WOODWORKING

CRAFTS Hand, Power & Green Woodworking • Turning • Restoration • DIY

Coffee table restoration Six-board chest Green wood garden gate Bird carving
Turned toys Hallway storage bench Unicorn bookends Butler’s tray Routing
Issue 76

WELCOME
After the blazing heatwave that descended upon us in the summer
we are now looking forward to the beauty and colours of autumn.
The weather has cooled down, making our workshops bearable to be
immensely satisfying and is a great pastime for calming the nerves.
Finally, for the home, we show you how to make a jogger’s bench
to keep all your stinky running shoes in one place – once it is being
in again, and now is the time to get out there and embark on some used you may want it to live in the garage. Next, we have a project
new projects. You may need to get things in the shop working smoothly for outside the home on how to make a lovely bench, and what is
again, and if you followed advice and maintained your tools it should more we tell you the benefits of enjoying relaxing on the seat once
be an easy matter of giving things a wipe and a dust down to be ready it is made.
for action. We feature another mindfulness article about sustainable homes
For the home, we have a nice selection of projects that will keep you with a house design that blends contemporary architecture with its
and your family happy; you when you make them and your family rural environment and provides a perfect home for an older couple
when they receive them. We start with restoring an heirloom oak coffee whose children have flown the nest.
table that transforms something that may have found its way into the Back in the workshop, we show you how to use a pocket hole jig,
skip into a thing of beauty that will grace any living room. and explain why you would want to use this type of joint when there
The router is used again to make the attractive and useful butler’s are so many other joints available. Routers, as we all know, are the
tray, then you need to break out the scrollsaw to make some bookends most versatile tool in the workshop and we take a look at how to
in the shape of the ever-popular unicorn. Still in the animal theme make them even more useful by mounting one in a router table and
you may want to make the Jamaican birds, to hone your carving skills the things that you can do with it.
and decorate a lonely corner in your home. Another carving project Happy autumnal woodworking!
is our article on how to make a chip-carved rosette. Chip carving is Alan Goodsell

1
 Contents
Issue 76
Woodworking Crafts magazine
(ISSN 1365-4292) is published every eight weeks
by Guild of Master Craftsman Publications Ltd,
86 High Street, Lewes, East Sussex BN7 1XN
T: +44 (0) 1273 477374

For article submissions and editorial enquiries:

E: WWCEditorial@thegmcgroup.com

Editorial Christine Boggis, Karen Scott, Jane Roe

E: karensc@thegmcgroup.com
T: 01273 477374
Designer Emily Hurlock
Advertising Guy Bullock
gmcadvertising@thegmcgroup.com
T: 01273 402855

Publisher Jonathan Grogan 1 Welcome 28 Chip-carved rosette

Production manager Jim Bulley
An introduction to the latest issue Wayne Barton carves this stylised
T: 01273 402810
Marketing Anne Guillot of WWC pattern onto a plate, an ideal project
Printer Poligrafijas grupa Mukusal, Latvia for chip carving beginners
Distribution Seymour Distribution Ltd
T: 020 7429 4000
4 Joggers’ bench
In training for a charity run, Mitch 34 Jamaican bird sculpture
Subscription enquiries: and Julie Peacock needed to air their Cedric Boyns carves an impressive
E: pubs@thegmcgroup.com
running shoes in an organised way, sculpture, inspired by his travels
To subscribe online go to: and the joggers’ bench was born
gmcsubscriptions.com 41 Subscriptions
Cover photograph:
10 Restoring an heirloom Find out about our latest offers
Charles Mak oak coffee table for subscribers
Charles Mak used his furniture-
Welcome page photograph:
Wayne Barton
making skills to restore an English 42 The journey to
table that was handmade in the 1950s wooden luxury
Caroline Kelly meets Chris Holland of
Views and comments expressed by individuals in the
magazine do not necessarily represent those of the
14 Six board chest Wooden Luxury Joinery, who is taking
publishers and no legal responsibility can be accepted Rick Rich uses vintage handtools on high-end creative projects and
for the results of the use by readers of information to build this storage box from combining traditional craftsmanship
or advice of whatever kind given in this publication,
cherry and pine with a progressive outlook
either in editorial or advertisements. No part of this
publication may be reproduced, stored in a retrieval
system or transmitted in any form or by any means 20 Falling out of love 48 Butler’s tray
without the prior permission of the Guild of Master
Craftsman Publications Ltd.
with yew Anthony Bailey uses his router to
© Guild of Master Craftsman Publications Ltd. 2022 Determined to make more use of make his version of a traditional
local timber, Kevin Alviti turns dining device
a storm-blown yew tree into a
garden gate

!
Woodworking is an inherently dangerous pursuit.
Readers should not attempt the procedures described
herein without seeking training and information on
the safe use of tools and machines, and all readers
should observe current safety legislation.

2
56 A house for 84 Take a seat 114 Restored to glory
the best years As woodworkers, we are often focused Aaron Moore shares his techniques
This sustainable home design blends on the construction process of making for a complete overhaul of a classic
contemporary architecture with its a bench. However, as Kelly Lewis eggbeater drill
rural environment and provides a explains, there are many benefits to
perfect home for an older couple spending time sitting on benches 120 The vintage toolbox
whose children have flown the nest Anthony Bailey looks at the Ohio
86 Router tables Tool Company’s 16in ‘transitional’
64 Turned toys Walter Hall discusses the jack plane
Colwin Way makes three fun benefits of the router’s most useful
projects, accompanied by his son workshop accessory

69 Puzzle page 90 Unicorn bookends

Alan Goodsell takes a workshop Fred and Julie Byrne use their scrollsaw
break and reflects on the benefits to make these magical bookends
of good organisation
97 Moulding profiles
70 Product news Anthony Bailey looks at different
Find out about the latest kit and types of panel edgings
tools for your workshop
98 Bi-fold window shutters
72 Reforesting Europe Matt Long builds bespoke shutters
We learn about the latest projects for these very tall and unusual sash
supported by the European Forest windows
Institute and His Royal Highness
The Prince of Wales 104 Arts & Crafts-style
bookcase – part 1
74 Pocket hole jig Antonio Medica and Valentina Panichi
Anthony Bailey explains the benefits use modern techniques and tools to
of using this jig for jointing make a classic piece of furniture

77 Dartboard cabinet
Got a dartboard in the shed? Why
not make a cabinet to house it in style

78 Splayed-leg bench
Peter Brett’s project combines a simple
Eastern European bench with his own If you would like to be featured in Woodworking Crafts
modern design interpretation to create please email wwceditorial@thegmcgroup.com
a stylish piece of furniture

3
 JOGGERS’ BENCH

In training for a charity run, Mitch and Julie Peacock needed to

air their running shoes in an organised way, and the joggers’ bench was born

Road and trail trainers were cluttering the floor, blocking the back Materials
door and generally looking a mess. My wife and I had just decided to 1 I had several short pieces of pine that were ideal to make the bench
enter the Royal Parks half-marathon, in order to raise money for the seat, two leftover lengths of half-inch dowel would support the shoes
specialist hospital I have attended for many years. With the run not and various pieces of random whitewood were perfect for what was to
happening until autumn, something had to be done to bring order to, be a painted base.
and look after, our running shoes. Having designed a successful boot
bench for a student several years ago, I was able to adapt the storage Preparation
space to the different footwear and set about picking out materials in 2 After the pine had been glued into a panel, it was trimmed to size
no time at all. and planed smooth. Rubber nosed F-clamps make wonderful planing
stops on a bench with limited, or no, dogholes.

4
1 2

5
 PHOTOGRAPHS BY MITCH PEACOCK
3 4

5 6

7 8

3 A panel gauge, together with Forstner bits, was used to mark out the 6 The joinery of the base is all mortise and tenon, and the mortises were
three slots in the bench seat. Careful ordering of the boards meant that all marked out using the same gauge setting.
the only knot lay within the central slot waste. 7 Whitewood has a tendency to crush and tear, so a sharp chisel is an
4 With the ends of the slots bored out with the drill, the main waste essential piece of kit. By chopping the mortises before cutting the
could be removed with a compass saw or jigsaw. Neither method ever tenons, rough mortise cheeks can be cleaned up if necessary, and
seems to give an accurate result for me, so I always leave the line... tenons prepared to the final thickness, ensuring good glue contact.
5 … finishing to a smooth and square edge with rasp, file and finally 8 There are 10 rails in all, and these were marked out along six lengths
sandpaper. The sharp corners were also sanded over to avoid splinters; of the dimensioned whitewood.
the last thing one wants when sitting down in shorts!

6
 9 10

11 12

13 14

9 Tenon shoulders and rail lengths were sawn at the bench hook. 13 Ideally, the painted components should be left for a week before being
The bottom rails are thicker than the rest, so care was taken when subject to clamping pressure. Clamping earlier risks damaging the
marking out and making the shoulder cuts. paint finish, but I was lucky and a soft paper interface probably helped.
10 Sawing the tenon cheeks. Setting a rail either side of the vice screw Fitting the four rails and six dowels all at the same time, before the
prevents the jaws racking and grips soundly with less pressure. glue started to go off, was quite a challenge, and an extra pair of hands
11 The end frames were assembled first, making sure they were clamped would have been useful.
square and flat. Notice I chamfered the feet, which would have been 14 Since the bench seat is likely to expand and contract more than the
more awkward to complete after gluing up. frame base, I prepared some hardwood buttons with which to attach it.
12 The end frames were bored for the dowels, and together with their
connecting rails were all primed and painted. The bench seat and
dowels were given three coats of melamine lacquer for protection.

7
 15 16

15 The buttons fit into slots cut in the top rails of the end frames, allowing Mitch and Julie are raising money for the St Mark’s Hospital
for movement of the seat and base relative to each other. Foundation. Find out more at https://www.justgiving.com/
fundraising/meadspeacocks
Ready to race
16 After the ease of building the bench, comes the pain of putting
in the mileage!

8
 RESTORING AN
HEIRLOOM OAK COFFEE TABLE
Charles Mak used his furniture-making skills to
restore an English table that was handmade in the 1950s

My long-time family friend and neighbour, Ian, brought a coffee table to Disassembly
me for repairs. The stylish table, handmade by his dad in England when In a typical furniture restoration job, the first step is to disassemble
a middle school boy, now belongs to one of Ian’s twin sons – lucky son the parts that need fixing. I, therefore, first unscrewed the top from the
and grandson! It suffered from two not uncommon problems seen in base, which is composed of the end aprons, stretchers and legs. As good
furniture pieces of such vintage that have travelled ‘across the pond’ practice dictates, before breaking the base apart, I kept track of the
to North America: a crack on the top and wobbly legs. mating parts with labels.
Repairing and making are not exactly the same woodworking Mallets, spreader clamps, wedges, pliers, putty knives and pry bars
activity, but some of their tools and techniques do overlap. American are some of the common disassembly tools. For this repair job, I mostly
antique furniture restorer Thomas Johnson has generously shared his needed a mallet. Only for a couple of stubborn spots did I have to resort
decades of knowledge and skills in the public domain, giving people to the use of a heat gun to loosen the joints. The heat gun was used at
like myself some understanding of what would otherwise be his trade the joint for about two minutes at a time.
secrets. Here, I describe how I restored the coffee table, using both my
own mistake-fixing experience as a woodworker and insights gained
from Johnson’s practice.

10
 PHOTOGRAPHS BY CHARLES MAK, UNLESS OTHERWISE STATED
2

3 4
1 The top of the table was cracked 2 The top was unscrewed from the base 3 Mating parts were labelled to make reassembly easier 4 Most of this repair
could be done using a mallet …

Fixing the top Fixing the loose legs

The crack on the top had formed because the top was The legs are attached to the aprons and stretchers with two types of joinery: the
apparently screwed to the base with no allowance for wood bridle joint, and the mortise and tenon joint. Over time, a couple of them yielded
movement in the screw holes. To fix the problem, I first to the racking force. Fixing them involved first removing the old glue from the
glued and clamped the top to remove the crack. Then, joints. The tools of choice for removing glue are the scraper and the sharp chisel.
to prevent the crack from emerging again, I elongated the A few of the mortises on the legs were found to have been cut slightly oversize,
screw holes on the end aprons to allow for the top to resulting in a loose fit. To repair them, I glued a veneer to the mortise wall, and
expand and contract. used a wedge to hold the veneer in place until the glue cured.

11
 5

7 6

8 9

10 11
5 …although a heat gun was needed to loosen the joints 6 The top was glued and clamped… 7 …and the screw holes on the aprons elongated to
prevent the crack from re-emerging 8 & 9 Glue was removed from the leg joints using a scraper and sharp chisel 10 A veneer was glued to the mortise
wall, which was held in place with a wedge while the glue dried 11 The mating parts were glued back together

12
 PHOTOGRAPH BY IAN CHURCHILL

12

13
12 The base was checked for square 13 Notches prevented the cauls
from shifting 14 Ian made a maker’s label to celebrate his dad’s work

Dry-fitting and assembly

After a quick dry-assembly, I proceeded to glue the mating parts
one by one, and assemble the table back to its original form.
As in the case of making a new table, I checked the base for square
by comparing its diagonals. To ensure the two ends were clamped
parallel to each other, I cut a pair of notched battens to the same
length as the long stretchers, and used the battens as clamping cauls
14
at the bottom of the legs. The notches kept the cauls from shifting
under clamping pressure.

Finishing touch
After attaching the top to the end aprons, I gave the whole piece a
wax polish treatment to bring out its former glory. Lastly, Ian proudly
produced and affixed a maker’s label to his dad’s table before returning
the heirloom piece to his son.
More than a year and a half has passed, and the lucky grandson has
reported that the table is holding up well (of course! – it is the work
of two craftsmen collaborating together some seven decades apart).
It has been an honour, and most satisfying for me to have worked
on this family heirloom. Through this oak table, Mr Paul Churchill,
the original maker, now 80 years old, has helped me appreciate how
enriching British school life could have been in his younger days.

13
 SIX BOARD CHEST
Rick Rich uses vintage handtools to build this storage box from cherry and pine

I wasn’t sure if I could actually make a decent six board chest using Making the chest
only handtools. I had not made anything with dados or rabbets before. 1 The hinges and handles were not vintage, but new stock from
I know the dado can be made with a saw, chisel and mallet, but that the DIY store. The hardware pictured is what was available off the
seemed a bit prone to disaster as I hadn’t ever done that either. My shelf. The chest hinges came pre-bent on one leaf, but when pulled
solution was to purchase two speciality tools for my kit to make the from the package, I saw they were bent at an obvious angle. A few
chest, which made it all the sweeter. minutes in the machinist vice with some hammering fixed them,
A vintage Stanley No. 39¾ to make the dados and a really but I really shouldn’t have to do that on new stuff.
old Stanley No. 78 for the rabbet cuts were soon delivered to my 2 This six board chest started with four 2.4m-long cherry boards.
doorstep. I could have ordered nice new tools from one of the very few Each of them were just over 230mm wide and came skip planed
manufacturers that still produce handtools, but I really like the look at 21mm thick. These were crosscut into 1.2m boards with my
and the feel of old iron and these were a quarter of the price. handsaw. Two pine boards, each 20mm thick, 235mm wide and
I found these tools through vintage woodworking handtool dealers 1.2m long were for the chest bottom piece. The width of the
online. I was very pleased with the fast delivery and the tools were boards dictated the width, height and depth of the chest. Had
exactly as advertised; old, required a little cleaning and then they were they only been 200mm or so wide, the chest would have been sized
ready to use. A quick honing of the blades and I found them entirely accordingly.
useful for the intended purpose. And I must give proper warning: 3 Since I was going to make this chest using only hand tools, the 22in
be wary of the siren song of old tools and the unreasonable desire to jointer plane was working its flattening magic. It got the edges true
acquire them for no real purpose other than to pick them up and and ready for gluing with little effort, but a lot of careful checking
look at them! with a small square. Once they were all cut, glued and readied for
assembly, there were six boards – two ends, a front, a back, a lid
and a bottom.

14
 1,015mm

22mm
LID

546mm

965mm

470mm

LID = 1,015mm length x 470mm width x 22mm thick

ENDS = 546mm length x 445mm width x 22mm thick
FRONT + BACK = 965mm length x 430mm width x 22mm thick
BOTTOM = Cut to fit, 965mm length x 460mm width x 20mm thick

YOU WILL NEED

570mm
Cherry:
• 4 x 2.4m boards, 235–240mm wide, 22mm thick
Pine:
• 2 x 1.2m boards, 235mm wide, 20mm thick
• Cut clout head nails, 20 x 50mm and 14 x 38mm
100mm • 6 x 32mm round head #8 brass screws
• Chest hardware and supplied screws

445mm 76mm

1 2 3

15
 PHOTOGRAPHS BY RICK RICH
4 5

6 7 8

6 The base of the chest end pieces was cut to an ogee-style design,
which I made using a pencil calliper. I started the cut-out with my
small coping saw and most aggressive blade, which at 15tpi is
hardly aggressive. After 15 minutes and 50mm into the cut, I was
off to the bandsaw. So much for only handtools! I cleaned up the
bandsaw marks using a chisel and spokeshave, all the while feeling
a little guilty about using the power tool. Perhaps a bowsaw is in
my future.
7 The dado on each of the end boards was easily cut with the
Stanley No. 39¾, designed for the purpose. Using a scrap for an
experimental dado before cutting into the actual project pieces, the
20mm pine board for the chest bottom fit perfectly into the dado.
9
To prevent spelching at the end of the cut, I used a small piece of
scrap clamped to the exit side. A piece of maple board was used
as a fence to guide the plane as it cut easily and cleanly through
4 I like to use a ‘spring joint’ where the middle is slightly concave so the cherry.
that only one clamp is necessary for glue-up. The ends only required 8 The No. 39¾ plane has a fairly small depth stop so the bottom of
a small clamp at the joins to keep them aligned and were able to be the dado was a bit rolling. It required some minor clean-up from my
taken off within 5 minutes or so. I waited a day to remove the big (very) old router plane to get it perfectly flat. My router plane has an
clamps just to make sure the glue reached full strength. 1884 patent number on it, which leads me to believe it is easily 120+
5 I then trued the boards with my jack and jointer planes. The jack years old. I have a new Lie-Nielsen router plane I bought a few years
has a slightly rounded blade and took off a lot of material quickly. ago, but inexplicably prefer this old one. If I continue to not use the
The jointer was set much finer and gave a nice final flatness to the new one, it may end up for sale!
boards. I made sure the ends were the identical size to each other as 9 I was very happy with the dado plane and router follow up. As you
were the front and back boards. The two boards not cut to final size can see in the photo, a piece of pine scrap fit neatly and showed the
at this point were the bottom piece and the lid. cut was square.

16
 10 11

12 13

10 The end pieces both have 12mm taken off what will be the back side
down to the bottom of the dado. I drew a line from the edge on both
sides and the top so I could see if I began to drift when cutting. I
cut both at the same time with my rip saw on the waste side of the
line. Clean-up of the saw marks was with a block plane and chisel,
checked frequently with a square.
11 The rabbets along the ends of the side pieces were cross grain and
22mm wide. Because they were cross grain I sharpened and set
the nicker on the rabbet plane for a clean sidewall cut. To remove
the chance of spelching the wood at the end of the rabbet cuts, I
clamped a piece of sacrificial scrap at the exit end. The bottom of
14
the side pieces received a 20mm rabbet, and because the cut went
along the grain, the nicker was reversed and not in use. If you have
not used a No. 78 plane, you are missing out. It’s enjoyable and cuts
amazingly fast with a sharp blade. 13 The bottom piece was crosscut to length and since there was about
12 Now I was able to put the box together by setting the end pieces in 10mm to be removed along the width, I decided to use the scrub
the front and back piece rabbets. I used handscrews to hold the end plane. The scrub plane does a nice fast job of taking off material
pieces up and keep them from falling while setting it together. Once with the grain and the jointer plane follows up to make it smooth
together, I lightly clamped the box to get the rabbet joints tight for and true. The bottom piece was then put into the box. I was pleased
measuring the bottom piece width and length. I used the pinch that it fit very well, even with the 3mm gap on each side for
board method, which is two pieces of thin long scrap, each being wood movement.
shorter than the total length or width and extending them side by 14 Taking the front and back pieces, I marked and pre-drilled the nail
side into the rabbet or dado being measured. Once they touch the points. I had decided on five 50mm nails per side into the end pieces
ends, I made a small mark on the top. Once removed, they can be and 32mm down from the edge for the top nail hole. I thought that
put back side by side and the mark lined up and the whole length would be plenty of distance from the top and didn’t want to chance
measured. I did it twice just to be sure. the nail splitting the wood on the top exposed end grain.

17
 15

18

16

17 19

15 The end grain on the left front split as I hammered the nail home. wany edge of the lid board in the front to display it. The non-wany
What a sinking feeling! Quickly, I firmly pressed glue into the crack half of the lid was planed smooth and set over the front of the chest
– as much as I could – and clamped it tight. I left it overnight to by 12mm.
dry. In the morning, I saw the crack was completely closed after the 18 From the lid material sawn off as excess, I cut into two battens for
clamps were removed. I breathed a sigh of relief. the sides of the lid. Their purpose is to keep the lid straight and
16 I finished nailing by putting smaller 38mm nails into the bottom flat. I decided on a bit of artistic design and used a ⅝ bit to create a
piece. A close examination of the box would have shown that while round transition between the ends and the middle as you can see in
I managed to seat each nail, I also managed a few glancing blows the photo. I cleaned up leftover saw marks and smoothed the sides
slightly marring the surrounding wood. Of course, these blemishes with a jack plane, chisel and spokeshave.
easily sanded out later. 19 The battens get three screws, one in the middle and two on each
17 With the box nailed together, I was able to get a measurement for side. I pre-drilled the holes in the battens the same size as the screw
the lid piece. There was about 38mm of excess on what would be the threads and the outside holes got widened with a round file on the
back side, so I used the rip saw to remove it. I ended up putting the underside. This allows the brass screws to move with the lid during
the seasons.

18
 20

22

21

20 The hinges went on neatly into the 6mm deep cut on the back
edge sized using the hinge. I did remember to dip the screw tips
23
into wax before screwing them in, which made the job much
easier, something I forgot to do with the battens.
21 Another lesson in attention to detail. If you look closely
at photo 1, you will notice the friction lid supports are both
labelled in small, yet bold print ‘Right side’. I admit not noticing
this in the store which is why I returned to the store after putting
just one lid support on. The following day I put the ‘Left side’ lid
support on. Another tip I’m glad I followed was ‘read the directions’.
I did and was glad for it as the installation went smoothly.
22 After installing the lid supports, I put the chest handles on.
The handles are a little on the light side for such a chest and I will
be looking for a slightly more robust set of handles in the future.
Overall, I am happy with the chest. Aside from the little slip up
with the bandsaw usage, I can report that it is not a difficult
project to make using handtools!
23 Here you can see the finished chest.

19
 FALLING OUT OF LOVE WITH YEW
Determined to make more use of local timber, Kevin Alviti
turns a storm-blown yew tree into a garden gate

For a long time now, I have wanted to start using more local timber. It seemed like too good of an opportunity to pass up. I called by the next
Luckily, there is quite a bit of sweet chestnut coppiced locally that I try day with some wedges and a sledgehammer. Sweet chestnut it was not,
to use whenever an outdoor project calls for it, however, I also wanted to but it did eventually cleave to reveal a beautiful contrast between the
use the resources growing around us. I strongly believe that we need to heartwood and the sapwood.
see firewood as a last resort for timber and I’ve started to look at each I wanted to make a gate. I read The Village Carpenter by Walter Rose
branch that falls here to see if there can be another use for it. Not saying annually; this book has become a sort of meditation for me now, the
that I don’t need lots of firewood – we have two wood burners to heat our words are so familiar. So many bits in that book interest me (I’d love
house – but I can always burn my mistakes... to build a wooden water pump) but this part about making a gate is
After the last ‘named’ storm my best mate rang me up and said that especially intriguing: ‘The making of a gate was considered a day’s work
they had a yew tree down and was there anything I could do with the for a qualified carpenter, and was expected to be completed in 10 hours,
timber, otherwise they’d log it up. On the kitchen table, as I spoke to which at that time constituted a day of labour. No one ever suggested it
him, was my tattered old copy of Woodland Crafts in Britain by H L could be done in less time.’ The gate described here, which would often
Edlin and it said in reference to yew: be made as part of winter work when things were quiet, was made from
‘It is very durable out of doors, and old tree trunks are still cleft or seasoned oak heartwood. I wanted to make mine straight from the log,
hewn into fence posts that are claimed, with good reason, to outlast iron.’ so I’d give myself no time constraints!

20
YOU WILL NEED
MATERIALS: • Sledgehammer or maul • 3mm drill bit
• 4 logs about 200mm in diameter • Froe • Drill
and about 1.5m long. Freshly • Draw knife • Marking gauge
felled a few months beforehand • Log dogs • Mortise gauge
and stored in the shade • String line • Carving tools
• Galvanised nails • Jack plane (optional, for adding the date)
• 4 x 125mm lengths of • Tablesaw (if you wimp out like EQUIPMENT HANDY TO HAVE:
12mm hardwood dowel I did and need it ripped down) • Raised chopping block
TOOLS: • Tenon saw • Low chopping block
• Side axe • 18mm chisel • Riving brake
• Hewing axe • Mallet • Shave horse
• Broad axe • 778 rebate plane • Saw horse
• Splitting wedges • 20mm drill bit • Bench hook Palings
either 1.2m or
1.1m nailed on
50mm 50mm

100mm

970mm

Draw bore
mortise &
tenon
190mm
pegged

1.2m

I made a very simple gate at first, using rough quarters of the rounds to too knotty and unpredictable. But someone who has never made a
form the main parts. I used very undemanding mortise and tenon joints mistake is someone that has never done anything. I learned loads from
and then pegged it all together. It looked great, very rustic, but it was this project and gained lots of insight.
not quite what I wanted. I wanted the uprights on the frame to be from If you do consider using yew just be mindful that the wood itself is
squared timber, strong enough to stand some woolly animals rubbing also potentially harmful. When I was growing up my brother and I
against it, and to do that I was going to have to hew the uprights first had an amazing tree house in two old yew trees; you could even, if you
before I could process them further. were brave, climb from one tree to the other, about 6m in the air. One
day, a friend came round to play, and within 5 minutes of him being
About the materials in the tree his face had swollen up like a balloon – he was having a bad
Yew is not an ideal timber for this project, or certainly not the yew I reaction to the yew, my mum panicked and still talks about it to this
used anyway. It was knotty and hard to work. Coppiced poles of sweet day. For this reason, I’d advise against using yew and finding a more
chestnut would be the ideal wood, or anything straight-grained and suitable timber. I’m lucky in that it has never affected me.
durable. But I was determined to use what I had, and the fact it comes Woodturner Andy Coates has a great article about the potential
from just under a mile and a half away from my home made me even dangers of some woods in Woodturning issue 257 and goes into
more sure it was the right thing to do. some detail about the potential dangers of yew and I’d make it
In hindsight, it probably wasn’t. It’s not often that I want to give up recommended reading before using this timber.
on a project but this one nearly beat me! This timber was hard work,

21
PHOTOGRAPHS BY KEVIN ALVITI

7
4

6
2
1

22
 8 9

For this project, I recommend using either sweet chestnut or oak,

something that splits and behaves as you’d expect. But remember:
sometimes waiting for the right tree can mean a project never gets
done and an opportunity is lost.

A word on safety
It doesn’t take much time hewing to work out that this is hard graft.
I mean seriously hard graft. I’m used to using hand tools for hours
at a time but swinging an axe is a different level. Make sure you don’t
work like this when you’re already fatigued or tired, as that’s when
10
accidents happen.
The whole time you need to think about positioning and where
that axe will go if there is a glancing blow where it doesn’t connect
properly with the timber. Like never having your hand in front of
a knife, make sure your leg is never where the axe could end up at
the end of a swing. I found myself standing to one side to keep my
legs out of harm’s way. When making cuts on the palings a raised
chopping block made everything safer and easier to manage.

Making the gate

1 Select your timber, ideally straight grown, free from knots and
of a species that works easily like oak or sweet chestnut. Basically,
not what I’m showing in this picture! 11
2 Select a straight section and clear the bark from there so a line will
be easier to see. The bark was easy to remove from the yew so I
ended up stripping the whole log with the drawknife. here isn’t to get it perfect, just to get it good enough to use.
3 Secure your log in place. I don’t yet own iron dogs to knock into 7 The surface doesn’t have to be anywhere near perfect. But it does
the log to hold it, so instead, I used some batten and nails, plus I make things easier if it is flat(ish) and not in twist.
knocked in a metal bar on either end to hold it firmly. I also notched 8 With one side complete, roll the log over and secure it again.
two cedar logs to create a cradle for the log to sit in. Take a string Mark up for another cut at 90° to the first one. Strike the line
line and strike a line across the top of the log, visualising the piece across the top of the log as well. Then just repeat the process.
of timber you want from it. Ideally, you don’t want the centre pith Rest often, using an axe when you’re not used to it is tiring work.
in the timber, but my logs were too small to avoid this. 9 With four sides worked, it’s time to tidy them up a little bit. If I had
4 Take a double-bevelled axe and start making vertical chops down an adze I might consider using that, but instead, I used a jack plane
the log. These are made at regular spacing or where there are tricky with a slight camber in the blade to plane this knotty wood. It was
knots. This is called scoring and might not be necessary on smaller hard work, even green, and the knots caused me constant problems.
and easier logs. The cuts should go down to the line forming a V. 10 I got to this stage and realised I’d hewn the logs into 100 x 100mm
On larger logs some stand on top of the log to do this. posts and it was just too big for what I was planning. I admitted a
5 Then, using a hewing or side axe, knock the piece of wood from little defeat here and used my friend’s large tablesaw to rip them in
between the chops off. These are sometimes called joggles and when half. If I had used a predictable timber, like sweet chestnut, I might
you take this wood off it’s called joggling. Roughly take the wood have been tempted to cleave them to produce the halves, but the
off first, giving yourself some room for error, then start to work up yew was not playing ball.
to the line. 11 I only really worried about having two good surfaces from each log,
6 Using a hewing axe, work up to the chalk line. This is almost a a face side and face edge, that I could work off. I laid out the four
planing cut. Work the shaving back as you chop. Remember the aim pieces how I wanted to assemble them in a simple frame.

23
 12

13

15

14

12 With the uprights next to each other, I marked out the four
mortises. The width of these was sized to my 20mm hand auger bit.
13 Drill out as much of the mortise as you can, spacing the holes close
together. To reduce tearout on the underside bore into a scrap piece
of wood.
14 Sit astride your sawhorse with the post under you and square out
the mortise with a chisel, working from both sides to leave it as tidy
16
as possible. For centuries carpenters have sat like this to mortise.
15 With the mortises cut, use these as references to set up your
tenons. I set up two gauges, one mortise gauge that set the cheeks
of the tenon, and one marking gauge that set the depth of it to
the shoulders. Rather than using a pencil, all marks are just
scored onto the wood.
16 Cut the shoulders on all the rails using a tenon saw.
17 You have two options here, depending on your wood. Either saw
the sides of your tenons, or split it with a chisel if the grain looks
favourable. Remember, we’re making a garden gate, not a coffee
table. I split mine using an 18mm chisel, bevel side down so as
better to control the split.

17

24
 18
22

19 23

20
24

20 When I assembled my frame and checked for square by measuring

corner to corner it was perfect. I decided then to peg the mortise
and tenons. I drawbored it slightly by drilling through the mortise,
then putting the tenon in and marking where that hole would be.
When I drilled the hole in the tenon I offset it slightly towards
the shoulder.
21 For the dowel, I used some dry hardwood 12mm dowel I had in the
rack, but you could easily make some with the drawknife. Chamfer
one end before knocking it in, the joints should pull tight.
21
22 Cleave some timber. Break down some logs into sections to make
two braces and enough palings to cover the front. The braces I made
from quarters of a smaller diameter log.
18 When I used to do a lot of green oak framing, we used a 778 rebate 23 To make the palings, I placed the log on a low chopping block and
plane to clean up the tenons across the grain, this is the perfect job knocked the froe into it.
for it and it works well on this green wood. 24 I tried to control the split with the froe, a riving brake helps with
19 I made my tenons closed so they were stepped on all four sides. this. The yew I was using did not like the froe much and I had to
Make them so they tap into the mortise without too much force. resort to using wedges and a maul more than I would have liked.

25
 25 26

27 28

29 30

25 Remove as much waste as you can with an axe then move on to 28 Flip the gate over and lay out the bracing. Mark it up and cut them.
using the draw knife on the shave horse (or bench vice if you don’t It might take a bit of time and a bit of trial and error here – it’s
have one). Try to shape them so there are no thin edges and no worth cutting on the side of caution to make sure they’re a tight fit.
sharp sides. 29 I fixed the braces by spiking in some galvanised nails to hold them
26 Using a side axe (a normal axe will do if you don’t have one) cut tips in place.
on your palings. I had two sizes from two different logs to give a 30 As a final flourish, I carved the year into the top rail. Often the last
staggered appearance. tiny bit of detail can change the whole feel of the piece. This will let
27 Space your palings out by eye. No need to use a tape measure here. me see how long the yew lasts and find out whether Woodland Crafts
Try to make sure they look right and mark them up. I had to pilot In Britain was right and it will outlast iron!
hole all of mine before fixing with some 65mm galvanised nails.

26
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 CHIP-CARVED
ROSETTE
Wayne Barton
carves this stylised
pattern onto a plate,
an ideal project
for chip carving
beginners

Chip carving has been described as

the fastest and easiest way to decorate
wooden objects – not to mention its attractive
and enjoyable qualities with endless design
possibilities. As with all handwork, practising the
rudiments of chip carving techniques, such as how
to hold a knife properly and execute basic chips, will
give a beginner the courage and confidence to proceed
with a first project.
A beginning project should contain elements already learnt,
along with the challenge of combining them with new techniques.
When you first start a chip carving project, special attention needs
to be given to the accuracy of both the drawing and carving alike.
Timber
For this project I’ve chosen a rosette with only three different motifs
YOU WILL NEED to carve. From a design viewpoint, it is a balanced contrast between
a positive and negative approach to chip carving with geometric and
• 200mm beaded flat basswood • Tracing paper organic motifs. The design is carved on a 200mm beaded flat basswood
or lime plate • Graphite paper plate. This wood has a clear, tight grain, and is an excellent selection
• Pencil • Stylus for chip carving. Lime is also suitable for this project. When carving a
• Compass • Cutting knife plate, it is best to orient the design with the grain running horizontally.
• Gel stain Though subtle in this case, horizontal grain lines suggest a restful
attitude and will not be visually intrusive at a subconscious level with
Precision the carved design, as vertical or diagonal grain lines tend to be.
Since the drawing or layout for chip carving is the road map that
will guide your carving along smoothly, it is most helpful if your Drawing the rosette
drawing is complete and accurate. It is not necessary to always have To begin, find the centre point of the plate. While there are several
a line for every cut to be made, but the more complete the drawing, ways this may be accomplished, using a centre-finder is the easiest.
the better idea you’ll have of how the finished carving will look. Once the centre point is established, divide the plate into quarters
All proportions should be indicated, so that the start and finish points and draw the outer circle of the rosette with a 160mm diameter.
for carving are known. Furthermore, since it is the nature of chip This size rosette will proportionally fit the plate nicely.
carving to normally have motifs repeated and expressed by or within Next, divide the quarters equally, establishing eight equal sections
geometric shapes, the repeated geometric shapes should all be of the of the circle. Choosing any one of the lines drawn, set your compass
same size and configuration. If the design calls for a circle, an ‘almost point on that line with an opening that will touch the outer circle
round’ figure won’t do, no more than ‘nearly straight’ suffices for a and the two adjacent lines with a single setting. Now draw an arch
truly straight line. Preciseness is one of the qualities of outstanding touching all three points. Repeat this procedure with all eight lines.
chip carving.

28
 PHOTOGRAPHS BY WAYNE BARTON
1 2

3 4

5 6

7 8
1 Begin laying out the design by finding the centre point of the plate using a centre-finder 2 Draw a line through the centre point parallel with the grain.
Bisect this line with a second line perpendicular to the first 3 Draw a 160mm diameter circle. Divide the quartered circle into eight equal segments
4 On any line, find a point that with a single setting will touch the two adjacent lines and the outer circle. Draw an arch touching all three points. Repeat
on all eight lines 5 Using the same point, draw a second arch 5mm shorter than the first 6 With a straightedge, connect all the ends of the second arch
with the centre point of the rosette 7 By hand, divide the area of each fan motif into four equal segments 8 Lightly draw an arch 5mm below the top line
of the fan motif…

29
 9 10

11 12

13 14
9 …as a guide to pencil in the four darts within each fan motif 10 In the centre of the section above the leaf motif, draw a small diamond 11 From the
leaf section of the rosette, trace the outline of this geometric shape 12 Draw a leaf design within the traced area for the leaf pattern 13 Transfer the leaf
design to the wood with a stylus 14 & 15 The two outside chips of the fan motif are cut all the way to this motif’s bottom centre point

Using the same compass points it in the proper position when transferring the design to the wood.
On the lines, shorten the compass opening by 5mm and draw a second Design within this area an uncomplicated leaf that flows easily. The leaf
arch beneath the first, stopping at the same point as the first arch. With should fill this area by having its blade sections touch the outside lines
a straightedge, draw a line connecting all points of the shortened arch of the geometric shape in which it is drawn, giving the impression of a
to the centre point of the rosette. leaf, fresh and lively. If the leaf is drawn smaller than the area in which
it is placed, it may appear to be withering. Also, when drawing the
Drawing the fan motif veins, put a bit of curve in them, indicating flow and movement. When
By hand, divide each fan motif area into four equal sections. Lightly designing, be sure the chips being drawn can be carved. Chips that are
draw a guide line 5mm below the top line of the fan motif and pencil too large or complex should be avoided.
in the four darts within each fan motif. There are two ways to easily transfer the leaf design from the tracing
paper to the plate. After placing the tracing paper in position on the
Positive image leaf motif wood and securing it, slip graphite paper – not carbon paper – under
With a small piece of tracing paper placed over the positive leaf section it and with a stylus, trace the pattern onto the plate. Another way to
of the rosette and held firmly with removable tape, trace the outline of transfer from paper to wood is to place the drawing, pencil side down,
this area. Being able to see through the paper will make it easier to place and trace the pattern with a stylus.

30
 15 16

17 18

19 20
16 The two inside chips of the fan motif are held short of the motif’s bottom centre point or ‘stacked’ above the two outside chips 17 The small chip of
the fan motif is removed by making the first two cuts away from the elongated chip which is already removed 18 Make the first cut of a ‘new’ chip away
from any chips which have already been removed 19 Remove the two chips on either side of the diamond the same way as the elongated chips in the
fan motif 20 To change the diamond into a stylised flower, make a small notch in the centre of each side

The pencil line will transfer to the wood. To facilitate this method, use Stacking will greatly minimise the possibility of splitting out wood
a soft lead such as grade B in the pencil when drawing the leaf. Be aware not intended to be removed, while having all four chips appear to
using this method will reverse the pattern. converge at the same centre point. The smaller chips at the top of the
In the area above the leaf motif, draw a small diamond in the centre. fan are removed the same as would be done with any simple three
When finished this will become a stylised flower. cornered chip, making the first two cuts away from the larger chips
already removed.
Carving the fan motif
Since the fans of the rosette are the most difficult of the three motifs Carving the small flower
to be carved because of their deeper cuts and many sharp ridges, The small stylised flower above the leaf is a nice accent contrasting in
I suggest doing them first. size to the leaf. The chips on either side of the flower are of the same
The large chips of the fan are removed by a method called ‘stacking’ configuration as the larger fan chips and the cuts that remove them are
– this is done by having only the two outside chips brought to the made in the same sequence. Once the diamond shape of the stylised
centre point at the bottom of the fan to define the motif. flower is revealed, notch the diamond by reaching over the centre and
The two inside chips are held short of the centre point, or ‘stacked’ making two cuts forming a small V-chip on all four sides.
just above the outside chips.

31
 21 22

23 24
21 The first cuts relieving the leaf motif are made by tracing the outline of the leaf with the blade facing away from the leaf design 22 The relieving cut
of the leaf is made by tracing the geometric outline of the leaf motif. Do not cut any deeper than is necessary to relieve the chips 23 When relieving
the veins in the leaves, remove the centre or main section first. Veins should be kept narrow, making their cuts shallow 24 The finished carving should
express the elements that make chip carving attractive – single facet cuts, sharp ridges, no wood particles left in the grooves, all drawing lines erased,
and a well balanced design 25 Applying a finish will preserve the carving, staining will accentuate the negative and positive design aspects

Carving the leaf motif is to be stained, a gel stain may be recommended as it will not tend to
The first cut of all the chips that will reveal the leaf is made by cutting bleed into end grain as liquid stains are known to do when softer woods
the leaf outline, being aware that the width of the chip will determine such as basswood are used. It is also recommended when staining to
the depth of the cut. This cut will be made with the blade cutting away first run through the procedure on a trial board of the same wood to
from the leaf design. In essence, make this cut by tracing the outline of avoid surprises and possible disappointment.
the leaf. The cuts that free or relieve the chips around the leaf, are made
by cutting on the line that defines the geometric shape in which the
leaf is drawn. As with all chip carving, do not cut any deeper than
is necessary to relieve the chips.
The last cuts to finish the rosette will be the ones creating the veins.
These cuts are very shallow because the veins should be made fairly
narrow so as not to dominate the appearance of the leaf.
The finished carving should express the elements that make chip
carving attractive – single facet cuts, sharp ridges, no wood particles
left in the grooves, all drawing lines erased and a well balanced design.

Finishing
Because chip carved pieces often are functional and may be handled
frequently, it is recommended that a finish be applied to prevent
fingerprints and dirt accumulating over a period of time. Finishing will
provide a protected surface that can be dusted and cleaned without
harming the wood. Finishing will also enhance the beauty of both the
wood and the carving.
Today there are a number of products on the market that will finish
25
a carving nicely, particularly if it is to have a natural finish. If a carving

32
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 JAMAICAN BIRD SCULPTURE
Cedric Boyns carves an impressive sculpture, inspired by his travels

The idea for this relatively simple piece

came from a visit to Jamaica, where the local
craftsmen create simple sculptures of four
to six identical bird shapes appearing to be
sitting in a tree. I wanted to extend this idea
to include a larger range of bird shapes and
construct a larger sculpture incorporating
different woods and different finishes.

YOU WILL NEED

TOOLS:
• Carver’s chops for work holding
• Bandsaw
• Belt sander
• Gouges: No.3 and No.5, 6mm and 10mm
or 12mm
• No.9, 12mm
• Detail carving knife
• Pillar and or hand drill
• Twist drills: 5mm, 4mm and 3mm
• Forstner bit: 35mm
• Riffler: ‘spoon and knife’
• Abrasives: 100–400 grit

MATERIALS:
• Wood blocks of suitable size: about
130 x 50 x 40mm. Size will differ slightly for the
different bird designs, see templates. Woods
used are ash, lime, cherry and mahogany
• Block of ash for base plinth:
approx 130 x 90 x 35mm
• Length of forked cherry branch wood
(length and size depends on the number
of birds included)
• Small offcuts of a dark wood (eg black walnut
or iroko), and a light wood (eg ash or lime)
for the eyes and peg supports
• Wood glue and hot melt glue
• Wood stain (optional)
– I used Indian rosewood
• Masking tape
• Sanding sealer (cellulose)
• Finish of choice – I used satin and
gloss spray lacquer and wax polish
• Suitable PPE

34
 130mm

Templates:
Black – side profile (NOT TO SCALE)
Blue – top profile

Some of the
Forked tail birds in position
(optional)

400mm
Holes in
a branch

80mm 105mm
Forked
branch

90mm

35mm

Plinth
80mm

1 2

Getting started
1 Make a full size copy of the top and side profile templates of the 2 Once this glue is dry, cut out the side profile with the bandsaw and
bird to be carved and cut them out. Use the templates to draw remove all the waste wood by prising it away. I find that a small
the profiles onto the block of wood. Cut out the top profile with straight chisel or screwdriver is effective for doing this.
the bandsaw and glue back the waste wood with small blobs of hot
melt glue (or masking tape if you prefer).

35
 PHOTOGRAPHS BY CEDRIC BOYNS
3 4

5 6

7 8

3 Check the position of the bird’s neck on the template …

4 … and draw this onto the block, marking the rough position where
the neck will need to be shaped.

Shaping
5 Using a suitable small shallow gouge (I used a No.3, 6mm for
most of it), start to shape the head down to create the neck region …
6 … and do the same to the shoulder region of the body.
7 You can then start shaping the top side of the bird’s body …
8 … and work your way around to the underside, gradually removing all
the straight edges and saw marks from the original block profiles.
9 Next, shape the beak, checking that the head remains symmetrical.
9

36
 10 11

12 13

14 15

10 Once you’ve formed the beak and you’re happy with the overall shape Adding the eyes
of the head, you can then move on to shape the tail end of the body and 14 The eyes are made of very small dowels whittled from scraps of waste
the tail itself. wood of a contrasting colour to the bird body. I used either black
11 Again, you need to remove all the straight edges and saw marks. walnut or iroko to create the dark eyes of the light coloured birds,
12 Once the shaping is complete you then need to decide whether to sand and lime or ash for the light eyes of the dark birds. After marking the
the outer surface smooth, or leave the tool marks. If you decide on the positions, drill holes to a depth of about 7mm with a suitable sized
latter, it will be necessary to go over the whole surface to make it as twist drill – either 3mm or 4mm according to the size of eye you feel is
even as possible. needed for each bird.
13 I carved four basic bird designs for this piece, sanding most of them 15 A short length of the dowel, of the appropriate size and colour, is then
but leaving a couple with tool marks. Note: the shaping of the birds glued into each eye hole so that it protrudes by just a few millimetres,
(steps 5–13) can be completed with a carving knife instead of gouges, as shown in the photo.
if preferred.

37
 16 17

18

19

20

16 Once the glue is dry, use a detail knife to round off the dowels so
21
that the ‘eyes’ are left just proud of the surface as shown. This same
result can also be achieved by using a small shallow gouge.

Attaching the birds to the branch Finishing the birds

17 Attaching the birds is achieved by producing a short peg, again made 19 I decided to experiment with a range of finishes on my birds,
from scraps of the same light and dark waste wood. Each peg has its which I’ll describe here. Mask off the head and upper body region of
ends whittled into a short dowel, one end of which fits into a 5mm one of the birds with masking tape and then stain the lower body with
hole drilled into the belly of the bird and the other end into another two coats of Indian rosewood stain. When thoroughly dry, you can
5mm hole drilled in the display branch. I varied the angles of these then finish this stained area with two coats of gloss spray lacquer.
holes in the birds’ bellies to create some more variation in the angles 20 Next, remove the tape and those areas masked off are left as bare wood
of presentation of the individual birds in the final piece. (ash in this case).
18 I chose not to glue these pegs in, but relied on them forming a 21 Other birds can be given a coat of sanding sealer followed by two
‘ jam-joint’. This means that the positions of the birds can be coats of spray gloss lacquer.
changed easily if required.

38
 22 23

24 25

26 27

22 Others can be given two coats of satin finish lacquer sprayed over is totally flat, it can just as easily be glued to the top of the base
sanding sealer. perhaps with the aid of a dowel to support it and hold it in place.)
23 Alternatively, you can add a couple of coats of clear wax polish 25 Decide where the peg holes need to be (this will probably involve
over a sanding sealer base and buffed up with a soft brush or cloth. a bit of testing to see how much room the birds need so that they
were not touching each other), the holes can then be drilled, slightly
The display branch angled up in the most part.
24 I chose a piece of cherry branch wood with a single fork and, as some
of the bark was damaged, I felt it would look better with the bark The plinth
removed, so I stripped it off with a No.9, 12mm gouge, before lightly 26 I chose a piece of ash with some interesting figuring. Cut eight
sanding the bared branch with 320 grit. This left a smooth but slightly faces into the piece of wood with the bandsaw. Drill a 35mm
undulating surface to it. I was able to round the bottom couple of hole in the centre to a depth of about 20mm.
centimetres of it with a rounding tool so that it could be fitted into a 27 The plinth is then sanded on a belt sander.
hole in the base. (However, as long as the bottom surface of the branch

39
 28

29

30

28 The branch can be glued into the hole in the plinth with
wood glue.
29 The glue is then left to dry.
30 The finish that I chose for the plinth and the display branch
was a coat of sanding sealer, followed by two coats of clear
wax polish. They were then buffed to a shine with a soft
brush or cloth.
31 Once the whole piece has been assembled, it should look
something like this. Note: there is scope to make this sculpture
smaller (or bigger) by adjusting the size of the branch used
31
and the number of birds attached to it.

40
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71
 THE JOURNEY TO
WOODEN LUXURY
Caroline Kelly meets Chris Holland of Wooden Luxury Joinery, who is taking on high-end
creative projects and combining traditional craftsmanship with a progressive outlook

Chris Holland established Wooden Luxury Joinery 20 years ago, and is the workshop, coming up with designs and signing off every product
dedicated to providing customers with beautiful and luxurious design. that passes through.
Chris thrives on being across a multitude of projects. It’s what he does, Another key area Chris feels passionate about is the quality of the
and it’s how he’s managed to build the business from a one-man operation material that goes into every build and every product. Chris explains:
to having three offices in Birmingham, the Cotswolds and Shropshire. ‘This is the main thing for me. I’m constantly trying to improve our
product and source the best materials. The quality is very important
THE INDIVIDUAL TOUCH to me. We work so hard on making our product better every day. Our
Wooden Luxury Joinery has positioned itself as a high-end service, products don’t stand still; we are always working to make them better.’
creating bespoke solutions for people looking for the individual touch One of the materials Chris is particularly proud of is the
of skilled craftsmen. Providing everything from stylish kitchens to sash ironmongery he sources from a company he believes produce
windows and oak frame buildings, it’s designing front doors that Chris some of the best work in the business.
still loves best about his work. He said: ‘Our main speciality is front
doors, without a doubt. We can get very creative, and I love working DEVELOPING A WOODWORKING CAREER
with clients and creating a door for them, I absolutely love it.’ This desire for continual improvement stems in part from an early
Chris isn’t afraid to go all in when it comes to a creative front exposure to perfectionism in practice. Both Chris’s parents held the
doors, fulfilling customers’ desires for stained glass, ornate carvings unique job of historical restoration and rebuilding. The couple would
or whatever else helps them stand out. And it’s this obsession with painstakingly take down a building of historical importance, brick by
detail that means he’s hands-on with every job that passes through brick, and rebuild the entire structure in a museum or elsewhere.

42
PHOTOGRAPHS COURTESY OF CHRIS HOLLAND

Contemporary oak entrance door and frosted glazed side lights with clear etched border

Cotswold stable door with diamond-shaped astragal glazing bar

in top leaf

Gothic arched oak double door entrance with bespoke steelwork Period/Gothic-stlye door for an accountacy practice in Birmingham

43
 Part of Wooden Luxury’s very talented team

Fitting ironmongery and making sure the complex locks are Casement windows framing the Shropshire countryside perfectly
working smoothly is an art

44
Oak-framed porch with a crooked head made for a 1700s Cotswold farm house Richard looking extremely proud after completing the
fitting of this period-style door

Aiden Best proving Wooden Luxury are a cut above the rest Georgian-style bi-folding doors – tradional design meets modern living

45
 Raised panel oak entrance door finished with ironmongery Adam Hamlen putting the finishing touches to a Georgian casement window
from The Anvil

Victorian period-style entance door with stained glass and Stained glass artwork completed by Nadia Lamas – such a talent
antique brass ironmongery

46
Each project could easily take eight or nine months
to complete. Chris became involved in the work
at an early age and as a result developed a love of
woodwork and joinery.
Following this early apprenticeship into the
trade, he went to work at Gatacre Hall. This
mansion house in Shropshire is set in sprawling
grounds and Chris worked on restoring and
maintaining the old buildings, many of which date
back to the 18th century. Despite loving the work
he did there, his reputation as a skilled craftsman
soon spread and the odd joinery jobs he carried
out for people began mounting up, enough to
open his own business.
Today, the business employs a team of 10 but
the hunt for skilled craftsmen and women is often
frustrating, particularly in the rural locations
where the business is based. To combat the staff
shortage, Chris and his team, which includes
partner Jess, are looking at automated machinery
to help with some of the simpler tasks. The
company’s progressive outlook, combining hands-
on, traditional craftsmanship with cutting edge
technology is something Chris is particularly
keen to build on.
He says: ‘We are looking to the future and
part of our plan is to increase turnover. Installing
modern machinery will help us to achieve that.’
It’s certainly something his customers approve
of and even during the pandemic they were able
to press on.
Despite facing a shortage in materials,
particularly glass, the business battled through
and waiting times for materials appear to have
settled down. Work continues apace on new
projects including, of course, those front doors.
Working in areas such as the Cotswolds often
means the team must create products that stay
well within the character of the area. Gaining
a reputation as a company who can provide Period-style arched frame entrance door and Louis Frazer hardware
sympathetic solutions alongside modern designs
is important.

CHRISTMAS HITS
If you recognise Chris and the team at all,
it might be from their annual foray into song
writing. Every Christmas, the team writes,
records and shoots a video that goes onto their
Facebook page. In 2020 the video received
more than 8,000 views, while the 2021 edition
received over 9,000. Perhaps they’ll have another
smash hit in 2022!
In the meantime, they will go back to what they
do best. Creating bespoke and beautiful products
for customers across the west of England.

woodenluxury.co.uk
Instagram: @woodenluxury_joinery Simon Dunn making sure clients are warm during the colder months

47
 BUTLER’S
TRAY

Anthony Bailey
uses his router to make
his version of a traditional dining device

This tray is a standard design but it uses quite a lot of

routing techniques. I chose luan for the solid components
as it is slightly pinky and will colour up easily with dye,
and a thin Far Eastern ply for the base which can be
coloured to match. It must be noted the luan is rather
soft and not easy to cut crisp jointwork.

25 12

112
Elevations 50 95
344
Scale 1 to 4

360
12

95
50
484
4.5

500

48
1 2

3 4

Making the tray

1 The tray ends need hand grips so the best way is to make a template
that a bottom-bearing guided straight cutter can run off. Because it
is easier to make one half of the shape rather than do both – which
may not match – that is exactly what I did.
2 If you want to batch produce trays use the half template on the
opposite page to make a new whole one by cutting it out and turning
it over to complete the shape.
3 The finished template is ready to use even though the left-hand side
is left rough as this is the cutter overrun area. It is shaped slightly to
mimic the right-hand part of the opening.
4 The template is affixed to one workpiece blank using special fabric-
based double-sided tape supplied by Trend Machinery. It is very
adhesive but has a slight sponginess that ensures both surfaces stay
fixed together. Bandsaw away most of the curved outside edge.
5 I used a drill press and a Forstner bit to remove the bulk of the hand
grip waste. You can use a flat bit and cordless drill if that is available
but do drill into a sacrificial board.
6 The next operation is to remove the remainder of the waste using
a bottom-bearing guided straight cutter in the router table. This
entails gradually ‘grousing out’ the waste rather than rushing the
cutter straight to the template and taking out too much, straining
5
the cutter and causing too much resistance.

49
 8

10

11

7 While the template is attached in the same position repeat the

trimming operation on the outside of the handgrip. In both cases
always machine into the direction of cutter rotation and always
machine ‘downhill’ of the grain. Turn the template over and repeat
12
the last three steps to complete the shaping.
8 Using a half-round file smooth the surfaces so they meet sweetly.
Keep the file level for a square edge.
9 The first templated handgrip end is now double-sided to the other 11 Again ‘grouse out’ the waste layer by layer, but do not be too
blank and as before, bandsaw the outer curve away leaving enough ambitious trying to rout to the profile. Take time over this operation
to trim off on the router table. Safety note: it was during profiling to get a neat, burn-free result.
that I found the bearing was burning the wood because it had seized 12 Machine the outside of the curve running ‘downhill’ of the grain.
– fortunately I had spares in my kit box. A quick swap over and all This is important because if you work up to the top of the hand
was well again, so I could continue the project. grip, the wood will tear out. Now lift off and flip over the completed
10 Using exactly the same procedure as before, the handgrip waste is workpiece, tape it down and machine the other half of the part-
drilled out ready for profiling. completed workpiece.

50
 13 14

15 16

17 18

cuts. Instead slot all components ready to take the tray base.
The ply for this was bought as a ready-cut quarter sheet with a
thickness of 4.5mm. Luckily I happened to have a 4.8mm straight
cutter which was close enough. Set the slot in by about 10mm,
enough not to weaken the wood.
16 The sides and ends need to be jointed together and I decided for
strength that a single dovetail on the ends would be enough to resist
pulling apart. These are marked using a sliding bevel and all the
joints should be marked A, B, C and D to avoid mix-up. Hatch the
19
waste so you cut the right parts away.
17 The first light cut is made vertically to create a notch for the blade
to sit in when making the angled cuts. Make clean cuts to the line
13 You should now have two identical profiled components. and finish level at the bottom of each cut.
Use a small radius roundover cutter and bearing to shape the top 18 A bandsaw with a six skip-tooth blade can be used to cut the waste
edges. Use a lead-in pin as you will be starting at the leading end away working from each direction until you have a neat level cut
of the workpiece. along the bottom line.
14 Now repeat the rounding over inside the handgrip on both 19 Luan is a rather soft wood, not many stages removed from balsa
workpieces. This will make the tray comfortable to hold and admit wood, so a very sharp chisel is required when cleaning up the tray
larger hands. corner joints. A good but not over-tight joint is desirable to avoid
15 The tray sides will be rounded later as the inside edges are stopped any splitting.

51
 PHOTOGRAPHS BY ANTHONY BAILEY/GMC PUBLICATIONS
20

21

22

23

24

25

22 Sand the flat surfaces thoroughly to a finish on the inside faces,

removing any pencil markings of course.
23 Sand all radii thoroughly and blend the curves into the flat sections.
Now do a dry assembly to check the bottom size. Cut out the ply
and check the fit.
26
24 Apply glue to the joint meeting edges, slide the ply into place and fit
all the joints together in the correct order; A-A, B-B and so on.
25 Clamp the tray up tightly without creating distortion and measure
20 The dovetailed ends also need a bit of cleaning up for a neat, from corner to corner to ensure squareness. Readjust the clamps to
gap-free fit. Note how the dovetail shape just misses the slot that correct any inaccuracy and wipe off surplus glue.
holds the tray bottom. 26The grooves were machined right through, so once the glue has set
21 The tray sides are now rounded over after refitting the cutter and clear, remove any glue from the visible slots with a chisel and glue,
using the table fence, not the bearing. Lines are drawn where the push in matching fillets of wood and trim off flush. Finally, sand the
roundover needs to run out on the inside edge then a push-on pull- outside faces with the grain; avoid cross grain scratches as a dark
away cut made, but visually starting and stopping before the lines finish will show them up. I swamped the surfaces with a Georgian
as the outer radius of the cutter will start further than you mahogany spirit dye and wiped off the excess and spray lacquered
may imagine. the tray once the dye had dried.

52
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EXC.VAT CBS1-5B
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8" TABLE SAW 8" DISC SANDER
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69 .98
DOUBLE
EXC.VAT CIG81015 4.5 x 3 x 2.4m £289.00 £346.80 tables 550W
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CIG81020 6.1 x 3 x 2.4m £359.00 £430.80
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CIG1432* 9.7x4.3x3.65m £1159.00 £1390.80
INC. 2X 700mm CIG1640* 12x4.9x4.3m £3250.00 £3900.00
GUIDE RAILS
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DOUBLE
DOUBLE
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EXC.VAT
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CPS85 550W £69.98 £83.98 CBS2 ABRASIVE
HEADER
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CS48
CS4-8
Powerful
CDE7B £
119EXC.VAT.00
1100W 500W motor
£FROM ONLY
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DOUBLE
DOUBLEEXC.VAT FROM ONLY
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motor 200mm Blade Dia.
Great range of DIY and 44 .99
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50 litre bag capacity
CPF13 professional saws Ideal
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Flow rate of 450M3/h CS6-9D DISC SANDER
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CWVE1 1100W 183 M3/h 50Ltrs £119.00 £142.80
CDE35B 750W 450 M3/h 56Ltrs £179.98 £215.98 FILE 110
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NAIL GUN *Black & Decker laser guide CON185B TABLE
Includes 300 nails ADJUSTS 0-45°
and 400 staples SPARE Belt Size Max Cut PALM
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battery STAPLES CPF13 400W/230V 13x457 £49.98 £59.98 CCS185B 1200W 65/44 £44.99 £53.99 INCLUDES STAND
CON185B* 1600W 63/43 £59.98 £71.98 Ideal for
IN STOCK KA900E* 350W/230V 13x455 £59.98 £71.98 detail sanding
1 X2Ah of corners &
hard to reach
areas DISC SANDER
SHEET CON320
(305MM)
18V BRUSHLESS SANDERS CPS125 £FROM ONLY
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22 .99
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VARIABLE SPEED FOOTER
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EXC.VAT
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ELECTRIC AND CORDLESS CON18LIC 18V 2x 2.0Ah Li-Ion £99.98 £119.98 C0N320 230x115mm 320W CDS300B CDS300B
£35.99 £43.19 CMS200 £FROM ONLY
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36.99
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CVAC20P 1250W 17/13 ltr £57.99 £69.59 CDP152B 450 / 12 £189.98 £227.98 Width SANDER
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CBG6250L
HD
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£59.98
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Tiger 16/550 3HP 14.5 50ltr £249.00 £298.80 PC20 2HP 10Amps £269.00 £322.80 10" SLIDING
Tiger 16/1050 3HP 14.5 100ltr £319.00 £382.80 JIGSAWS PC40 3.5HP 20Amps £329.00 £394.80 NEW MITRE SAW
PC60 5.5HP 32Amps £389.00 £466.80 • 850W motor
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WOODWORKING CON750
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This sustainable home design blends
contemporary architecture with its rural
environment and provides a perfect home for
an older couple whose children have flown the nest
 A HOUSE FOR
THE BEST YEARS

57
 ‘Sustainable design integrates consideration of resource and
energy efficiency, healthy buildings and materials, ecologically
and socially sensitive land-use, and an aesthetic sensitivity
that inspires, affirms and ennobles.’
This is the definition of sustainable design used by the International Union
of Architects (UIA) and the American Institute of Architects (AIA).

Site plan
The process of construction affects the environment and surrounding
ecosystem. Once buildings are constructed, the occupants and
administrators face a series of challenges in their attempt to maintain
a healthy, efficient and productive environment.
In order to meet these challenges, innovative and varied building
strategies have been developed that can be grouped based on the place
they are mainly employed. Strategies related to the building location
attempt to minimise environmental impact, integrate the building
into the landscape, and increase the alternative transportation options.
Strategies centred on energy aim to conserve energy and use renewable
energies that guarantee the efficient use of natural resources and
reduced public utility costs. Strategies that ensure a state of wellbeing
inside the home make use of natural light and ventilation to reduce
energy consumption and improve lighting and interior environment.
Water-management strategies employ a system of maximum efficiency,
reduce public utility costs, and manage rainwater and grey waters.
Material strategies involve reducing, recycling and composting
materials, and using green construction products where possible.
Finally, technology should be used as an ally in sustainable and
efficient construction. For instance, automated home thermostats
can greatly contribute to developing future sustainable strategies
in building design, construction and maintenance.

58
These strategies and their regulations in standards and certifications The next stage in family life
contribute to the achievement of environmentally friendly homes that This property was designed as the perfect home for an older couple
are alive and ‘breathe’. One such example is this house in Velesovo, with their own list of expectations and personal preferences. With their
Slovenia, designed by architect Matej Gašperic. children now grown up, the parents are returning to life as a couple,
and while the children will still return to the house, they will do so only
for visits. The house also needed to be sustainable in the widest sense of
the word, with low energy consumption.

59
 East elevation

West elevation

Longitudinal section

60
The powerful combination of romantic pastures
and contemporary architectural approaches is in
tune with the rural environment and fits with the
owners’ passion for living life in the present. The
wrought-iron peacock on the roof that dutifully
marks the direction of the wind, together with
other details, reinterprets knowledge and forgotten
forms that are carefully adopted into modern
materials, construction methods and, of course,
the new way of life.
The long, thin house, humbly follows the
natural slope without being higher at any point.
It maintains its proportionality as a fixed-height
shape, giving it a unique look. Furthermore,
the local architectural heritage, rich in both
quality and quantity, was respected on all levels
throughout the entire design process.
As the last building of the village, the house acts
as a type of transition between the urbanised area
and the surrounding meadows and countryside.
The porch entryway offers an unobstructed
view. The open layout traps and conserves
incoming sunlight from the south and directs it
inside through the structure of adjacent spaces.

61
 20

13 16

22 14

19
18
12

21

1 17

23
2
3 11

6 8 9
4 7 10 15
5

West elevation

1. Entrance
2. Toilet
3. Storage room
4. Kitchen
5. Dining room
6. Living room
7. Utility room
8. Studio
9. Bathroom
10. Master bedroom
11. Wardrobe
12. Guest room
13. Sauna
14. Shower
15. Heating and ventilation
16. Bike storage
17. Walkway
18. Driveway
19. Parking
20. Guest parking
21. Summer terrace
22. Outdoor kitchen
23. Morning terrace

62
 PHOTOGRAPHS BY VIRGINIA VRECL/COURTESY OF MONSA PUBLICATIONS

Eco Houses: Sustainability & Quality of Life

published by Monsa, RRP £19.99
available online and from all good bookshops

63
 TURNED TOYS
Colwin Way makes three fun projects, accompanied by his son

For many of us woodworking is an escape from the day job, a time skipping ropes and yo-yos and they have all been made from lime,
to relax and unwind and unleash those creative juices. I’m one of which I find an ideal timber for colouring and texturing as it has a
the lucky few who can also call my hobby a career. I love woodturning tight grain with few knots or features.
so much that I carry on when I get home, either making for shop
orders, commissions or indeed for articles such as this one. Children and workshop safety
This does mean that sometimes I’m guilty of getting the balance Before we start turning I want to talk about workshop safety and
wrong and neglecting those important to me! However, again I’m very children. A few things need to be considered when teaching youngsters
lucky that I have a supportive wife behind the camera and that both on the lathe and I strongly believe that we need to set the example.
my sons share a creative interest and started turning at the early age The obvious safety consideration is eye protection and a dust mask,
of six. As this article is all about turning wooden toys I thought it but I run through the lathe controls every time we start turning and
might be wise to bring in one of them, a true professional in the toy remind my sons where the chuck is and that we are going to take our
game, my 12-year-old son Charlie, which meant in turn we all got to time. The height of the lathe is a consideration and it may be that your
spend a day in the workshop together. child will have to stand on a platform to reach centre height.
The following pretty much tells the story, but if you have as much Above all though, ensure you are always with them, to watch and give
fun in the workshop as I’ve had creating these toys with the spinning words of encouragement and guidance, and never leave them on their
top master Charlie, then you’re in for a real treat. The only problem own to turn. A child’s attention span may be a lot shorter than yours,
now is I’ve opened up a can of worms as I find Charlie booking the so a short burst of fun will be better, rather than keeping them turning
workshop and myself for certain nights, in preparation of the next after they’ve become bored. Check the child has nothing on them that
batch of spinning tops, and he is already talking Christmas presents could catch on the work including clothing and long hair, which should
for his school friends! be tied back. Remember: children are unaware of the dangers and
We’re going to look at three simple toy classics; spinning tops, completely fearless, so you have to be their eyes and ears.

64
YOU WILL NEED
• 10mm spindle gouge • Airbrush and paints (optional)
• 3mm parting tool • 10mm drill bit
• 25mm skew chisel • 25mm drill bit – sawtooth or Forstner
• 19mm roughing gouge • String for yo-yo
• Coloured felt-tip pens • 10mm coloured rope

45mm
(13/4in)

60mm
(23/8in)
40mm
25mm (15/8in) 45mm
(1in) (13/4in)

30mm (11/8in)

25mm (1in) 35mm (13/8in)

15mm (19/32in)

150mm
(6in) 40mm - 55mm
(15/8in - 21/8in)

30mm - 40mm
(11/8in - 15/8in)

23mm (15/16in)

65
 PHOTOGRAPHS BY COLWIN WAY
1 2 3

4 5

6 7

Spinning top
The blank sizes range from 30–40mm diameter x 150–200mm long, flute of the gouge in the direction of travel and take small cuts while
which means we can get several tops out of each blank. the blank is at its longest.
3 Make the last few cuts to the top of the spinner.
1 When all the blanks have been turned down to round we can start 4 Smooth down the spinner and lightly sand, ready for decoration.
turning tops. Hold the blank in a four-jaw chuck and a set of dovetail 5 And now the fun begins and we can decorate the small top toy.
jaws. It’s important not to make your blank too long or they will vibrate With our projects, I let Charlie create the bright colour scheme
badly when starting to shape. Start shaping the bottom of the spinning and patterns himself, using felt-tip pens from his own pencil case.
top, making sure they are turned to a sharp point to keep the bearing Be sure to slow down the lathe speed when decorating the tops
surface as small as possible and keeping the centre of gravity low to to 350rpm, to give strong bold lines and to protect the felt-tips.
give a stable spin. 6 Continue to colour around the top until you are happy with the
2 Now start shaping the tops, again remembering to keep the centre toy’s design.
of balance low. Use a 6mm bowl gouge, but a 10mm spindle gouge 7 Finally, part off to toy with a 10mm skew chisel, and now it’s onto
is as good, if not better for this procedure. Remember to point the the next one!

66
 8 9 10

11 12 13

14 15 16

Skipping rope
8 Again, the timber choice here is lime. Prepare four blanks, two for the to the lathe using a pro drive sprung centre to drive and a single
handles and two for the tops. Start by drilling out the tops with two pointed revolving tailstock centre the other end. Alternatively,
holes. First the main 25mm hole to a depth of 40mm, which will house you could use a four prong drive and tailstock centre. Here I’m
the knot of the rope and the tenon from the handle, and a second all using the skew to shape the egg shape top.
the way through with a 10mm hole for the rope to pass through. 14 Use the skew to shape the main handle, making sure it fits comfortably
9 Prepare the handles by roughing them down and cut two tenons to in the hand. Remember that the hand holding this handle will be
fit the large 25mm diameter holes you’ve just drilled on the tops at much smaller than yours, so make the handle small enough for this.
a depth of 15mm. Set the callipers by measuring the drill bit used When using the skew, cut with the bottom half of the tool, always
to drill the 25mm hole, and then cut with the parting tool. have the bevel rubbing and present the cutting edge at roughly 45°.
10 Back to the skipping rope tops. To hold these tops use a friction light 15 And now it’s back to the fun bit: adding colour. We started with
pull drive passing into the 10mm hole and the tailstock centre into the an airbrush, spraying all over with a day-glo yellow then green and
25mm hole the other end. Any friction drive will do and will mean you orange stripes. The airbrush is a great tool for this project and again is
can cut right down to the centre without worry of hitting any prongs. always popular with kids, but a little bit of practice would be wise to
11 Now mount the tops securely to rough down the blank to a cylinder understand how sensitive they can be. Try doodling on some paper first
and true up both ends. This is a good opportunity to make the tops and play around with colours.
the same diameter. 16 Here are the finished skipping rope handles. You can see the way
12 Fit the top and the handle together in preparation for turning. the rope threads through the top and how the knots at the ends of
Make sure the fit is a firm one, but also remember that you want the rope are hidden within it. We sourced the rope from a local
to get the piece apart once turned so you can fit the rope. hardware store and it was the inspiration for the colour scheme that
13 Now you can start turning the skipping rope handles. Mount them Charlie chose for the handles.

67
 17 18 19

20 21 22

23 24

Yo-yo leaving 15mm diameter of solid timber in the middle.

For the yo-yo I wanted to use a material that wouldn’t need any 21 Use a parting tool to do most of the shaping before sanding
decoration afterwards, so I chose a few pieces of diamond wood. to a high shine.
Diamond wood is a resin-bonded coloured maple. However, plain timber 22 To stop the string from slipping when at the bottom of the swing,
can also be extremely colourful and dense so the choice is yours. drill a hole through the centre spindle to thread the string through.
23 When you’ve finished sanding and have drilled your centre hole,
17 Because the coloured wood was only 20mm thick I’ve joined two you can polish. Use friction polish to get down into the centre spindle,
pieces together with epoxy resin and added two pieces of scrap wood but then buff with a buffing wheel and Carnauba wax after the yo-yos
for the lathe centres to drive with, these pieces will be turned off at have been finished. Sand off the waste blocks using a plywood sanding
the end of the shaping. disc on a faceplate.
18 Next, turn down the block to a cylinder, ready for shaping. 24 To clean up either end after the sanding disc use a jam chuck and
19 Now turned down to a cylinder, turn away the scrap wood before gently remove any marks before sanding and polishing, which you
the basic shaping. need to repeat on both sides. Now the yo-yo is finished, all that’s
20 Use a 3mm parting tool to cut the slot for the string to sit, left to do is to wind the string up and start playing!

68
 PHOTOGRAPH BY ALAN GOODSELL
Flying high
Alan Goodsell takes a workshop break and
reflects on the benefits of good organisation

Anyone who knows me is aware that I am quite organised, to say the

least. When I am making something in the workshop, I like to have
all my components laid out in neat piles, so I know what has been
processed and to what stage. I have all the tools I need for the project
ready to go, all brushed clean and cutting edges sharp, and my work
area free of all debris that might get in my way. This all helps me to
be proficient and do my woodworking efficiently and enjoyably, and and attending the entertaining and informative demonstrations.
I think my results and peace of mind tell me that my work ethic However, the same can’t be said of my travel arrangements, both
is performing well. to and from the show! Flights unexplainably delayed, and for some
Not only do I like to be well organised myself, but I also like others unfortunate people their flights were cancelled with lame excuses
to be well organised. This was exemplified recently when I attended given. The airports were filled with angry people who weren’t getting
the AAW Woodturning Symposium in Chattanooga, Tennessee. what they paid for and conditions on the planes were disgusting. It
As usual, I was stunned by the amazingly high quality of the turners’ was such a contrast attending a show that was perfectly organised
work that was on display in the various galleries. The entries were and a joy to be at, rather than having to endure the repulsive mess
from all age groups and skill levels, and it was lovely to see these artists’ that is called travelling by air these days. I can, and probably will,
commitment to their chosen form of woodworking. I explored the well- stop flying but nothing will ever stop me woodworking!
organised show and had a great time catching up with people, relaxing Happy woodworking!

WORDSEARCH SUDOKU
Chisel Lumberjack Thicknesser Sudoku is a great activity to sharpen the mind.
Crosscut Mallet Vice The object of Sudoku is to fill in the empty spaces
Gouge Mortise Wenge of a 9x9 grid with numbers 1-9 in such a manner
Grain Plane Whetstone that every row, every column and every 3x3 box
Jointer Tenon Woodworking contains all numbers 1 through 9.

69
 Product news
Find out about the latest kit and tools for your workshop

Makita heat gun

Makita UK has introduced the DHG181ZJ
Heat Gun to its LXT 18V range. Designed with air
volume and temperature adjustment functionality
to reach up to 200L/min and 550°C, the new heat
gun is ideal for a wide range of applications. The air
volume and temperature are both adjustable, so users
can easily set the output to suit the job; simply flick
a switch to change between the two air volume
settings and adjust the air temperature with the dial.
To protect the operator, the DHG181ZJ features
an anti-restart function that prevents accidental
start-up. There is also a quick release, tool-less
mechanism to allow for easy nozzle replacement
without the need to touch any hot metal in the
process. Supplied in a Makpac Connector Case,
Glass Protection, Wide Slot, Reflector, and
Reduction Nozzles are all included as standard.

www.makitauk.com

Clarke tool chests and cabinets

Machine Mart’s range of Clarke Tool Chests and Cabinets
offer a stylish and ergonomic storage option for your workshop,
allowing you to safeguard and organise all of your valuable tools.
On the Clarke CBB209C 28in 9 Drawer Tool Chest, each
drawer features multi-ball-bearing runners for a smooth sliding
action and a special push-lock feature means the drawers will not
open accidentally if the unit is tilted. The full width aluminium
pull handles allow for easy, comfortable use. For additional
security and safety, all drawers also lock simultaneously when
the top lid is closed and locked. This allows the user to safely
transport the tool chest, and transportation is made easier
by the two carry handles on the side of the unit.
The Clarke CBB217C 7 Drawer Tool Cabinet comes
with 5in industrial grade chrome spoked wheels for greater
mobility around the workshop, with the chromed side handle
allowing for controlled movement. As above, each drawer
features multi-ball-bearing runners for super smooth sliding
action and they also include full width aluminium pull
handles and anti-slip liners. There is single key lock security
for all drawers together, as well as independent push in soft
lock for drawer stability. A soft cushioned matting on top
of the cabinet provides a non-slip work surface and ensures
less damage when working.

www.machinemart.co.uk

70
Festool plunge cut saw
The new TS 60 K plunge-cut saw from Festool cuts through wood The latest generation of brushless EC-TEC motor makes the new
like a hot knife through butter and is safer and more versatile than plunge-cut saw robust, powerful and compact. It is even possible to
ever before. With its unique KickbackStop technology, the new saw mitre cuts of 45° in solid panels of up to 40mm – and the guide
saw minimises the risk of injury, protects the workpiece and makes rail can also be used. The saw will be available at specialist retailers
work safer. Moreover, the greater cutting depth of 60mm (e.g. for from October 2022, see Festool’s website for more details.
fire protection doors or solid wood) enables an unrivalled range
of applications. Floor layers will also be pleased because the new www.festool.co.uk
TS 60 K can be connected to cross-cutting guide rails.

71
 REFORESTING
EUROPE

We learn about the latest projects supported by the European Forest Institute
and His Royal Highness The Prince of Wales

Leading scientists, experts and practitioners met in Sibiu, Romania 12 large-scale forest restoration demonstration sites across Europe.
on 30 May to launch Europe’s largest cross border forest restoration One of the sites is located in the Romanian Carpathian mountains.
project. The ThinkForest science-policy event celebrated a growing Marc Palahí, European Forest Institute Director and chair of the
movement to restore forest biodiversity and advance the circular Circular Bioeconomy Alliance said: ‘Scientific collaboration is crucial
bioeconomy, for the benefit of people and the planet. to scale up successfully forest restoration in Europe in a context of
The event was opened by His Royal Highness The Prince of rapid environmental changes and increasing demands on our forests.
Wales, who the same day launched a landscape restoration project I am proud of EFI´s leadership in bringing together some of the
in the Carpathian mountains, funded by his Circular Bioeconomy leading scientists and practitioners in Europe to demonstrate why
Alliance and developed in collaboration with the Horizon 2020 and how we can restore forest landscapes for different purposes
project SUPERB. and benefits.’
The Romanian Minister of Environment, Waters and Forests A new EFI science-policy study on Forest Biodiversity in Europe
Barna Tánczos joined HRH for the opening of the event. His was also presented at the event. Written by a group of distinguished
Royal Highness emphasised in his opening speech that we have scientists from 10 European countries, the study provides
to rethink our economy if we want to rewrite our future. We need policymakers as well as forest and landscape managers with a better
a circular bioeconomy, investing in three mutually reinforcing areas: understanding of the complex subject of biodiversity in the context
biodiversity, innovation and local and indigenous communities. of European forests.
The rest of the world can learn from the way Romania has relied
on regenerative approaches to create rich landscapes in areas such THINKFOREST
as Transylvania, where man lives in harmony with nature. ThinkForest is a European high-level discussion and information-
The ThinkForest event also marked the launch of the €20m sharing forum on the future of forests. ThinkForest is facilitated
Horizon 2020 project, SUPERB, coordinated by the European by the European Forest Institute, an independent, science-based
Forest Institute. The project involves more than 100 forest science international organisation.
and practice organisations in 20 different countries and includes www.efi.int

72
 SUPERB
SUPERB (systemic solutions for upscaling of urgent
ecosystem restoration for forest-related biodiversity
and ecosystem services) is a four-year, 20 million euro,
EU-funded Horizon 2020 project, with 36 project
partners and over 90 associate project partners.

forest-restoration.eu

THE CIRCULAR
BIOECONOMY ALLIANCE
The Circular Bioeconomy Alliance was established by
the Prince of Wales in 2020. It provides knowledge-
informed support as well as a learning and networking
platform to connect the dots between investors,
companies, governmental and non-governmental
organisations and local communities to advance the
circular bioeconomy while restoring biodiversity globally.

circularbioeconomyalliance.org

PHOTOGRAPH COURTESY OF FUNDAȚIA CONSERVATION CARPATHIA

HRH The Prince of Wales gave the opening speech at the ThinkForest event

A panel of experts spoke about the importance of biodiversity in Europe’s forests The project aims to restore biodiversity in Romanian forests
PHOTOGRAPHS COURTESY OF FUNDAȚIA CONSERVATION CARPATHIA

73
 POCKET
HOLE JIG
Anthony Bailey explains the benefits
of using this jig for jointing

When there are so many jointing methods

available to us, the pocket hole jointing system
may seem superfluous – that is until you try it.
It’s fast, easy and reliable: the perfect way to
assemble frame components with the minimum
of fuss and effort. There are a number of jigs on
the market but the best known is the Kreg
model shown here.

74
 1

Using the jig 2 Use the handy built-in drill rest to set the depth collar position
1 The Kreg and the Trend jigs are very similar in principle, with the ready for making the pocket holes. On the Kreg there are two
Kreg having three pre-set drilling spacing positions while the Trend rests with different imperial scale ranges. Otherwise follow
can be infinitely adjusted within its range. Axminster also do a manufacturers’ instructions and use a steel rule for accurate
budget model of their own. adjustment. This is important so that you avoid the drill going
through the material too far. You need enough wood for the
screw head to tighten against to keep the joint strong.

75
 PHOTOGRAPHS BY ANTHONY BAILEY/GMC PUBLICATIONS
3

3 Use a piece of scrap to form a fence against which the pocketed

component sits so when you tighten the screws, the pieces remain
flush on the outside. You can use conventional screws but they
should have a flat underside to the head so they don’t pull into the
wood too far. The Kreg has its own screws which use a long square-
tipped driver. It isn’t necessary to make pilot holes in the wood as
the screws have drill tips.
4 When you check the joint it will be perfectly flush and correctly
aligned. Very fast and predictable results are obtained. Kreg also
supply bevelled dowels or flush covers to tidy up the pocket holes.

76
DARTBOARD CABINET
Got a dartboard in the shed? Why not make a cabinet to house it in style

642
This great little project is just what you 130
90 22
need for the dartboard in your ultimate shed, 15
600
or if you have a dartboard anywhere else for
that matter! This version uses painted MDF,
but mahogany or a similar timber, such 5 20 1
12 18
as utile, would work well too, and survive 9 4
a slightly damp environment.
9 14 13
The basic frame is made from 15mm 105
684 610 640 684
MDF mitred at the corners. To make 11 6
assembling and clamping this basic 8 10
frame easy, you could use biscuit joints 16 15
perpendicular to the face of the mitres. 7 2
15 90 19 3 17
15 570 15
19
Making the cabinet 22
15

Before gluing up, you should cut your 130

backing piece of 9mm MDF and your SIDE ELEVATION SECTION

15 15
corkboard, ensuring both pieces are 570

exactly square, as this will help with SECTION

90
220
clamping the carcass square. You should
cut, glue and nail the quadrant on the inside 15
IMAGES BY SIMON RODWAY

faces of the basic frame before assembly, too. 642

With all these pieces in place, glue and 22

clamp the basic frame – biscuits and all –

together. 300 300

As this is drying, you can then

cut and frame the top and plinth. These
are both made of 22mm MDF, with an
ogee moulding routed along the edges.
Cut your doors to size from 15mm MDF. 640

Next, glue and screw the top and plinth to

the basic carcass when you are sure the glue
has gone off. You will then want to check
your doors against the cabinet for fit, and FRONT ELEVATION
SCALE 1 : 8
mark up and cut your butt hinges.
You could cut your hinges with a chisel
but on MDF it’s better to use a router 22

with a hinge cutter and hinge jig set-up.

With everything glued and dried,
you can then seal your MDF and paint it. YOU WILL NEED
Don’t forget to use blackboard paint
on the inside of the doors. Then you • 9, 15, 18 & 22mm MDF
can screw the chalk holder in place. • Corkboard
Finally, fit your board and you’re • 9mm quadrant
ready to play a game of darts! • 4 x 50mm butt hinges
• Turned knobs
• Biscuit jointer/router
• MDF sealer, gloss,
blackboard paint

77
 SPLAYED-LEG BENCH
Peter Brett’s project combines a simple Eastern European bench with his own
modern design interpretation to create a stylish piece of furniture

YOU WILL NEED

TOOLS:
• Guide-rail saw
• Sliding bevel
• Try square
• Pullsaw
• Fine tenon saw
• Mitre saw
• Straightedge
• Random orbital sander
• Miller dowels and drill
• Glue
• Trigger clamps
• Abrasives
• Danish oil

TIMBER:
• Ash or oak

CUTTING LIST:
• Seat: 1 x 1,295 x 290 x 22mm
• Legs: 2 x Ex 450 x 345 x 22mm
• Stretcher rail: 1 x 1,084 x 72 x 22mm

1
I was doing my occasional wander around the local antique shops,
when I spotted a long pine bench in a window. It was in a bad shape,
ridiculously priced – of course – and further enquiry revealed that it
was Eastern European in origin and was meant to be placed along a Timber preparation
wall in a long entrance hall, where visitors could sit and remove boots 1 The first version I made of this bench was in ash. This bench found a
and outdoor clothing. I liked the idea of splayed legs, but wasn’t too home rather quickly, so I made another in French oak. Once jointed,
keen on the supports – I wanted to ‘sleek up’ the idea for a more modern the seat needs to be squared off at the ends and made a consistent
idiom. Sharp angles, visual joints and simplicity were becoming part width. Used with care and with the proper support of trestles, a
of my mental design process. The bench consists of only four pieces guide-rail saw is the perfect tool for these jobs. The blade is so good
– the seat, two legs and a central support underneath, which supports that it leaves an almost planed finish. The seat needs to be perfectly
the seat and keeps the legs from splaying further apart than desired. flat and it is fine to sand it to a preliminary finish with 120-grit
Since many of my pieces have to fit in with the timber I have available, abrasive at this stage, as long as the edges do not get rounded. All
the resulting benches are in many ways determined by the sizes of the the edges need to be crisp for accurate measurement and fitting.
timber I have. The first one had a seat of 330 × 1,600mm. The legs Once this is done, two centrelines are marked on the width and
were roughly 450mm long, but with the splay angle, the seat was more the full length of the underside to serve as a guide for the support
like 430mm high – about standard seat height. stretcher and to help locate the legs.

78
 R20

220

75 216 200 200 216 75

290
1295

50

220

1084
80° 72

Angle stretcher rail ends at 438

10° to match leg angles Side elevation of bench
Scale 1 : 8

290
22 50 190 50

22

80°

22

Cut halving joint here to Template for leg

match joint in stretcher rail
Scale 1 : 4

449

Ø225

60 225 60
Section
Scale 1 : 4
79
 PHOTOGRAPHS BY PETER BRETT
2 3

4 5

the seat to line up with the centreline marked on the seat.

A mark on each shoulder of the leg will show where the top meets
it. Using this line, measure the width of the joint that will show
through the seat. I chose a joint size of 50mm long, being the
compromise between strength and visuals. Mark the thickness
of the seat along the angled cut at the top of each leg with a
marking gauge. It is not possible to do this on both sides of the
top edges because the angle precludes marking accurately, so
the lines will have to be transferred to the other surfaces using
a sliding bevel and try square.
4 With the leg firmly held on a bench or Workmate, the rail saw
6
can be lined up perfectly with the mark on the external side of
the bench legs. The cut with the saw has to be started in the
middle of the marked tenons and moved gently forward and
Legs backwards until the blade just touches the marks on each end.
2 The legs are the key components of this bench and they require most of the 5 The waste piece is then removed using a pullsaw held firmly
jointing work, hence they need to be perfectly edge jointed, flat and square against the established angle, because the circular saw will not
to start with. Once squared off, each leg should measure 380mm wide and cut right into the corners of the tenon joints.
450mm long. 6 The legs can now be finished off by cutting the parallel angle along
3 By trial and error I decided that the angle of the legs should be 10° off the the bottom and cutting out the arc that creates the ‘feet’ of the
vertical. By setting the rail saw at this 10° angle, you can use the saw and bench. An arc is not the only option – straight lines to create an
guide rail to trim the top of each leg very precisely. For the moment, leave inverted ‘V’ are also possible. I just liked the contrast of the angles
the bottom of each leg as it is, but it will be cut square later. Each leg needs and the arc in the finished piece. I also used the router to bevel
a centreline, marked from top to bottom. They are laid flat on the bottom of the edges of the arc and the feet for a bit of detail.

80
 7 8

9 10

Top Stretcher
7 Now that both legs have had the tenons cut, it is necessary to transfer 10 The support stretcher holds the splayed legs together and supports
the marks of these to the bench seat. To prevent sitters from upending the weight of people sitting on the seat. The stretcher should extend
the bench, you need to place the legs no more than about 250–280mm a way past the line of the legs at this point because it has not yet been
from each end. This way no more than half an adult bottom can be cut to length. Nevertheless, find the middle point of the length and
placed past the leg joint when seated! Mark the thickness of each mark it across one width with a try square. With the seat on a flat
leg with a pair of parallel lines across the seat. By now I have effectively surface, bottom upwards the stretcher can be lined up with the centre
chosen the face side by marking the lines. Using the sliding bevel, marks already made on the underside of the seat. There should be an
transfer the lines to each edge of the seat on both sides. The lines ‘overhang’ past each leg. The parallel lines marking the leg positions
should be exactly parallel and angle towards the end of the bench, are transferred to the stretcher and then extended across the width
not inwards. On the bench seat face, mark the length of the tenon with of the stretcher with a sliding bevel. Now an ‘overhang’ length needs
either a pencil or marking gauge. With the seat firmly held edge-up in to be decided. A 10° angle to match the leg angle is marked on each
a bench vice, the mortise is cut with a fine tenon saw. end and cut off with a mitre saw. The angles on each end need to be
8 Cut on the waste side of the line because any slight inaccuracies can the opposite of each other and not parallel. A slot that is half the
be pared away later with a sharp chisel. Repeat on the opposite side of width of the stretcher is cut on each side of the stretcher ends. The long
the seat. When the leg tenons are offered up to the slots in the top they edge of the stretcher is the correct side for the open ends of the slots.
should fit perfectly.
9 The other slot tenons are cut and, with the legs able to be fitted, it is
now time to fit the stretcher.

81
 11
14

15

12

13 16

11 The legs now need slots cut into them to accommodate the stretcher. 14 Sand all components with a random orbital sander before assembly.
The centrelines marked on the legs previously should help to mark 15 On a dry assembly locate the holes for the Miller dowels holding
in the slot positions. the stretcher support and drill. Next, glue the centre stretcher into
12 Accurate cutting makes for a strong and good-looking joint. place and hold with clamps.
16 When the glue has cured, hold the seat upside down on a bench
Assembly with the slot mortises clear of the benchtop, so that clamps can
13 The bench components can be dry-fitted to check for accuracy and be located. Apply glue to the tenons and then slide into place.
the bench should be able to seat a couple of people without even being Assembly of this bench needs to be carefully done. Trigger clamps
glued. Mark where the leg tenons overlap the seat and join the lines with adjustable jaws help to maintain pressure at the correct angle
to the feet with a straightedge. Cut off these lines with a bandsaw for the legs.
and plane them to a finish.

82
 19

17

18 20

17 Once clamped, check the angles with a sliding bevel and then 19 Danish oil dries well at around room temperature. After each coat,
clean off any excess glue. Wait for the first leg to cure before gluing sand the surface and the fine dust produced needs to be wiped off
on the second one because you don’t want any movement to before the next oiling. A final buffing with a sparingly applied quality
disturb the carefully cut angles. wax finish gives a subtle lustre to the piece. A safety note: Danish
oil is best applied with a cloth, but the cloth needs to be disposed
Finishing of in a sealed airless bag because of the dangers of spontaneous
18 The whole bench was given a thorough sanding with progressively combustion. Don’t just chuck the oily rag into the workshop bin
finer abrasives up to about 240 grit. Ash has a fairly open grain – dispose of it properly.
so it may be necessary to dampen it between sandings in order to 20 The finished bench will sit well in any room.
raise the grain. Danish oil is my finish of choice for domestic pieces,
but the downside is that a good Danish oil finish takes time to dry
and requires at least three coats. Thin the first coat with white
spirit; this will enable deeper penetration of the timber surface.

83
 TAKE A SEAT

As woodworkers, we are often focused on the construction process of making a bench.

However, as Kelly Lewis explains, there are many benefits to spending time sitting on benches

Often unnoticed but always accommodating of anyone who wishes on a bench for free – and for as long as needed – had many benefits for both
to stop and sit, the humble bench graces public parks, city squares, solitary reflection and social interaction.
and rural and coastal footpaths. A steadfast structure, it represents
many things to many people – a spot to rest for the weary, a place to Sense of belonging
watch the world go by for the curious, an area of reflection for the It revealed that bench users benefitted from the social opportunities offered
bereaved. In the aftermath of national lockdowns, it also became a by these shared spaces, whether they sat alone or with company. This is partly
symbol of unity as people emerged from confinement to be reunited because the very public nature of a bench encourages a sense of belonging
with friends and family in outdoor spaces that allowed for social and connection. They become meaningful points where likeminded people
distancing. But street furniture has long played a vital role in mental, can gather, and those who prefer anonymity can sit in the comfort of others
physical and social wellbeing, especially in urban areas. without any need to speak.
In particular, The Bench Project research report said: ‘Benches are a
Valuable benefits highly valued resource, particularly for people who may find themselves at
Its importance was highlighted in Manifesto for the Good Bench, the margins of society.’ These findings are reflected in the manifesto, which
a six-point proclamation that drew on the findings of a 2015 London-based stipulates that ‘sitting on benches enables a flexible and undemanding way
research study, The Bench Project, to promote the value and significance to enjoy public life’. It also suggests that there are key reasons why a good
of street furniture in urban neighbourhoods. Produced by the Universities bench can support happiness, not least because it epitomises an egalitarian
of Sheffield, Sheffield Hallam and Sussex, in collaboration with community society where everyone is welcome.
organisations, The Bench Project reported that the everyday act of sitting

84
 PHOTOGRAPHS BY SHUTTERSTOCK
Egalitarian ideals
Bristol-based Sam Wilmot, who has been reviewing and rating
benches on a dedicated Instagram account for three years, supports the
principles of the manifesto. ‘Benches add value to cities, the countryside
and the lives of people,’ he says. ‘Most seats in everyday life cost
something. A seat on the bus, on the tube, in a theatre or cinema all cost
money, likewise your sofa at home. The freedom to sit outdoors, taking
a moment to rest and watch the world go by, is invaluable.’
Sam started the project as a bit of fun when he was studying Modern
History at Swansea University in Wales. Now he has a worldwide
following, with fellow enthusiasts sharing guest reviews. Whether
from the US, Australia, India or Eastern Europe, all the reviews are
connected by a common interest and appreciation for the unassuming
bench. ‘One of my favourite guest reviews was from Lake Bled in
Slovenia,’ reveals Sam. ‘It’s just a lovely bench and a beautiful view.’
The ideal bench is about much more than a view, however. Sam
awards marks out of 10 to each one, based on design, material,
comfort and whether it has a plaque or dedication. Rest assured
Of the hundreds featured, those that rate highest are typically Arguably, however, a well-designed bench is one that encourages people
made from wood or timber (Sam’s preferred material, and of course, to spend longer outdoors in a safe place. It affords connection, belonging,
ours too!). A backrest, curvature in the seat and armrests are also reassurance and equality. A bench-stop is a place for everyone, regardless
praised for comfort. The ultimate no-no, it seems, is seat dividers, of age, mobility, gender, heritage or financial status. ‘Taking a moment
which are sometimes referred to as ‘hostile architecture’. to sit only costs us time, but in return, we get to pause, talk, engage with
While there are design, cosmetic and environmental factors that strangers, make decisions and to watch the world,’ says Sam. What’s clear
can add to a person’s enjoyment of a bench, the reviews on Sam’s is whether it’s used to rest, regale friends with stories, peoplewatch or sit
account suggest it all comes down to personal preference. Some will quietly and reflect, recoup and reflect, the humble bench is much more than
favour a lone wooden bench in a quiet spot that allows time for quiet just a part of the street furniture. It has cemented itself firmly in the hearts
contemplation, while others prefer to take a hi-tech seat from one of and lives of people the world over, even if just as a place to rest weary feet.
several that might be on offer in a busy city square. For many, a good
bench is one that is full of meaning, with memories literally Find out more at: the-bench-project.weebly.com
carved in the wood. You can find Sam Wilmot on Instagram @ratethisbench

85
 ROUTER TABLES
Walter Hall discusses the benefits of the router’s most useful workshop accessory

I sometimes wonder how we got along before the electric router was Features
invented. It is such a versatile tool and is often the first that comes to
mind when designing a new project. While freehand routing is a skill in SUPPORT
its own right, most jobs will require the use of guides or jigs to control As with all workshop machinery, adequate support must be provided
the movement of the machine and ensure accurate cuts. Perhaps the appropriate to the size of the machine and the intended usage. This
single most useful such accessory that can be added to a portable router may range from moulded plastic unitary construction devices for bench
is a router table which, while no substitute for the full-sized spindle top use with small routers, to heavy gauge steel frameworks suitable for
moulders found in professional workshops, converts the router into a use in an industrial environment. My home built table is mounted on a
fixed machine and gives the operator almost endless scope for a wide solid pine cabinet with a drawer for cutters and accessories.
range of woodworking techniques.
TABLE TOP
Basic principles The table top should be solid enough to support the weight of the
Router tables come in all shapes and sizes, from small bench top router and the work without bending or flexing in use. Proprietary
versions to large floor-standing designs capable of handling significant table tops are available in a wide range of materials from phenolic to
workpieces, and from simple shop-made devices to precision tables cast iron. Good choices for a shop-made table are MDF or plywood
fitted with fences and guides with micrometer-like accuracy. All, at least 25mm thick, preferably with a laminate surface so that the
however, have some basic design principles in common, consisting of a work will slide smoothly. I used an old kitchen worktop and added
flat table mounted on some form of support. The table will have a hole aluminium tracks for the mitre gauge and fence.
through which the cutter projects, which may be fitted with inserts of
various sizes to accommodate differing diameters of cutter. There is a INSERTS
method of holding the router in place inverted underneath the table by Most tables will be fitted with an insert, or inserts, that can be
means of screws, bolts or clamps. Fences, guides and hold downs, etc. changed to suit the size of bit in use and ensure that maximum support
are added as necessary, with provision for dust extraction. is provided for the work, as near as possible to the cut. Insert units can

86
 PHOTOGRAPHS BY WALTER HALL, UNLESS OTHERWISE STATED
1 2

3 4

1 Adequate support is essential 2 The table top must be solid enough for the weight of the
router 3 Inserts are changed to suit the size of the bit 4 The size and power of your router must
match the table 5 The bit can be raised and lowered in a variety of ways 6 Collet extensions
may be needed on thicker tables 7 A mitre gauge is useful for accurate joint cutting and
squaring ends

be purchased to fit into a homemade table MITRE GAUGE

and will often be pre-drilled to enable the A mitre gauge running in a slot in the table
fitting of a variety of different routers. top is a useful feature for the accurate cutting
of joints and squaring of the ends of work.
MATCHING UP
It is important to match the size and FENCE
power of your router to the table. While Many jobs will require the use of a fence.
larger machines will be capable of more This can be as simple as a straight-edged
ambitious projects, small bench top tables board clamped to the table top, or may be a
will only cope with less powerful routers. precision jig with infeed and outfeed fences
Make sure that you buy or build a table separately adjustable to within fractions of a
5
that will suit your machine and the scale millimetre. The fence will often incorporate
of the projects you propose to do. a dust extraction outlet and the facility to
attach stops and hold downs.
CUTTING HEIGHT
Raising and lowering of the bit to the HOLD DOWNS
6 correct cutting height can be achieved Hold downs and guides will not only
in a number of ways, ranging from using ensure that the work is held firmly in place,
the plunge mechanism or fine adjuster but will also help to keep fingers away from
of the router itself, to elaborate chain- the cutters.
driven mechanisms operated from above
the table. Some tables are fitted with GUARDS
hinges so that the table can be tilted for The fence design should include guarding
access to change cutters or adjust their of the cutter, and a guard should also be
height. Thicker tables may require collet provided above the cutter when the fence
7
extensions to be fitted for the full depth is not in use.
of cut to be achieved.

87
 PHOTOGRAPH BY ANTHONY BAILEY/GMC PUBLICATIONS
8 9 10

11 12 13

14 15 16
8 A fence will be needed for most jobs on the router 9 Hold downs keep your work in place and your fingers safe 10 The cutter will need a guard
11 Extraction is essential for dealing with the large volumes of dust 12 A lead-in pin is used when the fence is not in use 13 An NVR switch should be
easy to access when the router table is in use 14 Most routers have a spindle lock button 15 Always fit the closest ring size 16 There are proper depth
gauges as well as the square shown here

EXTRACTION Working safely and getting

Extraction is important, as large volumes of waste are produced both the best from your router
as dust and chippings. This may be built into the fence, but must also A short article such as this can only begin to cover the huge range
be provided for in situations when the fence is not used. of functions of which a table-mounted router is capable. I will cover
the main health and safety considerations and in doing so some of
LEAD-IN PIN the many possibilities will become apparent.
A lead-in pin will be provided and should always be used to start
off work when the fence is not in use. • Be sure to tighten the cutter firmly into the collet. Serious injury
can result if the cutter becomes loose and parts company with the
NVR machine at 20,000rpm.
Switching on simple tables may be through the machine’s own switch,
but it is preferable to have an NVR switch fitted that can be accessed • Using the most appropriately sized insert for the chosen cutter will
easily when the machine and table are in use. It may be necessary to minimise the gap around the cutter and reduce the risk of small
find a way of holding down the switch on routers that do not have a workpieces becoming trapped between the cutter and table. It will
‘lock on’ facility. also help prevent snipe and other inaccuracies as the work will be
supported close to the cutter.

88
 17 18

19 20

21 22 23
17 Bearing-guided cutters and a straightedge make for fast set-up 18 Homemade fingerboards will hold work safely without ‘chatter’ 19 A vertical hold
down is clamped to the fence 20 Fit extraction wherever possible to remove dust as you work 21 A mitre fence improves safety and will make work
accurate 22 A lead-in pin gives vital support to shaped workpieces 23 A guard over the cutter is important for safe working

• Set the height of the cutter with the machine switched off. Never cutter when the fence is not in use. Do not under any circumstances
make adjustments when the router is running. Height can be set brush sawdust and shavings from the table with your hand when the
using a depth gauge or an adjustable square. Make test cuts on a router is running.
piece of scrap to check the setting.
• Use a pushstick or the mitre gauge whenever possible to minimise
• A straightedge can be used to align bearing-guided cutters with the risk of fingers getting too close to the cutter. Feed the work
the fence. steadily past the cutter to avoid the scorching of the finished edge.

• Use the fence to support the work whenever possible, and hold it in • When using the router table without the fence, for example when
place with finger boards or similar holding devices. moulding the edges of curved or shaped components, always install
the lead-in pin in order to start the cut safely without catching.
• Use hold downs on the fence to keep the work held firmly against the
router table. • When the fence is not being used, a guard should be fitted over
the cutter and hands kept well clear, by at least 75–100mm.
• Use extraction at all times. A good fence will have an extraction port Never wear gloves when using a router table, or indeed any other
fitted and an extractor hose can be clamped to the table near to the woodworking machine.

89
 UNICORN BOOKENDS

Fred and Julie Byrne use their scrollsaw to make these magical bookends

These sweet unicorn bookends would make a charming addition to

any child’s bookshelf. And they can be easily made on the scrollsaw
using the wood of your choice.

Making the unicorns

1 Make four copies of the unicorn pattern – three to cut into
sections, the fourth as a reference. We used the first cut-out
unicorn as a template for the second by simply flipping the
pieces over onto a wood blank and then tracing around them.
Alternatively, you could just make three reversed patterns.
Where the grain directions of several parts are the same, cut
the parts as a section – lay out the sections onto your wood
aligning the directional arrows with the grain.
1

90
YOU WILL NEED
• Scrollsaw – No.5 & No.2 blades
• Pillar drill – 5 & 22mm drill bits
• Disc sander
• Drum sander
• Pattern – 4 copies (plus 3 reversed – optional)
• Quantity of 19mm wood of choice (unicorns)
• Pine – 100 x 800mm (bookend frame)
• Small quantity of 6mm plywood
(unicorn backing)
• Small quantity of 3mm obeche or ply
(plugs for base – optional)
• 5mm dowel
• Pencil, steel ruler & square
• Circle template
• 180 & 240 grit sandpaper
• Sanding block
• Masking tape
• Glue stick/spray adhesive
• Wood glue
• Clamps
• Acrylic paints – pink, white & brown
• Acrylic slow dry medium
• Acrylic matt & gloss varnish
• Artist brushes
• Clear wax polish
• Soft cloth & buffing brush

91
 PHOTOGRAPHS BY FRED & JULIE BYRNE
2 5

3 6

Cutting out
2 Set the scrollsaw with a No.5 blade – check that the table is
square to the blade with a small square and then cut around each
section, sand away any burr from the underside so the pieces lie
nice and flat.
3 Check the cutting line of the adjoining pieces prior to cutting the
8
next piece.
4 Continue in this way until all the pieces are cut out.
5 Once all the sections of the unicorn have been cut, mark the
underside of each piece with a letter A for identification.
6 Then place the cut pieces upside down onto your wood blank,
align with the grain, and carefully trace around each section.
7 Cut out as before and mark the undersides with a B.
8 Now that all the sections are cut out, change to a smaller No.2
blade before cutting out the pieces within the sections – this will
keep the gap between the pieces to a minimum.
9
9 As you continue to cut out the pieces of the A unicorn …

92
 10

11

13

12

14
10 … you can use these pieces as a template for the B unicorn.
11 Cut out the small eye and nostril pieces before removing the head
from the neck.

Sanding and shaping

12 First, mark all the places on the unicorn where one piece
meets another.
13 Remove as much of the pattern as you can, the remainder will go
in the sanding process.
14 Use the disc sander to sand down all the pieces that appear furthest
away i.e. the small piece hind leg, the outer section of the tail, one
of the front legs and horn – these can all be lowered down by 5mm,
sanding wood from the top of the pieces to keep everything square.
15
15 Mark the height of these lowered pieces onto all the adjoining pieces.

93
 16

19

17

20

18

21
16 Next, lower the mane by 3mm …
17 ... then lower the middle section of the body and remaining tail
piece by 3mm, continually marking the height of all adjacent pieces
as you go. Lower the neck down by approximately 2mm, making
sure that it remains slightly higher than the middle section and
the mane. Sand the head at an angle so that the jaw line is a little
higher than the neck and taper the horn down more towards the
tip. Always be careful not to sand any piece lower than your
height marks.

Sanding using a drum sander

18 Now you can sand with the grain of the wood to smooth out the
22
scratches and round over all the outer edges.
19 As you follow the contours of the unicorn, you can really see it
taking shape.
20 Hand sand all the pieces smooth, starting with 180- and then Making the backing
240-grit sandpaper. 22 Once both unicorns are sanded, they are ready for the
21 Use a small needle file to add detail to the horn. plywood backing.

94
 26

23

24 27

25

23 Place them onto the 6mm plywood and then carefully trace around
28
the outer edge. Remove one piece at a time and continue to trace
around each of the remaining pieces, making a sort of map of
the pieces.
24 Using the same No.2 blade, cut out the unicorn backings, sand the 27 All the colours are mixed with a slow dry medium so that they could
edges if needed to remove the burr, then apply a coat of matt varnish easily be wiped off to reveal the grain of the wood. When dry, lightly
to the reverse side and leave to one side to dry. nib the pieces as the colouring process may have slightly raised the
grain, apply a coat of acrylic matt varnish, and again allow to dry.
Colouring and finishing Give a final nib down and then apply a coat of matt varnish
25 Place all the pieces of both unicorns into groups of colour in if wished – we used a high gloss varnish for the eyes to give them
preparation for painting. a nice shine.
26 We used white for the mane and tail, and then coloured most of the
unicorn in a pale pink and then added a little more red into the pink Gluing up
mix to make a slightly darker shade for the shadowy pieces on the 28 Position the pieces of both unicorns in order of gluing. Next starting
legs and neck. Colour the hooves, nostrils and the round part of the with the head and working down through the body, apply glue to
eyes brown. each piece and press firmly in place on the backing, and allow to dry.

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 29 33

30 34

31

35

the base section and secure with masking tape. Fit the pillar drill
with a 5mm drill bit and drill the two support holes to a depth of
10mm – a piece of tape wrapped around the drill bit helps to take
out the guess work.
32 To make the bookends really functional, you will need to add
weights to the underside of the base – do this by drilling two 22mm
holes to the depth of 10mm, or to a depth to suit the washers you
have, plus a 3mm wood plug. Sand the pieces with a sanding block,
32
going through the grades of paper and then apply glue to the finger
joints. Next, secure with masking tape and allow to dry.
33 Using a circle template, mark out the 22mm holes in a small piece of
Bookend frame 3mm obeche and then carefully cut out the circles and check the fit.
29 Lengths of 19 x 100mm pine are used for the main upright and base 34 Using plenty of glue, place washers into each hole and then the 3mm
pieces, which are held together with simple finger joints. Referring obeche plug.
to the pattern, measure out the finger joints at the correct intervals 35 Clamp to secure and allow to dry. Apply a coat of matt varnish
along the width of pine. With the scrollsaw fitted with a No.5 blade, and when dry, lightly nib down with a fine 220 grade of sandpaper.
cut the pieces through to the correct length. Mark the finger joints Lastly, cut four 15mm lengths from the 5mm dowel rod and then
to be removed – three from the base and two from the upright. apply glue to the holes at the bottom of the rear hoof and tail piece,
30 Cut out the pieces … and into the base section. Push each unicorn firmly into position
31 … and then check the fit and squareness. Next, lay the pattern onto and allow to dry.

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MOULDING PROFILES
Anthony Bailey looks at different types of panel edgings

Choosing a moulding can be difficult, so here is a simple guide to the

shapes available and the best places for them. The names used for each
type vary slightly according to manufacturer, but they follow certain
moulding styles.
Another point to consider is the style of the panel that will go in

IMAGES BY SIMON RODWAY

the middle. It can be flat, painted or veneered MDF, alternatively you
might want to spend more time and money making solid raised panels.
These will need a cutter that goes with the frame moulding. It makes
sense to invest in say, two different styles so you can ring the changes
between jobs without spending too much on cutters.

BEVEL OVOLO
The simplest style which suits a very straightforward design. It is The ovolo is simply a roundover with a small step down and possibly
particularly good in a kitchen because it is easy to wipe clean. When one at the outermost edge too. It works well with a Roman arch top
assembling the machined joint, the judicious use of a sharp knife can door style, and looks good in most situations.
help give a neat straight intersection where they meet.

OGEE CLASSICAL
This is a swept in/out profile, easy to keep clean, and its appearance This covers those types which feature two different profiles, i.e. cove
works well in most settings, both traditional and modern. It’s best and roundover, broken in the middle by a small step. These are suitable
teamed with a similar style of panel cutter if you want a raised for use in lounges and bedrooms, for example, as they have fussier
panel. It looks good on arched top doors with matching panels. detail and are less easy to clean. Two different types exist: roundover
at the outer edge, step, then cove; or the reverse arrangement.

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 BI-FOLD WINDOW
SHUTTERS Matt Long builds bespoke shutters
for these very tall and unusual
sash windows

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SPLIT SECTION
45 246 45

6
21
263

Stile Rail 6mm MDF Stile

Window reveal Profiled stile

lining strip
Scribed rail

Stiles
Hinges
Stile

Top rails
MDF panel

Stile

Stile

Bottom rail

Bottom rails

The setting is a spacious lounge in a flat in a Georgian building.

There are no shutters present in the deep window reveals so for
privacy, and to keep the sun out, a full set of shutters are required for
two side-by-side windows. The shutters needed to be lightweight
as the windows are so large, and the construction kept simple as there
was a tight deadline for making them. Because the windows are so
tall – around 3m – that a top and bottom set of shutters was made
1
for each window, which also gives added flexibility when controlling
the light entering the room. As they are to be painted white to match
the existing woodwork, the panels can be stable 6mm MDF with
softwood framing as surrounds. The panels can be fully glued in place Making the shutters
as the panels won’t shrink. The spaces within the reveals were 1 After making a cutting list and buying your timber – I used
carefully measured and allowances made for lining strips at the sides prepared timber where possible – the first job is to crosscut the
for the shutters to hang off, and a limited amount of clearance shutter stiles overlength. The horns left over after glue-up are
above and below the shutters. later cut away.

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 PHOTOGRAPHS BY ANTHONY BAILEY/GMC PUBLICATIONS
2 3

4 5

6 7

2 To make the correct widths of rails, we re-used wide boards and 5 The cutter set-up method varies depending on whether you have
ripped them down, obtaining one top and one bottom rail width a one- or two-part cutter set. The instructions should make the
out of each. They were then thicknessed to final size, taking a operation method clear. For profiling, the fence doesn’t need to be
pre-existing round nosing off in the process. parallel to the table or mitre fence slot as would be the case with
3 To work out the rail lengths, check the scribing allowance on the scribing. However, you do need to check the bearing is flush with
profile and scribe cutter set you intend using. It should be 19mm the fence front face.
overall but can vary slightly. Add this amount to the rails after 6 Once the cutter and fence are set, fit a sub-fence. The purpose
removing the stile widths in your calculations. of this is to reduce the cut depth so the first pass is a scoring cut.
4 The panels can now be cut – these are just 1mm less in each This will prevent breakout along the slot edges. It will also be
direction than the recess allowed by the assembled frames. used during scribing passes.
This ensures the frames are fully supported by the panels 7 Having machined all profile cuts, remove the sub-fence and do
when glue is applied all round overall but can vary slightly. a second pass at full cut depth. All the stiles and rails are done in
Add this amount to the rails after removing the stile widths this way...
in your calculations.

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 8 9

10 11

12 13

8 Since the profiles have been done before the scribe cuts, it is 11 Once the glue has gone off, the protruding horns can be nipped
necessary to support the rails and profiles when cutting the off on the crosscut saw, flush with the frame ends. The frames
ends. At one end, the flat edge merely needs support. However, should have been assembled perfectly square so no other trimming
at the other the moulded profile will be facing backwards and will be required.
will breakout very easily. To counter this, use a piece of offcut with 12 Inevitably, there will be slight surface differences, in which case
a scribe cut on the long grain edge. This then plugs into the profile careful belt sanding will sort it out, followed by general orbital
and gives complete anti-breakout support. sanding and fine hand sanding of the moulded inner frame edges.
9 Before actually doing the scribing cuts, stack all the components 13 You need a hinge jig for routing the hinge recesses – in this job
in their correct attitude so the faces to be scribed are upwards there are no less than 48 hinges to install. Use a piece of 6mm birch
and marked with a cross to avoid errors. This is the reverse face ply or MDF large enough for the router to sit on. Mark out the
to that for profiling. hinge area accurately in the middle and allow it to overrun to what
10 Do a test scribe cut and check the fit, and make sure the meeting will be the outside edge. Now choose the cutter and guidebush you
surfaces are flush to each other. Then it’s time to glue-up and clamp wish to use. Subtract the cutter diameter from that of the guide
all the panels you have made, checking the dimensions are correct bush, divide the resulting amount, and mark it around the drawn
after each panel is clamped, and that the panels are square. hinge lines. In retrospect I could have made a jig that machines each
Re-adjust the clamps if necessary. recess pair together for the bi-fold pairs, thus saving time and
simplifying accuracy.

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 17

14

15

18

16 19

14 Use a 6.4mm straight cutter and fence to accurately machine but deep enough for the hinge leaf to sit flush in the recess.
out the rectangular shape. It will not need any further smoothing 18 The ends are squared with a sharp chisel so the hinge fits in.
if carefully done. Hopefully, if the jig is the right size, the hinge should fit
15 The last requirement is a narrow batten pinned underneath straightaway. The jig can be enlarged if needs be, but it can’t be
in the correct position so when the jig is clamped on the job, made smaller – in this case make a new one.
the hinge knuckle will be half buried in the machined recess. 19 Make sure all surfaces are fully sanded, including breaking the
16 To set the correct recess depth, sit the router on the jig and press edges. Undercoat carefully, making sure the brushstrokes are neat
the stationary cutter on the frame edge. Now insert the opened and there is no pooling of paint around the inner mouldings.
out hinge under the depth stop so that the area nearest the hinge Once the gloss work is done and dried, fit all the hinges in place.
is under the stop, press it down and lock it. This should give 20 To hang the shutters, I first assembled them in the workshop,
the correct depth of cut. before fitting them to a lining strip I had first screwed to
17 The cut is not particularly visible here as the cut is so shallow the window reveal.

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20

103
 ARTS & CRAFTS-STYLE
BOOKCASE – PART 1
Antonio Medica and Valentina Panichi use modern
techniques and tools to make a classic piece of furniture

It has now been more than 20 years since we decided to furnish

our house making as much as possible with our own hands.
It may have been the financial constraints of a couple of newly
married former students who had recently started working,
but there was also the desire to pursue a hobby together.
In order to replace the existing bookcase with one in the
Art & Crafts style, consistent with the rest of the furniture
we had already built for our bedroom, we designed and built
the bookcase that we will describe here and in the next issue
of WWC.

YOU WILL NEED

EQUIPMENT: MATERIALS:
• Bandsaw • Solid oak: 60mm thick (frame side)
• Tablesaw and 30mm thick (doors, edges)
• Mitre saw • Solid beech: 40mm thick (drawer sides)
• Planer • Pine lamellar: 18mm thick (chest of drawers)
• Mortiser • 10/10 oak veneer (shelf veneer, infill)
• WoodRat • Poplar plywood: 18mm thick (infill)
• Circular saw • Birch plywood: 14mm thick
with guide (shelves, chest of drawers sides);
• Vacuum pump 4mm thick (drawer bottom)
and bag-press • Oak melamine plywood: 5mm thick
• Router table (bookcase bottom)
• Biscuit joiner • Synthetic glass: 5mm thick (sliding doors)
• Jigsaw
• Hand tools HARDWARE:
• Sander • Handles
• Airbrush • Sliding system for doors
(trolleys and relative rails)
• Racks and relative shelf hooks
• Water sealers
• Colourless water-based finishing paint

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 Top front
60 x 950 x 17mm

Shelf
17 x 265 x 950mm

Side
55 x 40 x 2,000mm

Cross rail
15 x 250 x 35mm

Door cross rail

22 x 370 x 70mm

Door upright
22 x 510 x 1,513mm

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 3

PHOTOGRAPHS BY VALENTINA PANICHI & ANTONIO MEDICA/LEGNO

2 5 7
1 The pre-existing bookcase had been used for years but was completely unrelated to the rest of the furniture that we had already built 2 Working
with solid timber can be tricky but extra time and effort upfront can prevent many problems later on 3 For cutting the board to length, we used the
circular saw run along an aluminium straightedge fixed with clamps 4 A blade with fewer teeth is more suitable for making cuts along the grain on
heavy thicknesses 5 We began planing by flattening the wider face at right angles 6 We checked the squaring of the two faces on several points before
thicknessing the other faces 7 & 8 The pillar drill is equipped with an accessory to perform mortising with a square bit/chisel. The final mortise,
obtained with two series of square holes placed side by side, will be as wide as the groove for the infill

The project ‘poetic licences’. As the craftsmen and the customers in this case were
Building this bookcase gave us the opportunity to review and employ the same people it was easy to agree on everything. During the making
almost all the woodworking techniques that we have learned over of the project some small changes were made to the initial design and
the years; as we said to ourselves several times, ‘with this job we have some small mistakes were made that we intend to share with those who
given ourselves a cruise on a training ship!’ So before describing all the will have the patience and the desire to read through it all.
processes we used, it is appropriate to make some clarifications about
the project itself. The design
First of all, we would like to reassure those who do not have a The bookcase had to meet a series of requirements, including minimal
complete set of tools that this piece can also be made with much more footprint (that led to the creation of the sliding doors), functionality
limited equipment. Because this is a ‘training ship’ we will suggest (storage of books, magazines and documents) and integration with the
alternative techniques and tools throughout. We would also like to style of the other furniture in the room (hence the choice for the Arts
reassure the purists who believe in building things faithful to style, & Crafts look). With these keywords we began our web search for
that in this case it was our interest to ensure aesthetic consistency but, inspiration, looking to take a cue from similar bookshelves and get
for reasons of time and practicality, we preferred to make use of many a rough idea of what our own design would be.

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 8 10

9 11
9 A few light strokes with a hand chisel allow you to square out the rounded corners caused by the router cutter 10 If you work with precision on the
bandsaw you can make the cuts for all the tenons for all the rails, moving the parallel fence only at the end of each series. It is advisable to leave the
tenons long (by a few tenths) in order to adjust them by hand in the corresponding mortise 11 The tenons made on the bandsaw were adjusted to fit
in their corresponding mortises with a shoulder plane and chisel. The parts were then numbered so that each tenon corresponded to its own mortise.

We then thought about how to integrate the project with the rest of that is best suited to work on rough and dirty surfaces), clean any
the room. We used our computer to design the bookcase, having good dirt off the surface of the wood and try to highlight any defects that
familiarity with 2D CAD and a rudimentary knowledge of SketchUp may affect your choice of subsequent cuts.
which, thanks to its 3D, renders the idea of proportions very well. 5. Check the tops of the boards to make sure there are no steel clips
The design required some specialist hardware that we needed stuck to counteract their cracking; these clips are dangerous when
to purchase, in particular the sliding system for the doors which hit by the blades of power tools.
requires compliance with certain measures. 6. Trace the various pieces with a straightedge or a wooden ruler
Once we had settled on the design, we could begin making it. giving a margin for the length (at least 50mm which can be increased
We were sure there would be some changes as we worked but that if defects or cracks are visible at the end of the board), and for the
is the beauty of making your own furniture! width (not less than 5mm).
7. Boards are seldom perfectly straight; curves and arches must be
Tips for working with solid wood identified immediately especially if they affect the longer pieces.
1. The work begins at the sawmill! Choosing a material with few In order to avoid excessive planing to eliminate them, with
defects and straight fibre is important when making components consequent loss of material, it is advisable to choose the best
that need to be stable. boards for those pieces.
2. We always calculate at least 20% loss of material during subsequent 8. If you do not have adequate space and machinery, it is best to start
processing and therefore it is always better to get a little in excess. working with portable tools. In this case it is preferable to perform
If you go back to buy more later, it will be difficult to find wood the cutting with the jigsaw rather than with the circular saw because
from the same plant so you run the risk of having differences in the bending of the pieces at the end of the cut can choke the blade
colour and stability. and cause dangerous kickbacks.
3. Before you start processing, let the wood settle in your workshop. 9. Measure twice, cut once – always!
Remember that wood changes in size and shape with changes in 10. Once the cuts have been made, it is advisable to wait at least 24
air humidity and it is certainly better that these changes occur hours before moving on to planing. This is because time must be
before and not during construction. given for the internal tensions to rebalance themselves.
4. With a brush and a ‘coarse’ plane (a rough or non-finishing plane

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 12

13 14
12 Here you can see the cuts made on the crosspieces with the mitre saw 13 The oak veneer was joined with paper tape in order to obtain a piece with
a symmetrical design (two consecutive pieces of the veneer pack). The veneer protruded 10–15mm from the entire perimeter of the plywood panel. This
is the right amount to avoid accidentally uncovering the plywood and to prevent any breakage of the veneer edges during pressing 14 The sizes of the
pieces were 250 x 950mm, so the atmospheric pressure was exerting a weight of about 1,900kg

Making the uprights and shelves two faces on several points of the entire length (beginning, centre and
The sides of the bookcase consist of a solid wood frame inside which end), we could then move on to thicknessing the other two remaining
two oak veneered plywood claddings are placed. Each side measures faces to obtain the final 40 x 56mm section.
2,000 x 340 x 40mm and has the first intersection at the bottom at a Once the pieces of the two frames had been brought to the right
distance of 120mm from the ground in order to use two small legs. section, we moved on to cutting the groove that will house the infill
The infill panels are 20mm thick (18mm of plywood plus 2mm of panels. We did this with a 20mm diameter cutter cutting 12mm
veneer) and give solidity to the structure, which is absolutely necessary deep. If you follow the same method, it is preferable to cut the groove
since the shelf support racks will be fixed to them. in several steps, especially if a 6mm shank cutter is used. In any case,
The construction of the two uprights began with making the doing more light passes gives you more control and a cleaner cut
oak pieces, starting from a rough board purchased in the sawmill without tearing.
measuring 3,400 x 400 x 60mm (for about 80kg of weight!).
After cutting the board to a length slightly greater than required Groove for the cladding
(2,050mm instead of 2,000mm), the uprights and crosspieces of the The router we used to make this groove was equipped with two
two sides of the bookcase were cut. The circular saw was run along an side fences for easier control. The channel was not cut in the centre
aluminium straightedge fixed with clamps to trim the elements with of the piece but at 8mm from what would later be the internal face,
an excess width of about 45mm. A blade with a few teeth is more to bring the rack of the shelf support system almost flush with the
suitable for making cuts along the grain on heavy thicknesses. uprights. Off-centre routing, not being full length, determines a left
We began planing by flattening the wider face (which in this case and a right piece for each frame. Similarly, the crosspieces, especially
was slightly concave) and then moving on to the face at right angles to the central one which requires two grooves, will have an internal
it, using the piece just planed as a check on the fence, which must be at and an external side.
a perfect right angles to the plane. Having checked the squaring of the Before mounting the two sides it was necessary to prepare the infill

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 15

16
15 Each veneered piece was trimmed by first removing the excess on the ends
with the cutter (cut across the fibre) and then those along the grain. With the
planer and a wooden pad that supports the 180-grit sandpaper we could even
out along the entire perimeter 16 The filler was made from the powder of the
same wood, recovered from the bag of the random orbital sander, mixed with
rapid vinyl glue. Using a stainless-steel spatula avoids staining the oak, rich in 17
tannins, with ferrous tools 17 After checking that the joints fit together and
everything was square, the excess vinyl glue was removed with a damp sponge.
The clamps were tightened just enough – excessive pressure would cause the
frame to bend 18 We used a series of planes to smooth the joins and finish
the frame 19 The two sides of the shelves were squared and brought to the
same size with the portable circular saw. If your construction has gone well,
the only wood that will be removed are the protrusions of the two uprights
while the crosspiece will be just ‘caressed’ by the blade

panels. They consist of a heart of 18mm poplar plywood veneered with

18
1mm oak veneer. We made the veneer using the vacuum technique,
which was also later used to make the shelves, the top of the bookcase
and the top of the chest of drawers.

Safety precautions
when vacuum veneering
1. Always veneer both sides of the piece to balance the gluing and
avoid the pieces warping.
2. Use a sufficient amount of glue but without excess because it could
ooze from the veneer with the action of the vacuum.
3. Place the veneer on a perfectly flat surface otherwise any concavity
or convexity will be irreversibly transmitted to the workpiece.
4. Remove the piece from the bag after the initial glue has set or a little
further then let it dry flat, perhaps fixing it with clamps so as not to
lose the flatness.
5. Protect the bag from sharp edges of the workpiece by using sponges
19
or other soft, porous material.

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 20

22

21 23
20 The edging of the shelves was achieved using contact glue, a simple strip of veneer was applied to cover the rear edge of the panel; the strip must
be prepared with an excess of a couple of centimetres on the length and 5mm on the width. After trimming the excess parts of the edge, the same
method and the same material were used to cover the two sides 21 The pieces to edge the top were made with the bandsaw and the plane: an essential
combination when working with solid wood 22 To regularise the edge of the table before the next cutting with the bandsaw, we used an old plane
instead of the motor planer 23 & 24 Once the piece glued to the rear edge of the top has been trimmed, the frame was complete in the remaining three
sections. Biscuits were used to align and strengthen the joint

The veneers all that remained was to finish the surfaces with a random
The veneer was added to the various pieces of plywood that were orbital sander equipped with 120- and then 220-grit abrasives.
already cut to size, however some people prefer to veneer larger pieces Any imperfections were easily filled with a mixture of sanding
and then cut them to size later. In this way you avoid trimming the powder and vinyl glue.
veneer at the edges of the panel and you are more relaxed in the pressing The infill panels did not need edging as they were going to be
phase because the veneer is always supported and does not risk being inserted in the grooves of the respective frames. We could now proceed
broken by the crushing of the bag. In our case, the shelves were being with the assembly. The dry test gave a positive result and all the joints
reused from a previous piece, so we could not work in this way. closed correctly, so we applied the glue (ordinary vinyl) and tightened
Each sheet of veneer was trimmed to straighten the edges, and the entire frame with the appropriate clamps.
then joined to the next with paper tape, which is more common, Once the glue had dried, we could do the last finishing operations.
although more expensive, than the specific tape for veneer. The glue The solid wood parts of each side were finished with planes and
we used is a classic quick-setting vinyl, applied in a thin layer with scrapers. Obviously, this finishing could also be carried out exclusively
a short-haired roller. with the sander, preferably a random orbital, but with planes it is quite
Once the gluing was complete and the veneers had been trimmed, another thing and it also produces less dust.

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 26

24

25 27
25 We smoothed out the various unevenness by hand, using the same planes as before, leaving the final finishing task to the sander with 120 and 220
abrasives 26 & 27 The upper shelf of the chest of drawers is edged with oak pieces through a series of No.10 biscuits. If you use traditional clamps to
tighten the gluing, it is better to add transverse pieces to keep the whole flat, in our case aluminium boxes insulated with packaging film. The shelf is still
oversized and that will be adjusted later together with the two pine frames

The last thing that remained to be done was to eliminate the excess oak even in the sections where the fibre changes direction suddenly.
length left on the uprights (also called ‘ears’) with the squaring of the Although it is a tool that requires more time and attention to be
two sides which will also be brought to the same size. The best method fine-tuned, its use reduces the need for sanders and the dust that
is the portable circular saw equipped with its guide rail or alternatively inevitably settles on things and in the lungs.
guided with a ruler fixed to the side with the clamps.
Completing the shelves and the top
Which planes to use for finishing The shelves were veneered in the same way as the side panels. After
We used a series of hand tools to smooth out the joined points trimming the veneer around the perimeter like the plywood panel,
and finish the frame. The plane is useful for eliminating any glue three of the four edges were covered using the same veneer. We used
residues and for levelling the joins between crosspieces and uprights. contact glue which was really the most practical in this case as it allows
For the last task, you may prefer the No.62 plane, which, thanks to you to join the two parts without the use of clamps and after a couple
the greater mass and the low cutting angle, works faster. To eliminate of hours you can move on to finishing. For the front edge of each shelf,
the irregularities left by the electric planer, i.e. those slight undulations we preferred to use a 15mm-thick oak strip. In addition to stiffening
caused by the rotation of the knives, an intermediate-sized finishing the entire shelf, it gives strength to the edge that will be more subject
plane is normally used. In our case, we also used the scraper plane, to wear (think of the rubbing when a book is removed from its place).
which proved to be exceptional for smoothing the surface of the If you think that your shelf will need to support more than a few books,

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 28 29

30 31
28 The three shelves were brought to the same width with the saw bench and then to the same length with a circular saw 29 Using paper tape to
glue the lining strip is a quicker solution than using clamps and just as effective 30 & 31 The applied strip is a couple of millimetres wider and longer
than the edge and when the glue is dry it can be levelled with a plane. Having two planes means you can set one for an aggressive cut, with which to
remove the bulk, and use the other for the last finishing steps

you could consider adding a second strip on the back edge. To fix the consisting of a veneered top, placed at the top, and two underlying
strip we decided to use vinyl glue, as it is much more tenacious and pine frames, frontally edged in oak, on which the drawers slide.
rigid than the contact one. Six small panels act as uprights and define the vertical separation
To equalise both types of edging, we used a small trimmer and a between these three elements. The vertical components rest on the
plane, finishing the work with a final pass of the random orbital sander horizontal ones and not vice versa; breaking each upright in two
to remove any residual glue or imperfections. Having already filled and seemed to us the simplest and safest way to ensure parallelism between
sanded previously, just a light coat with 220 grit was enough and we the horizontal elements and to obtain four identical and perfectly
could then repeat this work on the top. square compartments. All the joints were made with No.20 biscuits,
For practical reasons, the bookcase is designed so it can be a solution that is not always appreciated by cabinetmaking purists but
completely disassembled, which is why the top plays an important role is both practical and functional.
in giving solidity to the entire structure. It protrudes by 25mm on the The construction was relatively simple but required extreme
front and on both sides and to make sure that when looking all around precision because the structure must form perfectly square
you can see only the solid wood, the veneered panel is edged on the compartments; in addition to being required for the smooth running
three visible sides with oak pieces 65mm wide and 16mm thick. of the drawers, they are essential to leave uniform joints as the drawers
The meeting of the sides with the top takes place on this frame; on will close flush.
the back, a narrower strip is provided, 40mm is sufficient to create the The first step was to make the upper shelf and the two frames a
right support for the back and to make the top reach the necessary few millimetres larger than required and then bring them to size
width. The choice of this construction solution, thanks also to the 45° together in order to have all three horizontal components perfectly
front junctions of the frame, completely hides the head of the wood. equal and squared.
Two oak pieces were glued to the plywood shelf that we had
The chest of drawers previously veneered, on the front and back, in order to reach the final
Next we created the chest of drawers to complete the lower part of width of the shelf of 340mm. The pieces are 55mm wide, a size that
the cabinet. It is a separate structure enclosed between the uprights, allows the sliding rails of the doors placed to close the upper part of

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 32 33

34 35
32 The uprights are not very thick and there is a risk that cutting the slots for the biscuits will take place very close to the lower edge, even with the
folding fence of the machine lowered to the minimum size. Inserting a shim (a Plexiglas plate, as shown here) under the base of the piece solves the
problem 33 When cutting the slots on the frame, care was taken to correctly centre the joints on the central crosspiece so that they are parallel and
equidistant from those milled on the sides: with a precision ruler you can measure where to position the wooden guide on which to stop 34 & 35 The
lower part of the chest of drawers was glued, we checked that everything was square and when the glue had set, proceeded with the remaining part.
Looking at the left upright here, you can see the holes that will allow the assembly of the chest of drawers in the bookcase. You can also see how the side
uprights are set back with respect to the front line. In this way the false fronts of the drawers can reach the sides of the bookcase hiding the rear upright

the bookcase to be recessed and the junction between the veneer Since the bookcase needed the capacity to be dismantled, the chest of
and the edging hidden. drawers is fixed to its sides by means of M6 screws and threaded bushes
To make the two frames we started with pieces obtained from (to be inserted in the uprights of the bookcase). It is advisable to drill
an 18mm-thick pine laminated panel. We chose plywood not for the uprights of the chest of drawers (two holes per piece, one front and
technical reasons but simply because it is often cheaper to start from one rear) before its assembly, to be able to work more comfortably and
a semi-finished piece than from a raw pine board, especially when with greater precision. We then cut the slots for the biscuits, work that
there are no leftover pieces from the workshop. had to be carried out carefully especially for the junction of the central
Once the pieces had been trimmed, they were passed through the uprights which must be perfectly parallel to the side uprights. It is
thicknesser to make the required 17mm height, then they were cut to essential to correctly mark the position of the central uprights and then
size and joined together with the biscuits to form the two frames. prepare a guide to cut the horizontal pieces in the desired position.
Once the shelves were finished, we moved on to the vertical The glue-up was carried out in two stages: first the two lower
partitions. The four sides consist of as many pieces of birch plywood compartments were assembled and then, after the glue had started to
12mm thick, 140mm high and 308mm long. The central one required stretch, the two upper ones were added. Obviously, the greatest care
two 17mm-thick 140 x 323mm spruce panels. All the pieces were was taken not to distort the structure with the clamps, for this reason
edged on the visible edge with a 12mm-thick oak strip. the squareness needed to be accurate.
As can be seen from the measurements, the side uprights are set
back by 15mm with respect to the central one which falls flush with In the next issue, we will make the drawers,
the shelves. This is to ensure that the front of the drawer overlaps the the top and finish the assembly.
side upright of the chest of drawers and hides it and ends flush with
the side of the bookcase.

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 RESTORED

TO GLORY
Aaron Moore shares his techniques for a complete overhaul of a classic eggbeater drill

A basic hand drill, such as an ‘eggbeater’ drill, is one of the most Acquiring the drill
useful and inexpensive tools to have in your workshop. Few are The first thing you need to do is go out and purchase a drill from one
manufactured new today and those that are don’t come close to of the usual sources – try looking on eBay, at flea markets, tool shows or,
the quality of the vintage models. The only exception to that was if all else fails, steal one from a fellow woodworker! You need to look
the CT-6 drill made by Bridge City Tool Works, but it is sadly no hard for three things: solid handles without cracks or a loose fit, gears
longer in production. As a result, the CT-6 can easily fetch over with no chipped or missing teeth and a complete chuck, including all
£400 these days, so unless you have that kind of coin lying around, three jaws and the associated springs. Obviously, major flaws, such as
let’s get back to the abundantly available vintage models. I use missing parts, cracked or welded bodies, or completely rusted out drills
two Millers Falls drills all the time – a No.2 and a No.5A – but are no good, but those are often thrown out and never make it online
other quality drills were also made by Stanley and Goodell-Pratt. or to the flea markets. Most drills I’ve seen for sale are in at least
All three of these brands, as well as several others, are commonly satisfactory condition and can be had for £7–20, although drills in
available today. really good condition will often run to somewhere between £45–80.
I can’t say enough good things about these tools, but you
may be thinking: ‘I’ve used these drills before and they’re garbage,’ Disassembly and chuck tune-up
to which I would reply: ‘You have never used a nice one.’ A properly With the drill in hand, the restoration process can begin. Start by
tuned drill spins effortlessly and with a little practice, provides taking everything apart as shown. Be sure to use properly sized
the user with incredible control. One downside to these drills, screwdrivers, preferably with a hollow-ground tip, so the screw heads
however, is they weren’t designed to be taken apart for repair. don’t get chewed up. The chuck can be disassembled for a really thorough
The handles are pinned and peened in place so restoring an old drill cleaning, but if everything is working, I just soak the chuck overnight in
presents a few challenges, which can be overcome. What follows WD-40. Taking the entire chuck apart can be tricky, especially when
in this article is my basic approach to hand drill restoration, which putting it back together, so don’t go down that road unless you really
requires no elaborate tools or procedures, just a drill press. I suppose need to. To get the chuck apart, there are usually two holes or slots on
there’s some irony in needing a drill press to restore a hand drill, the top of the chuck that allow a tool to unscrew the top portion from the
but I digress… main body. The split-line between the top and main body of the chuck is
often hard to see and begins right where the knurling pattern starts.

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 PHOTOGRAPHS BY AARON MOORE
1 2

3 4 5

6 7 8
1 A typical example of a good drill for restoring. The body is worn, the gears are stiff, but everything is there waiting for a little TLC. And opposite, restored
to its former glory 2 Using properly sized screwdrivers, disassemble the drill as shown 3 Leave the chuck assembled unless it absolutely requires a full
cleaning. You can see the slots on the top of the chuck where a tool can unscrew the top from the body. The top portion of the chuck stops right where
the knurling pattern begins 4 Drop the chuck in some penetrating oil, like WD-40, and let it soak for several hours to loosen up jaws and springs 5 Gently
chuck the screws into the drill press and file the tops clean of dents, scratches and corrosion 6 After filing, polish up the heads with some abrasive
7 After a few minutes, the screws will be as good as new 8 Chuck the side knob into the drill press and start sanding

Screw cleanup The main handle

The few loose screws that were removed can be cleaned up on the The main handle can’t be separated from the body, which makes
drill press in seconds. Place the screw in the chuck with gentle hand sanding it a little frustrating. What I find works well is to wrap the
pressure so the threads aren’t damaged – do not use the chuck key. small gear with tape – avoid tapes with a lot of stubborn adhesive
Then, use a smooth mill file to remove the major dirt, corrosion and like duct tape – and then carry that tape around the body, the screw
dents. After a few seconds of filing, check your work and switch to post for the chuck and back down again. This locks the free-spinning
220-grit abrasive. Go up to 300–400 grit to achieve a nice polish, screw post to the body, which means that the screw post can be
then repeat this process for all the screws you removed from the drill. chucked into the drill press just like the screws and knob. Because
of the weight and length of the body, run the drill press at a low
The side knob speed – something around 400rpm – and sand the handle with even
Turning to the handles – that’s a lathe joke – there are typically three pressure from both sides at once. Pressing the handle between two
to deal with. The easiest is the side knob, which should simply unscrew pieces of abrasive keeps everything balanced. When the handle
from the body. Chuck it into the drill press just like the screws and start is sanded to satisfaction, again, apply any stain and finish you like
sanding. Both the wooden knob and the metal ferrule can be sanded/ and set it aside to dry.
polished at this point. Apply your preferred stain, finish and set it aside
to dry. The other two handles are a little more difficult in their setup.

115
 9 10

11 12
9 Cleaning up the handle and knobs can be a challenge, but there’s a simple solution for each 10 By wrapping tape around the chuck gear and carrying
it around the body, the chuck post becomes locked to the body. Mount it in the drill press and run it at a low rpm. Sanding the main handle is now
straightforward 11 Clamp a post in the drill press and run a belt from the post to the ferrule on the crank knob. With a little tension, the knob should
spin quite easily for sanding and finishing 12 Painting the main gear is simple, just try to avoid getting paint between the gear teeth

The crank knob The chuck

The last wooden piece to address is the crank knob. Again, this can’t With the wooden parts out of the way, we can now turn our
be removed from the crank arm as they are typically riveted/peened attention to the metal. The chuck should already be cleaned and
in place. To get around this, install a large diameter post into the drill working smoothly, but it may have some rust or staining that you’ll
press – I use a 12mm centre punch and track down a timing belt. These want to address, or ignore depending on the severity. For getting
are found in a lot of mechanical devices or can be purchased online fairly rid of rust, I like to use Evapo-Rust. The chuck can be scrubbed with
cheaply. Wrap the belt around the centre punch and the ferrule on the a steel brush, especially to clean out the knurled portion, but there
knob, take out the slack with gentle pressure and clamp the crank arm isn’t too much you can do here. You can install a matching piece of
down as shown. You may want to spin the drill press by hand at first to threaded rod to the chuck so the whole thing can be thrown in the
make sure there aren’t any wild belt tracking issues that could damage drill press for polishing, but obviously any sanding or polishing you
the knob when the press is fired up, but you should find the knob is spun do will start to remove or minimise the knurling pattern. Do the best
by the timing belt quite easily. Sand and finish the small knob as before. you can and move on.
The knob may slip a little when sanding, especially if you’re using really
aggressive abrasive or pressing too hard. Fortunately, it’s small so there The crank gear
isn’t a lot of sanding to do. Just take your time and keep your fingers For the crank and body of the drill, I like to use enamel paint. I’m sure
clear of the belt to avoid a pinch. When the knob is done, you can also there are several brands out there, but I use Testors brand and have no
scrub the crank arm with a steel brush and/or steel wool.

116
 13 14

15 16
13 It’s easiest to paint right over the top edge; this will get sanded clean later on 14 Place a snug-fitting bolt through the gear, lock it down with a nut,
then chuck the entire assembly into the drill press 15 Wrap some abrasive around a block of wood and polish the side and top edges. Make sure the paint
is completely dry before doing this or the metal dust will get embedded in the paint 16 Wrap the handle in a cloth or cling film to keep it clean then start
painting the body. Take your time and keep the paint clear of the gears and oil holes. I like to clamp the chuck post in a rubber-jawed vice so I can rotate
the drill as I work and then walk away to let it dry

complaints. I would recommend going with the gloss version instead with a nut and then chuck the entire assembly in the drill press.
of the flat finish, typically red on the crank and black on the body. Wrap some 220-grit abrasive around a hard surface like a small block
I’ve tried the flat and it just looks wrong on the metal even though of wood, then grind the top and side edges to remove any dents, dirt
I typically prefer a matt finish on my wood projects. I like to brush or excess paint. Move to a 300–400-grit abrasive for final sanding and
the paint on so I can ensure it doesn’t get into the gears and oil holes add a little oil or wax to help protect the exposed metal from rust.
and it flows very nicely, so I’ve never had an issue with brush marks.
Starting with the crank, clean off any obvious grease, rust or dirt and The body
scrub the teeth clean with a steel brush, then the paint can be applied. The body is handled in a similar way to the crank. Again, clean the
Two coats will usually be plenty, but make sure it has fully dried body as needed to remove any dirt, etc. and you may want to wrap the
between coats and before you start putting the drill to use. Depending newly restored handle in some cloth or cling film to avoid accidentally
on the temperature and humidity, this paint can take anywhere from getting paint on it. Using black gloss paint, coat the entire drill being
2–10 days to completely dry. Basically, if it has any tackiness to it, wait very careful to avoid getting any paint on the gears or plugging up the
longer. I like to over-paint the gear’s edges a little bit to make sure I get oil holes. The best way to do this is to use a relatively small brush –
full coverage, but do your best to keep the paint out of the gear teeth. about 6mm wide is ideal – and work at a steady pace. If you miss a spot,
The excess paint is removed in the next step. you may find it’s better to let the paint dry, then go back and get the
When the paint has dried, slide a bolt through the centre of the missed area on the second or even third coat. Trying to go back after a
gear that matches the diameter as snugly as possible. Clamp it down few minutes to touch up your work may cause the paint you’ve already

117
 17 18

19
17 There are typically two or more oil holes as shown here. Clean the holes out with a nail if need be, then add some lightweight machine
oil and work it into the gears 18 If the drill has a handle that unscrews for bit storage, add some wax to the threads to help preserve them
19 Unless you’re a collector, you shouldn’t feel compelled to track down the original straight-fluted bits – modern bradpoint bits work better and
are readily available

laid down to pull, which can create drag or brush marks. It may also from plastic shim stock in order to find something with just the right
be tempting to simply touch up a few chipped areas with the paint and thickness. To be clear, this shouldn’t be necessary on most drills, but
walk away, but the colour and shine of the old paint compared to the if you’re noticing a lot of gear movement when drilling and it’s throwing
new will never be a perfect match and after going to all the effort of you off your game, adding a shim can definitely help you out.
restoring the tool, I think it’s worth painting the entire body no matter
what. After a couple of coats of paint the drill should be ready for Conclusion
re-assembly and fine-tuning. One last note about these drills: many come fitted with a hollow handle
that has a cap which unscrews for storage of the original straight-fluted
Re-assembly bits. You should wax the wooden threads so the cap will unscrew with
When the paint has fully dried, put the drill back together again using ease, but don’t worry about using these bits specifically. Hand drills
properly sized screwdrivers. Make sure the oil holes are free of any dirt are typically intended for drilling holes up to 6mm diameter – larger
or paint you may have accidentally brushed into the holes. If necessary, than that and you should switch to a hand brace with auger bits. Most
clean them out with a nail. Now put a few drops of lightweight drills won’t come with the original bits today and they can cost a fair
machine oil, such as 3-in-One in the chuck and the oil holes. The amount to replace. The truth is that modern bradpoint bits work better
drill should spin freely and with very little slop between main gears. and are readily available, so unless you’re a collector, you shouldn’t feel
Too much clearance allows the gear to slide back and forth on its post, compelled to track down the old bits. Now, regardless of what bit you’re
which makes drilling harder to control. You can add a shim to the using, chuck it in and get to work. Your drill is now ready for another
gear to reduce the play, but you will probably need to make your own few lifetimes of service.

118
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 The vintage toolbox
Anthony Bailey looks at the Ohio Tool
Company’s 16in ‘transitional’ jack plane

I saw this unusual jack plane online and 1

PHOTOGRAPHS BY ANTHONY BAILEY/GMC PUBLICATIONS

was bemused by its rather bodged-together
appearance. In fact, the ‘transitional’ plane design
isn’t so unusual and they were produced in decent
numbers, mainly in the USA, but to a lesser extent
in the UK. They were being produced at the same
time as both traditional all-wood designs and the
newer Bailey pattern that were in production.
The term ‘transitional’ is a more recently adopted
term to try and pigeonhole this type of crossbred
design, but at the time they were presumably
marketed to persuade traditionalists to change
over to more modern tools and also bulk out the
manufacturers’ tool catalogues. Ohio Tool Company
produced this model roughly between 1884 and 1910.
Up to 1880 they used quite a lot of prison labour
2
building their tools; they then merged with, and
effectively subsumed, the Auburn Tool Company 1 & 2 A strange combination of Bailey-type mechanism and wooden body 3 & 4 The
NY, who also used prison labour, so this plane with tapered laminated blade and cap iron
its Auburn ‘Thistle’ blade mark and Ohio production
number 356 may have been through convicts’ hands!
The Bailey-type castings sit on the beech wood body,
which exhibits hammer marks at both ends for some
strange reason. It proved easy to strip off all the parts,
although the knurled brass blade depth-adjusting knob
wouldn’t separate, unlike the Stanley design. A good
dewaxing all over, some brass dipping and a body
polish before reassembly made it look respectable,
even with some paint loss evident on the castings.
The tapered blade and cap iron had been ‘restored’ 3
by some uncaring person but looked reasonable.
On sharpening the blade it proved quite hard and slow
to get an edge on the grinder and without discolouration, 4
the reason being it was a laminated blade. This meant
they had gone to some trouble to create a superior
cutting edge for this tool. Unfortunately, the japanning 5
on the ‘half frog’ had originally slumped into a couple
of slight lumps which prevented the blade assembly
from seating perfectly – once scraped off I could then
align the frog assembly and the blade nicely. I also
scraped a lot of paint gunk off the base, presumably
from door trimming work, and then checked it was
flat and didn’t need levelling before it could be used.
When correctly sharpened and set, this plane cuts
very well and makes a really good tool not just to 5 The manufacturer’s name
collect but also to use. If you keep a keen eye open and serial number are clearly
you may well find one of these unusual but very visible 6 Ohio Tool Company’s
functional planes, too. rather basic frog design
6

120
 TSPS450 & TSPST450
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