle suggests, the southwestern states of the USA provide the inspiration
for the jewellery in this book so you’ll find plenty of colourful pieces featuring
lizards, snakes, cacti and cattle. The book begins with an overview of the tools and
materials you will need, and there is advice on working with bone, stone, steel
and antler as well as wood. There are templates for making specific pieces, but
the book also teaches you the principles of designing, making and finishing your
own jewellery from scratch. Some of the techniques covered include attaching
pin backs, making earrings, wood burning and painting, inlaying stone eyes and
making wooden beads.
Although Making Wood Jewelry is suitable for the amateur crafter, it also
includes a section of advice for those who wish to sell their work, with tips on ISBN: 9780764334146
marketing, bookkeeping and sales. Price: £10.99
Web: www.bushwoodbooks.co.uk
Whittling Handbook
by Peter Benson
This is an excellent introduction to knife carving from veteran woodcarver Peter

Benson. It’s a small book, but it packs in a wealth of information! The opening
section covers all you need to know to get started, including advice on tools and
tool sharpening, safety and which woods to use. The rest of the book is taken
up with 20 projects to whittle, each accompanied by clear photos and step-by-
step instructions. The projects become gradually more complicated, starting
with a simple garden dibber and progressing to an intricate love spoon and a
‘Higgledy-piggledy house’ carving. There is a nice mixture of practical items such
as a butter spreader and a paper knife, and more decorative pieces, such as a fox
and a perching bird. Whittling Handbook is a great choice for those new to knife ISBN: 9781784940751
carving and those looking for inspiration for their next project. Price: £7.99
Web: www.gmcbooks.com
WWC_15_59_BOOK REVIEWS.bdAB.indd 59 19/05/2016 11:29

WOODWORKING GEOMETRY
Simon Rodway takes a look at building skylights
he glazed skylight as we know it probably developed areas of houses, particularly stairwells. During the Victorian
T from the orangerie, brick or timber buildings found

in 16th-century France and Italy, which had tall
windows and glass in sections of the roof and were used to
period, skylights became a standard feature, set into the
roof above staircases, and were also developed into more
elaborate designs, sometimes described as roof lanterns,
grow fruit unsuited to colder climates. This type of glazing which can be installed on flat roofs to let light into buildings
was incorporated over time to let light into potentially dark with particularly deep plans. ■
TRADITIONAL TIMBER SKYLIGHT CONSTRUCTION PLAN AND ELEVATION OF DOMED ROOFLIGHT
Elaborate shapes like this

domed rooflight set huge
Metal flashing, traditionally construction challenges
Sash overlaps planking
lead, tucked under slates or tiles
by 25mm all round, top
(not shown) and carried around
and bottom rails grooved
inside of skylight forming
underneath to form drip
small gutter to catch condensation
Flashing gutter
37
125
750
50 50
Timber support 250
for flashing
25 700
98
Casing pieces cover joints 12 Bottom rail reduced in thickness to

between timber and plaster allow glass to carry straight across
Vertical planking fixed

to rafters projects 150mm
to 200mm above roof line
SKYLIGHT ELEVATION to keep the glass as free as
possible from snow
Moulding covers joint here
Roof boarding
Trimming rafters fixed

across cut ends of common
rafters to form opening in roof
Decorative finial
Common rafter
MUNTIN DETAIL SECTION

Putty
Glass
Muntin
Muntin
Glass oversails
bottom rail 25mm
Muntins only run lengthwise in
skylights, so that the glass is only
supported along its long edges
Vertical as well as roof

glazing maximises light
Skylights mounted on flat roofs could be

highly elaborate structures incorporating
multiple elements with hips and valleys Waterproofed upstand
and a variety of roof shapes including VICTORIAN SKYLIGHT
raises timber structure
domes and octagons with complex glazing OR ROOF LANTERN above worst of weather
WWC_15_60_WOODWORKING_GEOMETRY.JRABbd.indd 60 13/05/2016 12:50

061_WWC_015.indd 61 5/24/16 9:46 AM
POWER TOOLS
1/4 SHEET ORBITAL SANDER 250 WATT
SPKMP250 / L
Input Power: 250 Watt.
No Load Speed: 14,000/min.
Pad Size: 108 x 112 mm.
Sand Paper Size (punched): 145 x 114 mm.
Eccentricity: 1.5mm.
Supplied with: P80 sanding paper, dust bag,
dust extractor adaptor, and hole punch.
BELT SANDER WITH BAG 900 WATT

SPKMBS976 / L
Input Power: 900 Watt.
No Load Speed: 320/min.
Sanding Area: 76 x 130mm.
Belt Size: 76 x 533mm.
Comes complete with: plastic case, 1 sanding belt,
dust extraction adaptor and dust collection bag.
Available from Stockists Nationwide and A

Amazon
mazon
www.sparkypowertoolsbiz.com
062_WWC_015.indd 62 5/19/16 1:45 PM

Kit & Tools
READER GROUP TEST

Welcome to our Reader Group Test by members
PHOTOGRAPH COURTESY OF MARK MORROW

of our very own Woodworkers Institute Forum
e asked the testers a range
Sparky MP250 1⁄ 4 Sheet
W of questions, some of which
were graded, others needed
more articulated answers rather than
Pad Sander
This is one of the Sparky Professional
just scoring. We asked what was their range of powertools. It is a 1/4 sheet
experience using the products and if sander with hook and loop attachment,
they had any problems using them. as well as clamping to hold standard
sheets. It is supplied with a dustbag and
Mark Morrow: I was very surprised will connect to a vacuum extractor. It
with the finish I got, it showed the has a live tool indicator, 250 watts input
sander had a lot of power. There were power and an orbit diameter of 1.5mm.
no problems apart from where the
on/ off switch was placed, I couldn’t get Price: £63.50 (RRP)
used to it, as it is different to my other Contact: Tool Station
palm sander. I would recommend it Web: www.toolstation.com
to anyone in the woodworking trade, Mark Morrow giving the Sparky MP250
a good buy for the money. Testers a test run on a small panel
Mark Morrow, B.J.Greatrix, John
B.J.Greatrix: I found the 80 grit a Gardner, David Handley, Marc Jones
bit too coarse for the work I do so
I finished with 180 grit paper held
in place with the clips. The tiny orbit remarkably effective on a range of dust extraction attached can
marks required a little hand sanding woods. I would strongly recommend be awkward, but that is the case
to remove. Vi bration and noise was using a vacuum for speedy removal, on all sanders. I would recommend
a bit more than my Bosch sander. it then becomes competitive with more the Sparky sander for small jobs and
The sheet perforating plate is a bit expensive sanders. The switch was small DIY tasks. Best to leave the
stumpy, not producing clean holes. a little stiff and difficult to operate. tabletops to my eccentric sanders
The dust bag, while collecting quite The hole punch for creating new with variable speed. At £ 37 it is good
a lot of dust, did appear to be a bit sheets was only adequate, a much value and if you have hook-and-loop,
too coarse to collect it all. The adapter sharper cutter would have saved good quality abrasives it will serve
needed a secondary piece of tubing having to round out the holes with you well.
to connect to my vacuum hose and a craft knife. There was some sharp
consequently kept falling off in use. plastic around the grip, which made it Marc Jones: I got very good results
For those on a tight budget I would a little uncomfortable for long periods, quickly cleaning up a rough piece of
recommend it. It worked well within I removed it with a craft knife. pine, I tried a few different grits and
expectations and despite a few results were great and as expected for
shortcomings that can generally be David Handley: I currently own each grit type. I’ve never used a Sparky
worked around, it performed well. Bosch Professional sanders. I found product before but would be open to
the 80 grit sheet supplied with the using them in the future. It is excellent
John Gardner: I currently own several Sparky was very aggressive and value for money. ■
Festool sanders, so I am comparing produced acceptable results quickly.
with those. The supplied 80 grit was It was comfortable to use, keeping my How our testers rated
the product
Editor’s comment: How would you rate the product
It was noticeable that several of our testers already owned a bevy of professional performance? 8.4/10
grade sanders and yet were quite kindly disposed towards this Sparky offering
How would you rate the product
which despite some misgivings about attaching extraction performed extremely
well. One tester commented on the non-standard sheet size but a four-fold standard ease of use? 8.6/10
should cut to fit if you can’t source the hook-and-loop equivalent. Overall a well How would you rate the product
received machine for a variety of sanding tasks. overall? 8.6/10
If you would like to be part of our panel of product testers, please go to our website
www.woodworkersinsitute.com – and SIGN UP NOW!
WWC_15_63_GROUP_TEST_SPARKY_SANDER_bdAB.JR.indd 63 13/05/2016 12:53

Community
This shelter is based on a
Woodland ways photograph taken in the

1930s, found in a book
entitled Country Notes by
Vita Sackville-West
A woodsman’s shelter
(another tale from 40 Acre Wood)
Gary Marshall shows us how to make a
traditional temporary woodsman’s working
shelter – ‘a rustic bodger’s lash-up’ in his words
n 40 Acre Wood in December, we in the ground to mark the corners.
1
I dismantled a dilapidated rough

pole and tarpaulin shelter. I showed
Robin and Diana a photograph of a
Two of the holes on one side were
moved inwards to allow for the square
becoming a ‘fat’ rectangle due to the
coppice worker’s open sided shelter, ridge height.
found in a first edition of Country Notes
by Vita Sackville-West. We thought this
would make an ideal replacement. So
the project is our attempt to construct
3 Four straight (as possible) upright
poles, with strategically placed
branch forks were selected, cut and
our own authentic woodland worker’s walked to the site. Then any surplus
temporary shelter – based on a lengths were cut off the basal (base)
traditional Kentish design, using only ends, so they’d all end up the
basic materials and tools to hand. same length.
2
The trickiest bit was finding straight
growing poles with forks in the right
places to fell. The wood’s full of poles
and they all look right until you
4 Holes were dug about 75cm deep.
The corner poles were inserted and
firmly earth rammed in to secure them.
need them!
1 The site was selected. It was flat,

clear and near to the area we’ll be
5 Yes, we did roughly check the
vertical (bearing in mind natural
aberrations in the branches). The forks
working next. were aligned to take horizontals.
2 We laid out a tarpaulin, ours was

square. Small pilot holes were made 6 Two ‘goalposts’ were made,
inserting specially selected and cut 3
WWC_15_64_65_WOODLAND_WAYS_GM_bdABGM.JR.indd 64 19/05/2016 11:31

Community
PHOTOGRAPHS BY GARY MARSHALL

4 5 6
horizontals. Note, Robin’s device (just
a forked offcut) to aid handling beyond
our reach.
7 Another horizontal was positioned

across the two goalposts, in the
middle, as the ridgepole. All posts and
poles were then lashed together, using
natural twine.
8 The tarpaulin was positioned across

the ridge. 7 8
9 The tarpaulin was ‘laced’ to two

more horizontals that we lashed
into a suitable position on the ‘non-
goalpost’ sides. Pre-made lacing holes
would have been good, we had to
make ours using an old round file
heated in the fire and melted through
the tarp!
10 We had a cup of tea and some

excellent lamb stew! Note that
we added some diagonal bracing and 9 10
guy ropes attached to nearby trunks
for extra support.
11 The final photo (complete

with shave horse and chopping
blocks ready for working) shows just
how unobtrusively the shelter sits
in woodland, we purposely used a
well-weathered tarp. No fixtures were
used other than rope and twine and
measuring was done by eye. If it was
good enough 80+ years ago, it’s good
enough for us today! ■
Gary Marshall
Gary has had a life-long
interest in woodlands
and the countryside. He
trained in countryside management
gement
and subsequently ran a company
working with the local County
Councils and Unitary Authority and
their Countryside and Rights of Way
Teams, as well as a wide range of
conservation organisations. Next month... Gary Marshall makes a ‘log’ stove
11
WWC_15_64_65_WOODLAND_WAYS_GM_bdABGM.JR.indd 65 23/05/2016 15:22

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066_WWC_015.indd 66 5/9/16 3:07 PM

QUICK MAKE
Power woodworking
Castle
doorstop
‘An Englishman’sa home
an’s
is his castle’ – or at
least the
doorstop is… …
PHOTOGRAPHS BY AMBER BAILEY

1 Choose a selection of different
woods, in a variety of thicknesses,
to build up a solid block. Take into
consideration the order to look
aesthetically pleasing. The wood must
be prepared so the surfaces are flat and
will meet tightly. Cut all pieces to a
1 2
uniform size of 200 x 70mm, then glue
and clamp together using PVA glue.
2 Clean up the solid wooden block to

remove any excess glue and smooth
the sides on a disk sander. Draw, cut
out and overlay a paper template of the
castle onto one side and draw around
it with a pencil to mark where to cut.
3 4
3 The majority of the design can be
cut out on a bandsaw. A fretsaw
is suitable to get into tight angles but
consider the thickness of the block,
which will be tough to cut. Chisels are
perhaps the most preferable tools for
carving out the turrets.
4 Sand all details with abrasive paper

for a smooth and clean look. Most
importantly, smooth the outside edges
so there are no dangerous sharp edges.
5 6
Work first with a coarse abrasive paper
and then finish off with a fine grade. Once dry, do the other side so the
Abrasive paper wrapped around a exact same image may be viewed from Amber Bailey
block will help keep the shape neat. both sides. Amber is a skilled
marquetarian and
surface design artist
5 Tape a paper template onto the
doorstop to use as a stencil for
painting in the windows. With a natural
6 There is a high chance that over
time it will become scuffed by feet
walking past, so it is better to use a
who graduated from
Bucks New Uni in
2014. She is now based iin P
Paris
i att th
the
fibre brush paint over the window tough finish that won’t chip off easily. École Boulle, where she will complete
spaces with gouache paint. It is applied My doorstop was finished in Osmo her studies in the art of marquetry and
in the same manner as standard Oil that could be easily applied with a Boulle metalwork, continuing with
watercolour paints, however it is more brush, then rubbed into the grain with this traditional decorative skill.
transparent, so the wood grain will a cloth. Several coats may be required Web: www.abmarquetry.com
still be visible through the colour. to produce a desirable appearance. ■
WWC_15_67_DOORSTOP_AJB_bdAB.JR.indd 67 13/05/2016 12:56

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084_WWC_015.indd 84 5/9/16 3:08 PM

Hand woodworking

The door was in
a chronic state
of disrepair
DIY
Door repair 3
Dried out and rattled? Not the Editor, just a
very dodgy door in need of some TLC…
ur local church has its own out and cracked in pieces. Levering was
O community building nearby,

which everyone uses but
it doesn’t always get the care and
done at the blade edge so no serious
pressure was put on the wired glass.
attention it deserves. The doors and

windows are a case in point as they 2 The glass stayed resolutely fixed
because it transpired there was
show what happens if you don’t look some mastic around parts of the frame. 4
after external woodwork for many I had help to keep the glass in place
years. I offered to sort it out before
the weather degraded it any further.
You can apply a similar solution to
while I removed the mastic so there
were no accidents. 4 Still the glass wouldn’t come free so
some careful digging with a chisel
to remove buried putty eventually
domestic windows and doors.
3 The glass still wouldn’t come
out because there were pins still
released the glass. Note the ‘shelling’
along the edge of the glass from when
1 The first job was to carefully lever

out the weakened mouldings, which
wasn’t difficult as the putty was dried
present from holding the mouldings in
place. The frame was checked to make
sure they were all gone.
the wired glass was first cut. Normal
glass shouldn’t have this defect as cut
lines are very clean.
WWC_15_69_71_WINDOW_REPAIR_bdAB.JR.indd 69 13/05/2016 14:00

Hand woodworking
5 This is a two-person removal task

(but someone had to take the
photo!). The glass had to be lifted
out at the bottom because of the
overhanging door closer at the top.
This is when rubberised gloves are
particularly useful.
6 A lot of chiselling with a flat, wide

blade was necessary to clean out
all tough adhered putties and then the
chisel was used in a scraper fashion
to ensure all the rebates were clear of
lumps and bumps.
5 6
7 There was a lot of putty stuck to the

glass which had to be chiselled by
digging away at it. The glass needs to
be supported near the chisel because,
although glass will flex a bit, it is liable
to break if care isn’t taken. The wired
edges were also dangerous too, due to
exposed wire, which can scratch and
tear skin.
8 Originally the glazing rebates hadn’t

been sealed, relying just on the now
failed putty to keep moisture out. Thus
I made sure all rebates had a coat of
the intended Sadolin exterior finish.
7 8
9 The Sadolin needed to dry before

using the chosen seal, in case I
decided to go over to exterior grade
silicone mastic for a flexible longlasting
job. Oil finishes and silicone don’t mix,
so I temporarily remounted the glass
until the rebates were dry.
10 Before reglazing permanently

I used ‘0000’ wirewool to
clean off all marks so there would be
uninterrupted mastic lines. I learnt this
useful glass cleaning trick at a furniture
factory in Hertfordshire, when in my
late teens as a humble photographic
assistant, in another career! 9 10
11 Although I could have used a

fine tooth handsaw and a mitre
box to cut the bevel moulding, I opted
instead for this unbelievably good
device, a Trend Mitre Shear.
Not cheap but once bought it is the
perfect way to cut small sections easily
without tearing.
12 The result is nice neat mitre

junctions but – a word of
warning – an ex-colleague used to refer
to ‘mitre blindness’, the inability to cut
mitres in the correct angle or plane. So
extra material is always needed because
of this simple commonly made error.
11 12

Hand woodworking
13 Now for the silicone mastic,

a good thick bed of it all round
but I applied extra along the bottom
rebates to ensure there was plenty
of watersealing where it was needed
the most.
14 The glass was carefully, but

firmly pressed into place all
around so it bedded in properly.
Where it was too close to one side, the
blade of a chisel was used in the rebate
to push the glass sideways a fraction.
13 14
15 I decided that copper hardboard
pins were the best way to fix the
mouldings in place. They are not all
copper because they have a thin steel
pin core, evident when you strike
a pin and resulting in a chrome-like
shine on the head. The pliers hold
and guide the pin firmly, so no fingers
need be involved.
16 The next day, the silicone

squeeze -out was trimmed off
flush with a utility knife. Along the
bottom edges the gap was larger due to
weathering over many years, so another
run of mastic would be needed.
15 16
17 A sharp chisel without burrs
was used to clean off the pre-
trimmed mastic. This came away easily
and the glass could be cleaned with
‘0000’ wirewool if necessary.
18 A sponge filled abrasive block

was used to rub back all the
uneven surfaces on the door, including
the glazin g ‘reveals’ as the chisel edge
of the foam block gave good contact
without scratching the glass.
19 The bottom of each window

required a bit more silicone
which I smoothed off with a putty 17 18
knife. It had to be scraped off the
woodwork carefully as it wasn’t over-
paintable mastic.
20 I chose not to fill over the

copper pins but start the
painting on the mouldings before
tackling the larger flat surfaces.
While I was at it I gave the cill a coat
as well. A second coat all over followed
because the colour needed to be
darker and obscure the remnants
of the old, worn out finish. So, that’s
another job done – what’s up next! ■
19 20

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073_WWC_015.indd 73 5/11/16 11:51 AM
Kit & Tools
Sideways
sanding is
a cinch
Four-position
orbital sander
PHOTOGRAPHS BY JAMES DUXBURY
holder
James Duxbury has a gripping idea face so you can see exactly what is
happening. Adding to this, sanding
for easy component sanding ease is the ability of the holder to be
quickly and easily indexed to any of
he sanding of small wooden it vibrates your hand until it is almost four positions putting the sanding
T objects can be very difficult and

time consuming. Not fun at
all. This is especially true if the pieces
numb, you cannot see exactly where
you are sanding so precision is lost,
and bumping the sander into your
surface upward, downward, left or
right. It even makes changing the
abrasive easier, allowing you to hold
are of an irregular shape which is not fingertips enough times can lead to the paper in both hands.
able to be clamped and if there are thin skin or even an open wound.
multiple sides of many pieces to be So, I designed a holder that will Making the holder
done. Holding the piece in one hand support a random orbital sander. For this holder I used a 127mm
and the sander in the other works for a With the sander mounted securely, random orbital sander because it has
short period of time, but for continual the piece being sanded can be held a round motor housing that is easily
use the sander gets heavy to hold, with both hands, right in front of your clamped into a yoke.
WWC_15_74_76_SANDER_ADAPTATION_JD_bdABJD.JR.indd 74 19/05/2016 11:34

Kit & Tools
Optional dowels to
Ease edges of 15mm hole for band clamp strengthen joint
25
5 188
Ø6 71
80
R10
25
40 12 12
25 100 40 23
PIECE 4 PIECE 3
Scale 1 to 4 Scale 1 to 4
Adjust diameter and height
here to suit individual sander
Wood
Ash (Fraxinus excelsior)
83 9
98 89 PIECE 2
Scale 1 to 4
PIECE
CE 1 14 217
7 25 100 40 23
R35
Scale 1 tto 4
R35
12 12
70 40
R22 17
40 405 R10
14
15
10
270 Ø6
30
Ø15 15 13
71
40 14 10
13 15 15 26
I am sure there are many other suitable

sanders, but with a little ingenuity
almost any sander can be adapted to fit
into a similar yoke design.
Besides the random orbital sander
the materials are easy to find and not
very expensive. Start with a piece of
timber, ash in this case, but almost
any hardwood is suitable, 38 x 140
x 922mm. An adjustable band clamp
to fit your sander, a 6mm diameter
carriage bolt 90mm long, with a
washer and locking handle or wing nut I had two sanders to choose from
completes the material required.
Mark out all four pieces on the
timber. Number each piece with chalk,
one to four. These pieces can easily be
cut out on a bandsaw or even by hand.
Start with the yoke – pieces one
and two, check the diameter of your
sander. If it is different to the 70mm
diameter of my sander, replace the
35mm radius dimension and redraw
The materials needed were very simple All the components were drawn
this arc. It is best to drill the 15mm out carefully
hole first while the piece is at its largest
and easiest to hold.
When that is done, take a small chisel
and pare out a radius in both ends of
the hole for the band clamp. Next hold
the piece on one side and bandsaw
out the 15 x 16mm slots in the end
and cut the rest of the yoke. Locate
and drill the 6mm hole first. Now
we cut out the two 12mm deep slots.
This is done on a table saw by making Then they were cut out and The yoke assembly was made to suit
a series of cuts. machining done one of my sanders

Kit & Tools
It could also be done with a dado

blade, a router, the bandsaw or even
be hand cut with a sharp chisel and
mallet. The remainder of the piece is
bandsawn out.
Pieces three and four are made
together. Locate and drill the 6mm
hole, then cut two 12mm deep slots,
one 40mm wide and one 25mm to
receive piece four. Cut out piece four The stand has the notch out at one end Clamping keeps the holder at the
and glue it into the slot. Two small correct posiধon
dowels can be added if desired. Pieces
two, three and four should fit together
before piece one is easily slid into the
assembly. Make all final adjustments,
sand smooth and finish with a hard
finish. When the finish is completely
dry add the bolt and band clamp. Then
install the yoke and clamp it in place
with the locking handle threaded onto
the bolt. All that is left now is to open
the band clamp and mount the sander The test fit looked as if it would Assembly ধme for the basic components
and the holder is complete. ■ work okay
Everything fiħed
together and ready
to use
All the finished parts ađer shaping to take the hardware
Using a sander in the holder

Mount the holder in a vice. Note: with the vice open slip the lower notch in the
bottom of piece two over the vice screw, or a guide rod, and tighten the jaws firmly
for good clamping. Plug in the sander and try all of the four positions. For large
sanding jobs the dust bag can be removed and the sander connected with a flexible Jubilee bands have plenty of uses, like
hose to a shop dust collector system. A shop vacuum of some sort will also work well. holding my sander
This removes heat and dust, making it sand faster while extending the life of the
abrasive paper. Last but not least try changing the sand paper. Use both hands. Jim Duxbury
What a breeze. It has never been so easy. Artisan, woodturner
and inventor with over
50 years of experience,
Jim thinks and creates
‘out of the box’. His
turnings are unique and he seldom
turns the same thing twice.
A member of the American
Association of Woodturners, Jim
creates wooden items of beauty that
are designed to function well. His
kaleidoscopes are custom designed
and the recipient of numerous awards.
The underneath sanding posiধon On top sanding made very easy Web: www.duxterity.com/ec

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077_WWC_015.indd 77 5/12/16 4:17 PM

Community
ANTHONY BAILEY
Ask the Experts Editor,

Woodworking
Crafts Magazine
MARK BAKER
This is your chance to challenge our Editors and Group Editor,
GMC woodworking
for them to answer your comments and queries magazines
★
SAFE VOLTAGE?
STAR
“ I have several vintage
powertools and small machines
which I acquired when my
grandfather, a keen woodworker,
Q
r,
U ESTION
died. They all seem to be plated as 240

volts, but I think UK voltage is now 220
volts? Is it a problem running these tools
once I change over to modern plugs? I
don’t have any electrical knowledge so
any help would be useful.
Gerry Caswell
”
Anthony replies: In fact, you have
posed much more serious concerns Complete disassembly
by asking one question. Firstly, the and heavy cleaning
modern supply standard is nominally may be in order
230 volts so there isn’t much drop in
supply for older appliances. The area In issue 10, Bob Adsett showed us
of most concern is whether these tools how to rebuild a vintage sawtable to
are electrically safe. Some may not have modern standards – but then, he is an
double insulation protection or worst expert. You need to get both a machine
of all, current leaking to earth, e.g. expert and a qualified electrician
through metal casings or other metal to check it all out for you. My final
parts. Frayed fabric cable coverings comment is to ask how many of them
that pre-date modern plastic flex do you realistically want to use? There
cable should be dealt with too. are plenty of modern well-made
Static machines may have inadequate powertools and machines available,
blade guarding and a lack of no-volt maybe some of the old kit should be A new motor and modern No Volt
release switches. in a museum instead? Release switch fitted to this sawtable
IT’S A SNAP! The Editor always carries a small

capable camera wherever he goes…
“ I want to take decent photographs of my work but they are often quite
disappointing when I look at them on my computer. They can look a bit blurry and
there are sometimes shadows or burnt out areas without grain showing, or the
colour looks a bit nasty.
Harrington Hughes
”
Anthony replies: I’ve looked at
several of the images you supplied
of fluorescent and light bulbs plus a
bit of daylight, all giving off different
and it appears to be quite an elderly colours of light. Thankfully, digital can
digital camera model. There are manage this problem to a degree but Lastly, shoot against a tidy
plenty of new and much more capable the pop-up flash will help ‘clean up’ background or preferably a roll of
cameras on the market. I use several the foreground subject. Aim the focus white or grey photographic paper for
newish small cameras which give point on the most important part of finished shots, not blue which many
excellent results. Avoid camera shake the subject, part depress the shutter people use, but actually looks rather
by pressing the shutter slowly. You to lock focus and then recompose the unpleasant and not suitable if you
need reasonable lighting. Workshops image so it is centred on the screen ever think of submitting photos to the
usually have an unpleasant mixture before shooting. magazine for publication!
WWC_15_78_79_Q_&_A_bdAB.JR.indd 78 19/05/2016 11:35

REMOVING CHUCK MARKS
piece, but if you have not, locate the
“ I am having trouble when it comes to knowing the best and cheapest method
to remove the chuck marks or decorate the bottoms of turned work. I have looked
at vacuum chucks and Longworth-style chucks, but some of the shapes I turn do not
make these viable options and also, neither of these options are low cost. What would
centre of the spigot or recess and bring
up the tailstock revolving centre. I
typically use a revolving ring centre to
spread the load, but gentle pressure
you recommend or what do you use for your turnings? from a pointed revolving centre will
Philip Jones
Mark replies: Philip, thank you for

your question. This is one that I too
”
Typically this involves holding a waste
piece of wood in your chuck and
work too. Don’t drive the point too far
into the work or you will always have
a mark, or worse still, punch through
thin walled items. Once secure, you
have pondered and have spent a lot of turning it to a shape that will properly can turn away the waste wood leaving
money on potential solutions to the sit against or into your work. Cover this a small nub around and under the
turning of the underside of work, once with paper kitchen towel or non-slip revolving centre. Once done, decorate
the main turning has been done. router map and bring up the work to this lower area, then sand and apply
Everything I bought worked in sit against the shaped wooden block, your finish as required, remove the
certain situations and not others, but which is called a wooden friction drive. piece from the lathe and carve off the
the simplest and cheapest solution is I always mark the centre of the small remaining nub, and sand and
to mount the work between centres. underside of work when turning a finish the small areas that are left.
Bring up the tailstock revolving centre to Place the work against the covered Turning away the majority of the waste
support the work friction drive wood and cleaning up the base
TOOTH FORM
“ I bought a reasonably priced sawtable 18 months ago, which came with

a 24 tooth blade that seems worn now, the teeth are covered in burnt deposits
and it has never cut smoothly. What should I be choosing as a replacement or can
I get it sharpened?
Lucy Morris
”
Anthony replies: Machine manufacturers often supply a basic rip blade like
yours. Blades, as I expect you are aware, come in various types. It would help
A rip blade is fine for fast cutting in
deeper stock
to know what you generally expect to cut but here is a rough guide to choice
assuming a 254mm blade diameter. A rip blade has about 24 teeth and deep
gullets between the teeth to cope with the sawdust. A crosscut or general duty
blade will have 48 teeth and smaller gullets, it will give you a cleaner finish off the
blade. The more teeth there are, the costlier a blade but an 80 tooth ultra fine cut
blade will give a nice finish and minimal breakout on manmade board.
It is unsuitable for deep ripping though. I generally recommend two blades,
one for ripping and one for crosscutting, the ultra fine tooth type being a more
specialist requirement.
A last point is don’t buy a cheap blade. A reputable brand will perform much A finer tooth general purpose blade
better and justify the cost of sending to a saw doctor when it does get blunt. gives a better finish
★
If you have anything to say, write to:
STAR T Tool Marketing Company, or TOMACO, as it is known, who sell a
The
The Editor, Woodworking Crafts, 86 High
N
QUESTIO
variety
v of tool brands, including COLT, Sharp Edge and Narex Tools, are
Street, Lewes, East Sussex BN7 1XN.
E pleased to be sponsoring the ‘Ask the experts’ section in collaboration
PRIZ with
w GMC Publications.
Alternatively, email: anthonyb@
thegmcgroup.com
Each issue’s ‘Star Question Prize’ will receive a Narex six-piece chisel set By submitting your questions and photos, you agree that GMC
worth
wort £79.95 and all other published questions will Publications may publish your Work in our magazines, websites,
electronic or any other mediums known now or invented in the
receive a 20mm half-round fine cut Narex rasp worth £20.95. future. In addition GMC may sell or distribute the Work, on its
For more information see www.tomaco.co.uk own, or with other related material. This material must not have
been submitted for publication elsewhere
WWC_15_78_79_Q_&_A_bdAB.JR.indd 79 13/05/2016 14:02

Hand woodworking

Small space woodworking
Bread slice
and keeper
Oh crumbs! The Editor nearly ‘did his crust’ 1
when we told hi=m to ‘use his loaf’ and earn
some daily bread, it is grist to the mill after all…
t home I make all our bread the traditional way. It tastes, smells and feels
A far better than a supermarket loaf. The problem arises when trying to cut
even slices, without it crumbling. First you need a proper bread knife
with coarse teeth, then you need to hold the bread in a way that keeps it firmly
together. Here is my simple-to-use solution.
BREAD SLICE because they guide the knife. Each slot 2

1 The slice needs to be a good
fit around the siz e of loaf you
normally bake. It can be as long as a
stops short of the bottom so the pieces
stay together.
loaf or slightly shorter, it isn’t critical

and a bit higher than the risen, baked
loaf. In this case, I made the internal
3 Pre-drill small diameter holes to
take slim twinfast screws, which
will hold the U-shape box together.
dimensions 200 x 140 x 110mm. Make sure the holes are centred in the
ply so the screws won’t break out.
2 Cut out the base and the sides

from 9–12mm thick birch ply. Cut
matching slots towards one end of 4 Apply PV A glue along the base
edges in turn and screw the
each side. The slots need to be narrow respective sides in place. The slots 3
WWC_15_80_81_SMALL_SPACE_WOODWORKING_AB_bdABJR.indd 80 19/05/2016 11:37

Hand woodworking
should line up so the bread knife can structure. Check that it fits nicely over
move freely but stay on course. Use a the bread slice once the surplus glue
damp cloth to remove excess glue. has been wiped away.
5 The base needs a piece of non-

slip self-adhesive rubber to hold it
firmly on the kitchen worktop or table.
9 It needs a handle rather than a
knob. A pine one is in keeping with
the natural look of it. Mark the centre
Trend Machinery sell the very thing for and measure the positions for the
this, enough for two bread slices in fact. screw fixings before drilling the holes.
6 Once dry, try a fresh-made loaf to

see that it sits nicely in the U-shape.
Now try cutting a slice of bread,
10 Sand any marks away and
generally sand all the surfaces
and edges to make it pleasant to the
The Editor’s harvest loaf
To make 2 x 500 gram loaves
this simple device is amaz ing, you’ll touch. It does not require any kind
wonder how you managed beforehand! of finishing especially as the slice • 1000g fl our – 500g of granary-type
Use a sawing action, don’t force the is in contact with a food substance fl our and 500g of strong white fl our
blade downwards. i.e. bread. Y ou can now impress • 2 tablespoons dried yeast granules
friends and family alike, with your • 2 tablespoons cooking oil
BREAD KEEPER breadmaking and slicing skills! ■ • 3 teaspoons table salt
7 Measure and cut out more ply to

make a lift-off cover that is slightly
wider and higher than the bread slice.
• 2 teaspoons granulated sugar
• 750ml warm water
It should be a bit longer to account for 1. Pour the sugar in 300ml warm
loaf length and avoid having to jiggle water (not hot, as it ‘kills’ yeast
the cover to take it on and off. activity) and stir until dissolved.
Add the yeast and whisk until frothy.
8 This time you can use panel

pins when gluing the pieces
together, as it is such a rigid box
Leave in a warm place to rise to a soft-
foam ‘head’ – 15–20mins.
Add the remaining 350ml of warm
4
water and re-whisk the mixture.
2. Put the fl our combination in a very

large mixing bowl, add the oil and the
salt and fermented yeast mixture.
Stir using a wooden spoon until
combined then with clean hands,
mix thoroughly by hand to create
adough ball. Then pick the dough
off your hands!
5 6 3. Put the bowl in a warm place for

one hour, covered with a tea towel.
Remove the dough from the bowl,
place it on a lightly fl oured surface
and knead thoroughly.
4. Cut in two equal pieces, place in

very lightly oiled bread baking tins.
Put in a warm place and cover with a
tea towel until the dough rises above
tin level.
7 8
5. Place in an oven preheated to
220°C or gas mark equivalent. Leave
for 25–30mins before taking out using
oven gloves as they will be extremely
hot, remove from the tins and place
on a wire grid for at least an hour as
cooking will continue until cool.
6. Now place in your new bread slice,

cut and proceed to savour the taste of
your very own fresh bread!
9 10
WWC_15_80_81_SMALL_SPACE_WOODWORKING_AB_bdABJR.indd 81 19/05/2016 11:37

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WWC_Classifieds.indd 87 5/19/16 10:15 AM

Community
Coming next month in ISSUE 16

ON SALE
7 JULY
Feature:
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■ Windsor chair repairs
■ Hanging Shaker shelf

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PLUS: Rout
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OBC_WWC_015.indd 1 5/9/16 3:09 PM

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Issue 15 July 2016

HAND, POWER & GREEN WOODWORKING TURNING RESTORATION DIY

RECYCLED BOX CHAIR RESTORATION ROUTING SOLUTIONS

WOODWORKING CRAFTS 15 COVER 1.indd 1 03/06/2016 16:46

WWC_15_2_3_CONTENTS_&_LEADER.JRABbd.indd 2 13/05/2016 11:53

H Woodworking Crafts. True to our belief in thrift, in

30 Surely better an NVQ Level 3 or 4 if it gets you a skilled

Anthony Bailey, Editor

Woodworking Crafts issue 15 3

WWC_15_2_3_CONTENTS_&_LEADER.JRABbd.indd 3 13/05/2016 11:54

Rocker in the Shaker

PHOTOGRAPH COURTESY OF SHUTTERSTOCK.COM

Above: Old chair at Mission San

Woodworking Crafts issue 15 5

WWC_15_5_INSPIRATION_BD.JR.indd 5 13/05/2016 12:17

T back to the 15th century, re-emerged in

Germans were members

PHOTOGRAPHS COURTESY OF WIKIPEDIA COMMONS

WWC_15_6_10_MORAVIAN_CHAIR_MTC_bdABMTC.JR.indd 6 13/05/2016 12:18

25 Seat bevelled at bottom

Legs chamfered all

h ur c h 4 Drill two 25mm holes at the end

Woodworking Crafts issue 15 7

WWC_15_6_10_MORAVIAN_CHAIR_MTC_bdABMTC.JR.indd 7 19/05/2016 11:16

5 If you consistently use the same

The dovetail jig

7 Once the angled cuts have been

8 Clean up the socket with either

11 Check the fit and fine tune,

The leg mortises

WWC_15_6_10_MORAVIAN_CHAIR_MTC_bdABMTC.JR.indd 8 19/05/2016 11:16

Leg splay angles

13 Before going any further, plane

15 With a pencil, and using your

16 With a jointer plane or

18 Then, from the end carefully

19 Test fit all the legs. I use a 25mm

20 Continue paring away the waste,

Woodworking Crafts issue 15 9

WWC_15_6_10_MORAVIAN_CHAIR_MTC_bdABMTC.JR.indd 9 19/05/2016 11:16

21 The back is made from a piece

22 Saw out the design using a bow

23 Use a spokeshave and rasp to

The back rest mortises

25 Chop out the waste in between,

Back to the legs

WWC_15_6_10_MORAVIAN_CHAIR_MTC_bdABMTC.JR.indd 10 20/05/2016 15:06

Drilling Tools made to the

Call us Learn more

WE ARE EASY TO FIND:

011_WWC_015.indd 11 5/12/16 4:09 PM

Norfolk Saw Services, Dog Lane, Horsford, Norwich NR10 3DH

012_WWC_015.indd 12 5/12/16 4:08 PM

Both halving joints

The legs were set up on the rod

The bandsawn legs

Insight were leđ to seħle

Making a console table

T making a bespoke piece of