Celtic Woodcraft Glenda Benett Woodcarving Chip Carving Talla Madera PDF
Celtic Woodcraft Glenda Benett Woodcarving Chip Carving Talla Madera PDF
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Introduction
GETTING STARTED
Workshop safety 8
THE PROJECTS
Knotwork overlays I5
Claddagh lovespoon 20
Message board 31
Hand mirror 37
Zoomorphic lovespoon 61
Coasters in holder 64
Trivet 67
Claddagh mirror 71
Bathroom set 82
Glossary 126
Further readi ng 12 7
Index 130
......,
I ... •
1NTR00UCTION I
6 CELTIC WOODCRAFT
their products, so never be afraid to ask.
The power tool I use most is a variable
speed scrollsaw, b1,1t I also us.ea plunging
router, Dremel rotary tool, electric drill
I
and power sander.
On the facing p~ge th~re is a ba.$lc
...
benci:i-top scrollsaw ( 1) 1 a top...of-the-
. 'range scroll~w: (2)' a basic jigsaw that
can do a Lot of the work of a scrollsaw
(but not the fine fretWork), and a rotary
tool with some commonly uw.cf
accessories (3). Where a scroflsaw is .not
available for making iritemal cuts, a hand
fretsaw with removable blade can be used.
When !t comes to woodcarvingr hand A selection of palm c111vi11g tools
to.o!s, there Is a bewildering variety and chip carving knives
ava1Jable, but the projects ca.n be ma<ie ls. classed as a harciwooq. syoam0.re 1.s.
without having to .invest in a great ran:ge alsci: a s.ooc1 timber for carvin~ Celtic
of them. I tend to. use my favourlte two pr designs. BQ.th st these \.Voods ·are v¢cy
three palm tools and a German chip knife light In colour; s.o you rnay prefer tQ
in mostof my work. experiment with darker timbers, such as
Lt really is a case of your personal mahogany or cli~try, providing th~ gra)ri
preference when it comes to choosing paneming Is not'.too prono1.mcect
and .using tools. There are. many bo.oks softwoods such as. pine- may at first
you can refer to. in order to 1¢am more s~erti .ealiy to qr\'¢> a11d can eye us~ tot
aboutwoo<lcarvlng tools, but !t ls be,st to certain a:pplicatlorts~ l;>ut they do noi hold
work your way systematically ·thr0ugh del<iil .W!d.I and. cao be eaS!ly damaged. Some Qf the materials needed to
the projects .<ind only acqutr-e new too.ls complete the projects
as and when you need them. This wfU
hot apply, of course, Jf you alre<1.dy have
all the necessary tools .. and are just
looking for new designs to work on.
The. most important thing Is that,
whatever your choice of C<jrving tools,
they must always be. kept in good
condltl.o n and sharpened pro~rly.
Mate:rlals
There :m m4tly ti.ti!~' $~1~, m.
~ngJ1'l gertet.a4b.U;r;~~~ate
desfgn:s. <J. kn~~e ;;lJ~ ~~ .ti)~f.
best when the..Y, ar.e' made'' .' " ' ftiifuie.~
" .· ··.' ' ''"·'',·.. ,·· ·..
and •.
. no. · it tti~(b1n-hty
• ft
. ~ ··, ~ red. .. ti~ . .··· •...0;·n~
9f. ~ m,(}$ sg~b.J~ ts Itn:re.~/al~9 ~~It~
bassw60Q, :as It ha~fa: ftrl~ -e.ven. ~tn
and, alth~gft ft ts, fairly &Off ut;~~/Jt
CelTtc
kNoTWoRk BOR0eR
Matertals
several phot~pi~Of
t~rfiplatc IA (sc~ page Slf,
.e:t
e-9fargcd J>y I 25 %
his. prOJ~t $hQws you how recent i:frneS,; It is easy to see, however,
P.fne st4fr wood, 6 x
to aclill!Ve the ribbon-like why other peaple belleve that the
6$mm ·{It, .x ]Min) ~ lengtlt
Interlacing so typical of unbroken bands of the knotwork
req~i'l rcd
Celtic knotwork, whJd:t ~present a saqed path through llfe, with
~posl.!f~gable ·Sp_r~y. forms the basis of many of the designs,in no beginning or end, an ..et:e.r.n~I Journey
adhesive this book. The simple but lmpresslv¢ of spiritual growth.
border adds the perfect finishing touch to This project may look daunting but.
Dooble-slded s~ t~P.~!
a room and, by using a variety of beCause the de$lg,n Is worked In small
Palnt. V¥nlsh or wax finishes. you can achieve a hlghly manageable sections, It Is not difficult to
fjflish, as ~eq u l rcli Individual look. make. The main sklll required Is patience,
Celtic knotwork, which appears on and. In my eXperience you wouldn't be a
Tools
stone crosses of the sixth century AD and woodworker if you did not already
Sc~llsaw. etectrk Jlgsa\¥.
onwards, and In the Intricate pattern- possess this trait.
or hand tretsaw
fllling designs of the eighth-:tentury Once the sections are <:omplete. they
Orlll fined with sm~P blt Illuminated manuscripts, ·can Qe. made Join to make a continuoiis border, as
up of one, two or more Interlacing bands. shown. which can ~ rut to tit corners.
I 2mm ('hln) ~~t ch1,e1
Some people believe that there ts no Alternatively, lf y<;;u. want to use the
craft knife or~~P !qufe symbolism att;:r~he_d to the different types bor~r to decorate small pieces of
of knotwork; and It Is probable that furniture, cupboards or boxes, simply
meaning has been conferred In more redU.~e the design to the size required.
12 CELTIC WOOOCRAFT
Mc b"d
I (Ui lf't ~1r1ri drllled hole first. A scrollsaw Is Jdeal
gt ~ §S
1;h"1H11 tc
upc- 10 tg
11 'O
ae
design, carefully separating the
"' r pieces and removing all traces of
~ i -11 sticky tape.
I:'.
"---"
6 Using the original template as a
1 nrtL r;J lhr udnJ
Cts
guide. transfer all the crossing lines
onto the pieces with a light pencil \
rurs mark. It Is essential to copy the lines
faithfully so that the woven effect is ........._
L~ even and continuous, especially ..
"' h1-eadl lht M~ when pieces are Joined end to end.
-~:-
--- -
I .
7 With a sharp chip knife or craft knife. • Alternatively, ff you wish the border to
score along 1hesc lines to a depth of contrast with Its background. prime
3mm ('hin). and paint the sections first, then glue
in place as above.
8 Using the chisel at right angles to
each line. gradually slope the wood • To give the effect of a plaster relief
down towards the line. so that the finish, prime the wood before sticking
band appears to weave under and It In place, then paint the whole wall
over. as shown. Also reduce the and Celtic border with the same paint.
wood by 3mm ('/91n) at each end of
the border where ft wlll meet the • Or, to achieve the antique weathered-
next piece. bron ze effect. apply a base coat of
emu lsion paint In a terracotta colour
9 Give each piece a final light sanding. after priming. When dry apply a coat
of metalllc copper paint. Allow to dry
To complete the profect, you have a and then dip a small stencil brush in
choice of finishes: gold metal paint, wipe off until almost
dry, and then stipple randon:ily over
• Varnish the border, then fix it in place the copper. Repeat with another darker
around the wall using a suitable shade of copper until the desired effect
adhesive such as 'No More Nails'. ls achieved (see below).
14 Ce:L.T IC WOODCRAF T
kNoTWoRk oveRIAys
he previous knQtwork
border is just one
example of the variety of
Celtic knotwork designs
that exist. Single knotwork motifs can
be used to great effect as overlays on Some suggested uses for the overlays:
a variety of objects, and are mad\?
using similar techn'iques to the • Decorate the lid of a purchased or
previous profect. home.,.rnade box (above left).
Four different templates for overlays • use four matching comers to deeorate
are provided on page 88 but, once they a chunky plain picture frame (right).
have been mastered you will be able to • Decorate drawer~fronts or doors on
use other patterns from Celtic art source furniture.
books to.make your own overlays. • Make the same design In contras~ing
The templates can be enlarged to tlnibel"S to create a semi-abstract picture.
any size to suit the object they are to • Connect the open-ended pattern
decorate, and I suggest enlarging by (template 2A, on page 88) with straight
140% for the first attempts, as this will strips of matching timber to form a frame,
make the internal cuts easier. as shown in the drawing overleaf.
Method
Place the chosen template onto the
smooth face of timber using spray
adhesive. Drill pilot holes In all the
areas to be cut out.
16 CELTIC WOODCRAFT
,,. .,,.
1 I
•
7 The photographs above show a 10 Cut out the waste areas.
different, enlarged, template (28)
being used on a piece of 'pink Ivory' n Cut round the outside of the-de~;
variety of timber, which was used to
decorate the box lld on page ls.. 12 carefully separate the prece.s af:td
ciean off any glue residue. itansi'et.
8 [f you wish to make a set of fq\tr tJte llnes onto the face of~ pt~
corners. use the same ;sta.ek-
cuttlng technique .as in the t 3 score atong the llne.$_
W.ttha sharpknJfe.
previous project (see page 13). Cut
four pieces of timber to the I 4 Lower the '.nfiit~fial .Ort each stde of
approximate size. of the template the croS$1ttg :~mi to create the
and layer firmly together using weavtrig effect_
;
dou ble-slde.d tap~. suck the
template on top usl.ng spray- 1s $eal the QVei'lays using i:lear. wax-
mount adhesive. pollsh, varnish, paint or any Pth~
cltosen ftnlsh, before gluing u:f ybiir
9 Drill pilot holes through all four la~rs· c:hosen obfed.
KNOTWORI' OVERLA'VS 17
lNITIAf_. memo boLOeR
MatertaJ~.
P'ftotq¢opie!t~ let~l
tef'l)p'i.;itesA~¥$
r~~iredr(~~~es S<?;l,l3i,!
~larg~)i¥, Izsf&
:rs~~~h·~:~~=i~::~~=--
Tools
~~ro11~~ er -frc~~~
letters: fmaglnabfo~ l~ -some are so
d~n Wfth 2rrim ·PA~lfl) bit ;
.- ~labt.'irat¢that 11 c:an: 0¢'· dlffiettlt for the:
Pliers Wttralnecl eye, to d~)f'her them. Jn
inaituscrlpts rudras: The &rok:'b-f kells thts,-
S~all·c~5el
\V<lS: alroQ'St Jffi!{¢y.\mf, 'SlhCe: 'the artist
di!P-. Arv1nkntf~ ' ii' d:aij' could Jnd11lge l:n ~tunning ~lgpts qf
kJff{-· _ ~A:;·'· r: .if:i fantasy when decofatt~g ~tters, sure In
the knA\V~clge that the -scllolcirly reader
WOU]d be vecyfamlli.9J with the text. /nit/a/ letter A In the stykcf The Book -0f Kells
18 l:ULTIC WOODCRAFT
Ornate Ciipn.l m 5 Carefully lower the background
loc.1 :.e a p.aro;:u around the knotwork to a depth of
~ lh.. l-2mm ('A•-'kln).
4 Score carefully along the outsJde lines 10 Stal d:\e. '~With .~ .or varnish as
of the design usfng a sharp chip knf~ pmtr~
or craft knife.
20 CELT1C WooCICRAFT
Method
1 Pn!pare a good~ surfac:eon ~
bade and front on yolir timber. use a
plane If it is very une'Ven, then sand
with medium ( 120 grade) to. fine
( 180. grade) sandpare~ Pl~· . the
templa~. to the ftont of the th'rfbf.r
using spray ~heslve.
6 Next round over the edges of the orm fitted whh small
b.inds using a knife or chfsel, wciod bit
taking care to also round. the
~Ip knife or craft knife
corners where the band appears· to.
cross under another. Round off the I 2mm (~hfii') chisel
bands all the way round the wp
Rorary tool fopttonal) or
and down as far as the point where
g!1ugc fQI' bow~ shaplrJg
they meet the cuffs above the
hands, then reduce the area behind Round pu~h and hammer
the cuffs by a mlllfmetre or two to
make the cuffs more prominent.
C LADDAGll lOVESl'OON 21
1 Shape the back of the spoon Into a 12 Using a punch about 4mm ('h,Jn) in
convex shape, tapering the pointed diameter. make a series of circle
end more steeply towa.rds the fron~. shapes all round the outside and
([f you need help with the s.hape, use down the middle. I Improvised as
the shape of a sl>oon from th~
.
you can see. by taking a ball pen to
' catlery drawer as a guide.)
. . . t used ..a pieces and using the metal ferrule as
•· tungsten burr bit · fitted on :the a punch. Fortunately ii survived the
Dremel to remove ·.the bulk of the experience and lived to write
waste, followed by a sanding drum •. another day.
but you ·could use a gP.uge to shape
the back lnttead. I 3 Mark a line around the Inner edge of
the punched circles, then score it with
s SCQOP- ~u.t the Inside bowl of the a sharp knife or V-tool. Cutting from
spQQ.fl!': carefu1!y ch~ing . the depth inside this line. angle the blade and
a:s. you go along and matching C'\.lt away some of the wood to give the
.the.wpJngyou. have given the back: appearance of puffy material. Create
·~I'll to ac!ileve an even thtckness over some creases at the bottom using
the whole Of the.boWI of the sPQOn. either a V-tool or knife.
Ag~n tu~ the bremel for this, but a
gouge can ~, u$e.d If preferred• Ii Sand If necessary, then apply a coat
of wax (or your preferred finish). l ftnd
9· :!9.un~ gy~r ri.t~ ~~s . of the .c.u·f.f$ an old. soft toothbrush ideal for this,
a·nd mmds, then.taper the ends of as it can get Into most of lhe nooks
the fin~rs and thumbs down, so and crannies of the carving. When
th.11t they tlppear to be holding the dry, buff with a llnt~free cloth.
heart from just behind. Next, score
along e.ach sid.e of the ~and.s at .the 1.5 To hang rhe lovespoon, di1U a small
wrists, taper ~own ~-~- wood hole In the back of the crown. -Asmall
on both sides of iheSe, ·then round nall or tack In .the wall Is all that Is
over the edges, of th~ b;ind <J.~shown, necessary to hook It onto.
Re-mark the guldeJln~ ~;. tlle:frlll~
on the cuffs and the fingers.
22 CELTIC WooOCRMT
OouBle pboTo p~me / .
-''-'
Method
Ensure that the face and b1.Kk of th e
timber are periectly E'ven and smooth.
planing if necessary. then sanding
with medium or fine s,rndpaper. Stick
!he templ.:lle to the face side of the
'
timber. using spray adhesive.
- -- -- - - --- - - - - - -- -
1 '
Q_Gle wAl.l plAque
Materials
he e a~~ll' is ,1ssod atcd w it h In The Book of l<dls the eagle appe.:irs
Phocornry of tc-m pJ,1t(' 6A
strength .in d \\·isdom. It m uch mo re frequ en tly. gi ving till'
lst'l' rage 961 . en larged to
appea rs m.:rny rime s ln opportunity for a iar gr eater variet y of
I 76'Ki
il lumin.itcd m a n uscri~>ts designs. Some eagles are depic ted wi th
Tim ber mcasmin g as an evange li st symbol for St lo hn. fuu r \,vings . and one ha · eve n bc c~1 given
.3 90 x I 65 x 2smm al though in The l:klLll.: iJf D11mw the eagle a h"m d w ith which to hold a book.
115 1<.x ti h x linl (lime) is used to repre enr Sr M il rk. In Durrow. Along wit h the three other ev.:mgdist
the eagle is very stylized. having a symlxi ls, lic•n. calf •md m.Jn, the symh1..1ls \l.l('re
lkpositionabk sprcly
pe rfectly roun d head and eye facing righl , l.Jken as a refcrcnl-e 10 Christ's incam<11ion.
ad hesive
with ,, illrW<ird fac ing body. lhl:' soaring eagle rt•pn.,senting the i\sc~'n~ion .
Ckar w ax or p 1·cfcr red
fin ish
Tools
Scro!Jsaw or fret :;aw
II
Ill m
II When all the long feJthcrs have been 16 Round the two fe,1t hers at the back of
stepped down you will notice that the head. making the t e rmirh~I Into a
the previously carved feathers have ball s hape as shown .
been left \Vith irre.gular depths. and
these can now be sloped down l 7 Reduce the depth of the tail feathers.
towards the bL'ltom of the wing to behin d the two rings. by aboLJt .Smrn
regain uniform depth. (',{,.in) as for the body, ,1nd then round
over the sides.
I 2 !found over the top feather t IMt
runs the length of the wing , 18 Mark the line in the middk of the ring,
reducing the tip as necessary to give notch a ·v· along chis line and round
an even depth . over the sides of the rings. Also shape
the ring around the bod}'· keeping
I J Smooth the chest of the ecigle and the depth uniform .
taper the body where it meets the ring
of t<1il fc-Jthers by abotrt 5mm ('l..in). I 9 Mark in the two lines along the length
Round ii over inio the back at the of the tail feathers and notch a 'V' into
same time. them. widening the ·v· towards the
tip of the feath ers. Round over the
14 Draw in the feathers on the ch est and side edges of e,ich feather as before.
then score along the lines. Work ing
from the neck end towards the tail. 20 Round over the sides of the legs and
define each fe,1ther by lowering the toes but leave the cla\vs as high as
adjacent feather where it meets, but possible to allow for sh<1ping. Milke
keep the tip of the next feather at its each claw appear to grow out of its
original height. cuticle. by notching into the base of
Make sure that the original shape the dmv to create a crease.
oi the body is maint<Jincd while these
feathl'l'S are being carved . 21 Taper the tip of the claw downwards
and round along its length . Next. make
I 5 Round over the edges oi the large curl two creases behind each culide by
at the front of the right wing. to make marking out with a curved gouge and
it into <J dome shape. !hen undercutting behind the curve. ID·
I
I •
22 To finish the head, reduct• thL' 101,vcr 26 The diagonal lines along the wing
half Df thC' bc,1k by scoring ,1long fcatht'r" <1rc made by cul1 ing duwn at
the mid-line and ra ring .l\Vay ahLUl right ,111gles with a str.:iight chisel. or by
2mm l '/.>in). using a V-tool to mark along the line.
RL•u nci over the cop J nci luwer
edges of the beak . 27 If nCCl'SS&iYy, sand lightly. ;.111d then
apply the iinish of your choii.:C'. l used
2J Undercut the point whert:' the a clear w.:ix polish .111d thi:n, lo give
forehead ornd dieek meet the I c:ak to the c1ppt•a ran ·e of age. I went over it
give gn:'cltt'r rJefin it ion. wiih a d.1rk wax polish. 1 wiped this
off before it dried. so that it stayed in
24 Pe1Kil in the eye , then use .1 goLtge lh lil1l'S and creases, tlw11 applied a
with the• same sweep oi rnrve to further· L'(1Jt of clear wax polish.
mark it out. keeping tlw t )L)I
Rcpositionable sprvy
.Jdhcsive
Carbon paper
Wood glue
v,1rnish
he border on this mes ~age The message bo.nd itself is a blackboard
Primer
bck1rd introduces a 11l'I"' for good old- fashioned chalk. which can
styk of knotwork. lnstc.:id be cleaned .-ind re-wri tten . but alternative Bia kbo.Jrd pJint
of Lhe opcn-wt'ave surfaces could be use such as a cork
knotwork of the previous pro jects. board. u.,;cd with rushpins. or a
her(' it is closely intertwinL'd so th,H whitt'boar·d that can be used with dry- Toe> ls
no spaces are vi sible between the wipc markcr· pens. Scrollsa\~1 or fretsaw
bands. II is still ~'ossiblc L 1 trace the The wording ill the top o( the bo,1rd
Drill
p<lth of each b,111d rhat makes up each can L'a -ily be ch.:inged for something that
eternal knor. but it reqLtire s jLtst a little has <1 personal me,rning; it does n't Router lif avai/,1ble)
mor"l' conccntratiL)n . 11ec1.:•ssarily have to be ,, place.:'. as I h<Jvc
Sdcction L1i chisels and
Cl111ccrH1·a ti on is ,1 lso the key to cho:.;l'n. i\ singll- wurd works best.
-uccc sfu/ carving in this project. in hm·VCVL'r. sc) th<1t the letters can be jllincd
order ro m.1imain the currcc.:t wcaws oi and cut vLI[ as one. If nothing inspires Chip knife or craft knife
the bands bL1t. once you master the ymt. you could do w >rsc than choosing
technique, the effect is very pleasing. iust the word ·messages'.
JI
After mu ch deliberation. chose Whatever one chooses to believe, there is no
·Glastonbury· as rny header. Glastonbu ry doubting the imporuncc of G!astonbmy in
in Som erset. England. is a mystical and folklore. and ln the continuing fascination
enigmatic rlace . .:ind the Tor rhat rises with its mystical associations.
from the surrounding pl<iins h.i s given
rist' lo m.:iny myths and legend s. Method
The early Celts regarded high ground Stick photocopied template 7A onto
<i s ,1 sacred place. and revered it as such. the face of the timber, using spray
The Celts s.:n..v their gods as the .:idhesivc. Cut around the outsidl' \Vi th
7 If you think you may h.ivc difficulty 13 Protect the frame w ith a cl~<Jr v<irnish.
in identifying the thread of the This is part icularly important ii it is to
we.we during carving, try shJding be sited in cl kitchen.
the arec:is that have to be reduced
wirh J p~'n or pencil. 14 After priming the MOF backboard
<ind lettering. apply at lcasr
8 LO\ver thC' bJnds where the~' wcJve two coats of blackboard p.11nr
behind. ;ind make a dt• •p 'V' b~ tween to both.
bands that pass alongside each other.
I 5 To Jssemble the message bo<.JrJ, glue
9 Use an inverted curved gouge or a the backbo,~rd and lettering in pl,1cc.
knife to rmmd the long edges oi each
band. to form a rope-like shape. Th is I 6 As an optional extra. you can make
will help separate the bands and ,, chalk holder for the board. To do
define the knot\.v ork . this . take a piece uf mJtching sGap
timber mNsuring 10mm high x
JO Where a band turns sharp ly back on 50mm wide x l 8mm deep ( \ 'h x
itst'lf. use the point of a knife to cut 2 x ;/,in). Cut it to an 'L' sh,~pc .
the tiny triangle ell the bend. leaving the back 4mm f/d n) deep
and the bottom leg aprrox. Smm
11 When the entire knotWlJrk fr,1me has (';,. in) dec1 . Make a concave
been c.1rved. reduce the area at the groove along the top of the leg as
top. between the two bands, to J shown on the right.
depth of 4mm (>Jdn).
I 7 Cut a 4mm ('k in) rebate into the b;ick
l 2 Using a scrap of 4mm p;, in) plywood of the frame, at the bottom where m
or MDF. cut out your chosen lettering shown, for the chalk holder to sit in,
templa te. D1·ill smal l pilot holes where and then glue it in place. V.Hnish the
necessary to make the internal cuts. chalk holder to match the frame.
If you prefrr 10 have the letters cut
out, as described in st<'p 4, do th.1t <it l 8 Ttl ensure that the message board
lhis stage. Rear in mind that the doesn't move about when in use.
throat of your scrollsaw needs to be fasten it to the wall using adhesive
1..:irge enough to accommodate the foam pads.
len gth of the board.
'TRee OF l1Fe'
seeO keepeR /
Materials
Photocop y of lempl.Jtc 8;\
ex 8B (rage 99 or 1OO),
and 8( (page 101 l.
cnl.:i rgcd by I 25S·&
I chose the word because I feel th c1t when 3 Ne xt. trim along the pattern lin es to
we 1ilant nc\v seeds . we pl<lnt ho pt• for the produ ce clean vli'rfic.1! side s to JI! the
iuturc. continu ing the circle oi life. Both bra nches. kaws and gr;:ipcs. This
Tools
designs ure made in the same \V,~y ,1pa r1 will ensure th<it you have ,1 good
Scrollsa1v Dr frets,1w
from chunging the letters. t'Ven design to work wilh w hen you
For the project shown here, I Llscd lime 1·m111d th e br.:rnc hcs. I used .1 chip
wc1od (basswood). The film can!stt'rs used kn ife to score .1long th e lines. and
Chis('\s .md gouges
are bl,Kk so thal lhe seeds can remain in then cleared the waste away using.
the d.~r k owr win ter. If prefern.:•d, they can . ni.111 chisels and go uges. Trim a long l1rill wil h bit to matd1
be painted on the outside . but in that ca se the inside of the r·aised bordl'I' in the br.iss SLTl'WS
k,we the art«1 where the lid sn~1 ps ()11 s.~ me way.
Collntcr~ink bit
unpainted. to ensLrrl' a good fit.
The project c,111 easily bc ;:idapted for 4 Sh.1 pe the pot from which the .12mm (I t,in) ilat 1\'LK1d bit
olht•r storag~' ust•s, such ..:is papN clips. tree grows by l'L1Linding th e sid es k1r h1..ik culling
push pins. sewing pins, golf tees, or even and bowl.
CrJft kniic or chip knife
J'.imm fil m s. For· so me of these it would be
useful to use clear plastic film canisters 5 lkgin shaping the branch1.'s.
,rnd in any case you would. of cou rse. sta rting .:it the I oint w here they
nt•ed to choose ,, more appropr·i,1tc word c111erg"' fro m th~' f L~t. and w1.1rki ng
than ·seeds' ro identify the contents. towards tht' ends. Thi s way you c,1n
gr,1dually reduce tht' branch depth ,1 s
Method you go along.
Place carbon pilper bet\wen your
chosen templa te and the larges t piece 6 At the point wht-re branches wc.:ivc
of timber ,1nd trace the design on to it. under Jnd over. score J long the lin l'S
Cut round till' outside lines. thM crns . then USt:' the chisel .11
rlghr angles to grade down the
2 Careflilly reduce all the backgwund rn,11 erial to give the appearance of
from around th <' 'tl'ee-of-lift' ' design weaving under. Only l'OUlld th e sidt•s
to a depth of 5 -6 111111 (';.,-'/.in). I used after you ..1J'c sati sfied with th e dept h
a rou ter fitted wi th a 7mm ('/d n) L1f the weave.
s1raight cutter for most of the 1vJste
remova l. then used a 2111111 h'd nl 7 As )'O u co me to a leJf. reduce the
cutter tu get to the smaller areas. If dt'pt'h of it by .1bow half. and sh.lpe
you don't h,wc .1 router. tht' IVJst e C'Jn the ste m into it. for ming ,111 invertl'd
be removed using chisels and gouges. ·v· where it meets rhe leaf.
~
' .
.
.. -··.' ...
8 As you come to a bunch of grci pes, to size ,~iter CLttting. This is easily done
redL1cc the depth by only l-2mm with a small sanding drnm.
( ',~o - '!d n) and re-draw the three
circles. Cut out the small tri.rngle I 3 The shelf. ready for joining to the
formed at the centre of the circles backboard. is shown above. Che~·k
using a chip knif<' or craft knife the holes for si ze.
then round l.'ach of them over to
form a ball shape. Again. sha re the 14 With the shelf held at righ1 angles lo
str--rn into the grapes . The grapes the bottom of the b,Kkboard, where
can be made tcJ look more re.J listic indicated on the template. cfrill rv.10
by underc utt ing them slightly. pilot holes for the . crc\vs. Use a
using a srna II gollgc to rt-move ,, countersink bit on the back of the
little of the material all round the backboar·d so th.H the screws ca n sit
base of eJc h cluster of gr.oipes. flush with the bJck. I !old the shelf in
place in a workhend1 or vice. apply a
9 i'v1ark the curved lines lll1 each leaf. layer of wood glue along the edge.
Llsing a small gliugi:- held vertic.illy. then scre•v the b~ickboard to it.
IO Tidy up the lettering. making sure Is Finish the piece using cirher wax or
1ha1 the sides are vertical. I have kept varnish. lf the seed keeper is going
the letters at their full dt•pth. b111 you to be hung in an outbuilding. a
can reduce them if you preier. \Vaterproof varnish would be the
most suit<1ble finish . Attach two
11 Next, make the shelf to hold the picture hangers to the back of the
ca nisters. Stick templ.~te 8C onto the seed keeper. to ensure that it ha11gs
smaller piece of timber, using spray firmly as the canis ters are taken
adhesive. and cut to siZl'. in and out.
12 Using the flat bit, CLlt out the five holes 16 Make ,1 se t of labe ls ior the
as shown. The 1.Jrgest flat bit avail,1ble canisters to identify the ~'.ontents oi
is 32mm (I 'J.inl. which is jL1st slightly each. and stick them onto the
too small for th~ 34mm (I '!..in) can isters near thC' botlom , where
diameter canisters. so sand them back they can be more easily read.
bmo Q)IRROR
a
Me th o d
Either trace the dl'Sign for the b.~ck of u~~d to guide rh e basl' of the rout~ r
th e mirror frame (templ ..1te 9A) i nstcad of using the h.1ndks. As \·Vi th
thr 1ugh carbon pa per onto l he any routing operatirn1. ensure that the
timber, .:ind cut <iro und tlK' outside of base i · kept level at all times. so that
it, L1r sl ick the tcmpl<it e onto the thl' cutting bi t cuts .:ii an even depth
timber for cutting out usi ng spray throughout. Use .:i 11011- sUp router
adhesiw. as shown hen.·. I prekr the 111.1t under the wL rl< t ll l1L1ld it in place
la11e r method. as l find ii easier to during the routing oper.~tk1n .
foll ow a black lini;- c111 white
background. but it me.ms that thic -I J(oLind ufi the mttsidc edges. also
design must then be 11-.~ccd onto the using the rnuter fitted \Vith ,, round - Tire rdmi.· wt It) /rl lf1<· mirror. mtd l/tf
rdgc.< nl!1mfrd
timber .1frer cutting out. O\ er bit. i\ 'ain. if no router is
..w ailabk. you c,111 use ..~ gouge,
2 Turn 1hc mirror frame over. and chisel. or a rotary .::.1rving tool.
posit ion the mirru r cc ntr..~ll y on th e
larw' circle. holding it firmly in pla ce 5 Working still on the m irror side.
with one hand. ur·.:iw 1·ound the shape th e handle by rounding il .ind
mirror to mark w here the rebate slimming down rhe '\.vaist ' where' ir
needs to be cut. meets the l.;i1·gcr ~·irc l e. This c.;in bl'
quickly .:ichicvcd using a stru cllll\.'d
3 The rebate is cul to lht.' depth o( the tooth tungsten c.:irbide bit in a rotary
mirror, plus an extra millimt> tre to tool. but only if you arc well ~·ractised
,1llow tor glui ng .ind tin,;d sanding. A in its use .•111d are smc of vour
, ,
ahilitv
router is the ohvi~1~1s choice for th i~ ro contro l the cuttl'r. Othen.visl::', use J
Of'eration. but if you dL) not have gouge or chip l'.:t1·ving knife.
,1ccess to a rou!C'J' L r <> Dre me I witl1
rLiuting facility. the rebate can be 6 Next bl'gin the carving on the reverse.
made usi 11g ch i~eb and goL1g~·s, lk'forc starting Io carw the spirals,
making su1-e l'h,1t the base of lh~' the ce11tr<il Jinl' must be scored. There
rebate is s.moolh .:ind even. arc several ways l•f doing this - the
Nlost st.111d,1rd roulers will have to choicl' is yours: you can cut the sh.:tpe
bL' used frceh.:ind IL cw the ci rcle. as using .:i gouge o ( !he same SWl'CP oi
the diam C' tc r is roo . mall to be cu l curve. he ld at right angles ; mJrk !he
us ing th e centr.11 pivo t meth od. Th is line with i.1 V-tool. or score it with .:i
4t
Materials
Photocopies of k•mplJtes 2 Drill pik1t holes in th e sh..ided o.=tn'<l S of drawi ng pen. When this is dry. it is a
IOA .1nd JOB. on p<1ge 103 the dragon design 10 .:illow the necessary to apply .:i co.:it L)f l.icqw~r to
intern.:il 'Lits to be made. prevent oxidiz.:itio11.
Piece of brass me.1suring
90 x I SOmm (3'/. x 6inl
3 Using .1 iine-tLx1thcd bl21dt> .:ind half 8 Use double- sided tape to st.Kk lh c
rimbcr. 100 x \ 50 x 40mn1 speed, cut out all the intern.ii w,1stc. omm ( 1.tinl piece of rirnber onk1 thl'
(4 x 6 x l'f in) 10mm (I '.!:in) piece oi timber.•incl
4 Whe n all the internal \vastc has bee n the n stick the- box tcmpl.:ite. IOL\ , onto
Timber. IOD x I SO x 601m
re moved. cut aruund The outside oi the top osi ng spray adhesive. Cut
{4 x 6 x 'Ain)
the drZJgon motif. ,1 round the outside of the box.
2 pk•i:es of timber, 100 x
150 x 4mm / ..\ x () x '/dn) 5 \:Vhilst thl~ template is still .ittachcd 9 Separate the t0p from the botWm,
to th e brass moti f. use thi.:· small peel off the tem pl ate. and re-apply it
Double-sided sticky tape
engrJving bit iirred in a rotary 100110 to the top of the '10mm (I 'hinl dl'ep
Wood glue cardully cngr-ave th < lines that make piece oi limber. whi ch will form th e
up the rest oi the design_ The bod y of the box.
General-purp~) S1..' glt1c
eng1·avi11g bit w ill cut th rough the
~u-.:h as Bostick
paper onto tht.> brass. I ut the IO Drill J pilot hole inside the innt'r line:
Fast-dry enamel. matt presence of tlw p<1pe r 1vill stop the bit th read the saw blade through, Ihen
black paint (uptkm.:ill from slipping. .:ut around lhc- inner lin e. ki form the
straight sides of the box.
Clear varnish
6 Remove the tcmpl.:ite and st1cky tape
Brass polish and lacquer and file .1ny sharp edges as necessary. 11 Place the body of the box 01110 c.:ich
oi 1.hc 4mm ('/.,,Jn) p ieces of timber
Repositionabk "pr.1y
7 Polish the brass and. if desirl'Cl. define in turn and dr,iw round th e i11 siJ1..· of
m.lhesive
the cngr,wed lines by going uver them the box to m a ke u base and a reb:itt·
1\1th a ii11c, blZJck, W<1tcrproof ink for the lid .
Tools
S1..·rollsaw or frc1s.1w
.r
I 2 Glue one of the pieces into the base of
the box .1nd leave to dry.
c
I 3 To make the lid. place the br.:iss
j dragon m0tif centr<1lly on the top of
the lid .:ind draw round the outside.
bu! don't go into every indentation.
make the line ,, smooth , gener.:il
outline.
I 4 Reduce the depth of the wood inside 16 When dry. glue the brass in place in
this line to matL·h the depth of the the reb,1te.
brass motii. This can be done \Vi!h a
chisel or gouge. or a router if you 17 C:luc the remaining 4mm (·'1U n)
h.-iw one. Make sure that the surface timber shape to the und~rside of the
is ldt smooth and L'Ven . lid to form an artificidl rebate th.1t
will hold it in p·lace when ii sits on
15 Paint the inside of this l'cbMe matt top of the box.
black to create a strong contras! to
the brass. If vou 11.we chosen a dark I 8 Tc.1 complete thl' box, ;ipply two coars
limb('r this may not be necessary. o( clear varnish. inside and our. II
Materials
Photocopies of templates
11 A, 11 B and 11 C on pJgcs
104-6
sweep to give a good clean single cut. bl.:ide through and cut along th~'
so !Jke care ncgotii.'ltl ng the corners ma r-ked line.
and curves. If you Me not completely
confident about it. practise by 7 Make a rebate to hold the lids in place
making soml:' spare template copies from rhe ·pare 4n1m ('h,in) MDF
and cutting them out using waste Using lht' box body as a f('mplate,
pieces of MDF. You will soon become dr.lw a line round the insidt' of the
cavify onto the MDF, numbering the rebate to lhe underside of the lid.
each piece to its correspond ing box. m.:iking sure that the lid will sit
Cut th ese out usi ng the scro ll s,1w or c~1rrcctly on the box befo re ..111 lying
hand fretsaw. fin.ii pressure to the join. Above you
can st•e the four section of th(' box
8 Assemble each box. using i mpact glL1ed and ready tl' .:isscmble.
Jdhesive to give a strong bond. App ly
a layt>r of glue. 4mrn ('Jijn) wide. to 9 Assemble- the five boxes into their
thL' edges of i he b:rsc to correspond finished sha pe, so t ha t rhe k notwork
to the walls of the box , and to the design can be transferred to I h<.> lids.
underside of the middle sectio n. The Lwsr way to do this is to stick
Press together when dry. according to a p hotocopy of template 11 C w
the manufacturcr ·s instructil)llS. Gluc sonw c JrbL)ll paper using spray
adhesive. then cut round the outside
of the design. Use masking tape to
ho ld this in place on lhc boxes and
trace the design o nto 1he lids. Lift
th e template in -~ few pl;iccs l o
make sure the dt.•sign has
transferred successfully before
removing it comp lc t.d y.
amalgam of rn•iny
concepts .:ind cultures. There
arc influences from the standing ston~ s
of so!Jr cults. frum the cross carvings
on 'ancestor stones· dating back to
10.ooonc France. through t·o chc
Christ ian iz.Hion of the \Ne st in the sixth
century. AlthL1ugh the cross shapt.> is
most obviuu sly associated \·Vith
Ch ris tianity. the Callanish Stones in
Scotland MC arranged in the form of
a Celtic Cross, {a cross with a rin
surrounding it), and pre-dat<> Christianity
by at le.:ist 2 ,000 years.
The ringed cross is a particu larly
stron.' and striking image in Celtic <ir·t. It h
thought that"the design came about when
early missionaries carved crosses onto
standing stones, which had bet•n pagan
objects of worship. rather than alienating
their potential conwrts by pulling them
down. From there. slab-stones were
purposely carv d to take cross d esign s.
and then rhc slab-stones thems Ives were
carved into cross shapes.
The roadsid.:' cross-slab at Aberlre mno.
Scotla nd !see top right). is a fine example
of an eight h-ccnrury ring cross carved
onto a s:to11c slab.
Elaborate knotwork and spiral designs Cross-slal• tit 1\hcr/cm110. Srntlmul
began app0aring on the cross faces, then
later 1r·ish crosses depicted scenes irom
the scriptlircs, which would h.Wl~ been
useful tcad1ing aids in a world when:~ the
written word was not familiar to the
masses. Pictish sla b-stone crosst•s ()ften
depicted battle scenes on the bclCk. The
great c-ross-sl;,.~b in Aberlernno grnveyard
in Scotla nd is s.1id to he a depiction d the
Rattle oi Nccht<insmen:: that had been
fought nearby in A0 685 {sec below lefLl.
Sevcr:tl stont• crosses haw bosses
carved on them, which have no fL11Ktion
other than to represent n.1il he,1c.1s that
would have bCl'n on wooden crosses. I
have incorporated a small boss <it the
centre of my design.
The frcl'slanding. ringed cross design St M11rti11 's Cros.~ . Iona
dcvcloptcf in Ireland. but is found in other
Celtic societie!S, ;.rnd m<iny fine examples
cJn be St'cn in Scotland. St Columba
tr,welled from Glencolumbkillc on the
northwest co.:tst of Ireland in the sixth
century and established a monastery on the
small isl,111d of Iona off the coast of S<'L1tland.
Many elabor«1tc stone crosses 1wrc C.Jrved
.:it this time, bllt tragically. puril.anical /.~·a lots
of the sixteenth ccnrury destroyed a huge
number, with over 150 being thrown into
the seas off Iona and other islands ,1lone.
The ·rin~· ('lcrncnt of rhe l'ingcd cross
is 1,vidc: ly rec"1gnizcd as a solar sym bol.
lvlany interprct.1rions have been ascribed
to the de-sign as ,1 whole, one oi which
suggests th.-it the four points at which the
cross and ring inr.erscct represent the four
seasons, which the Celts knew as Jmbolc
(spring), Bcltainc (summer-). Lugnasadh
(autumn) and Samhain (winter) . This firs
in neatly with tht' solar symbolism of the
circle motif.
The stepped base is similar LO the one
supporring St Martin's Cross on Iona
(shown far right). and I h<wc made it
deliberately rugged to contrast wilh the
detailed symmc-try of the cross its!.' If. Cross-slab /It Abcrlcm110 gmveynrd
Male rials In this project the cross is ca1ved on both 4 Draw in che Jim's where the cross
Phow..:opy of 1emplc1te the b.ick .ind front bees. so that it ca n be intersects the ring, on both back and
2A on p.~gc
I 107. enl.irged viewed from both sidt•s, hLit you may fmnt of the cross. using ,1 ruler for
by I 251'.Jt, prdcr to carve just rn1e face-. accuracv.
I
Scrollsaw. fret~aw or
ek'ctric jigsaw
M~tal r ule
ShMp kniic
...:.•-
II '\.
-...,r- •::;-., ..
so Ci i l l ( \i\/(ll) DCR~ fT
8 Use a metal rule and sharp knife to 12 Complete the tenon at the bcN;' of the
sec re along the str.;iight lines. cros:;-, by taking 5mm (·'.\.. in ) off the back
an i front oi the bottom e:i..'tcnsion.
9 Scort' along the lines of the
kno1work design. 1hen reduce al l the I .3 Use the remaining piece of timber· to
background m.iterial to the s:ime make th e base. Cut in two steps on .111
depth. This can be 1- 2n1m ('/i1,-·/',, in) fom sides and then round off th e
as preferred. shoulders of the steps.
10 Create the weaving effect by 14 On the top oi thf:' base. cut iri a
reducing the materi<JI o n either side mortice ioint tlw "imc size and depth
of th e crossing points. as in projects as the tenon.
3, 5 and IL
15 Gluc !ht cross onto th e base and.
I I Next. round over the sides of the when dry. finish with two or rhretc'
central boss. or JS prcfcJTl'd.
t:L1,1ts of wax polish.
The: 111ot1ict 1111111..,1011 joi111 11s(d to joi11
tlir cro5$ 111 tlr<' l>ase
J=uN pboTo FRAOJe
Materials
Photocopies of templates
13A. 13B and 13C on page
108
Long-nosed pliers
(option,1 I)
Tile <:i,<;hl/J "'11t11ry SI 1\ nrlr~w ·s s11rwphr1>111s in
Fift·. Swtlmttl, slmwi11g stwrnt /11111ting 1/ogs small gougt's, chir carving
carved it/ lrtg/J rdie/ knife. or Cr.:111 knife
r~~-:
('4 ':.',~in) thick. so you could cut one foot
at 25mm ( I In) thick from y0u1· block of
I l. , ' wood. then slice off two sections the
I1 ~ - -
required depth with a fretsaw.
'------- __)
2 Using a scrollsmv or hand fretsaw, cut
out the dog. frame and foot.
I -
I
I •
s Slip some carbon p,1pN between the B Remove .-ibout smm (-';;,.in} from
template .:rnd the wood and lr.:insfcr the leg that is ne.'.lrcst the centre.
the remai ning design li nes onto the at the point wher·e it meets tht' back
su rface of the dog. of the dog. Gr adually slope it back
up towards the rump. curving the
6 Begin shaping the dog: reduce th e sides at th e same tim e. to m<ike it
depth oi the tail by removing Jbout look as if it is weJ.ving behind th e
tOmm ('4inJ, kaving a dL'rth of about back of the dog. Then re move a
I Smm L~ inl. For this I used a similar· c1 1l10Lll1t of material from
structure>d -too th tung sten cilrbide belov.: the other leg to make it
cutter in a rot.lry tLK>I. but sm.:ill clppear to we.:wc i11 front of th e body.
chisels or gouges could al L) be used Keeping the base oi the kg ii.i t,
l'ffcctive ly. Kee p the tJil area flat for curve the sides of the leg and body
now. as this m ake!' ii easier to crcdte in betwee n the legs.
the weavi ng l'ifcct later. but curw the
area of tht body where it meets the 9 Score along the line that sepa ra tes the
t.1il to give a nice rounded b,1ck . snout from th e head. <ind then red uce
Continue c11rving all the edges oi the the snout by ;:ibout Jrnm {',~ in) <ind
body except th e b<isc. wh ich needs to cmve over the edges.
be kept fla1 for attaching to th e fram e.
10 Curve the edges of the rest of the
7 Re duce the depth of the top arm , so head, incl uding the step tha t >V<lS
51 CELTI<. \ ·\'OOOCR1HT
I 2 Now .::.:irve the knotwork on the t.:iil. and through the undt> rside or the belly
Transfer the guiddines onto the 1,1il lo cutout at a point belD\\I the centr~' le~ .
m,irk the \Ve,win g. Score along the about .5111111 (-·_;,,.in I in from the t.'dF,L',
lint's using either ,1 knife. or a ~ot1gc The photo below slKiws tlw position of
1h ..1t h.~s the s.:imc curve as the line. the Jwk'S , both on till' protrudin~ le~
and then reduce the material on and through the base immediately
t'ithcr side uf th~sc lines, as in tlw bdow th is.
pr·e-vious projects.
18 Cut l\Vo pieces of L'L11·d approxi rnatL•ly
t 3 Make rhc end oi the tail into J hL'.1rt 40mm l J /:in) long and glue a fLlot to
shape. by redudnt; down the l..1sl one" end oi each. Assess the fin.;il
secliun of tail bdur·lC it goes inlL' the len)ilth of the cord by holding it against
he ..1rt sh.:ipe. and notching,, ·v· shJpe the 1.fog. ,1110\ving ;;1 small piece ex tr.1
.:it this roint. Curve LWt r· all the side s to fit in1L1 the drilled hole. then cur ro
along the length of the tail. length. 25-J2mm ( 1-1 '/.in). Thre<id
L1nc curd through tht> hok i11 the b.:isc
14 The ft'et need 10 bt• shaped by curving oind ~,luc i111L1 pl.:ic12 in the prL1truding
and to es. but r,1ke .::.:ire
ovt.'r tlw sides leg. Gluc the other pil'cl' of cor·d into
with your fingers, as they are very the" hL;k L'>CIO\\' the centre- IC>g. allowin~
tiny pieces 10 \.vork \Vil h - a p.Jil' of it to dangle in the groove helow.
k1ng-nL)sed pliers c.:in bt• used to grip
the" ket. if prekrrt'd. 19 Nuw work L11l the frall)e. Begin hy
d1".11;1.ii11~ a line on the b ..1ck. 5111111
15 Bdore adding the final features, ( '.I.in) in from the eJgc of the cutolll.
give the dL1g a good sandinf!, to Th is will be the rebate 10 take the
111 ..1ke ii really srt'WOlh and cuny photograph. Rcb.:M this edge to ,,
Dr.:iw in the eye. mouth, nose ancl ckptll oi I 2mm (',<;in I. lo bring the
shoulder curl lines firs.L and ! lwn photugraph closer tu the front of tht.'
il1dL'nt along t ilt' lines.. J us\.'d ri fr.:i me. If you have ,1 router, fit a sm,111
snwll V -- tool k)r this. but a chip Lil' st 1·.1ight cutter and, securing thl'
craft knife could ,1ls1.' be ~IStd. fr.1111e firmly to your workbench. rout
the rd1arc in a seril's L f cuts. taking
16 The iinal iob is to make,, shape in the Jmm l ' ,~ in) off at a 11mc.
bJ$C fL,r the cord of the leg to wcilve
iorward. Do this by cutting m11· 0:1
sm.111 sem[-c irc ul.:ir share .1t the
bollum of the boJy, directly belmv the
(:-t:•ntre Llf th..:- le~ .
22 Glue the> dog in pl.ice on the to1 oi 24 Put yollr chosen photo in the
the frame. with the lt>gs dangling rebate . with acetate in front ii being
over the front. I USl'd <in impact u sed . then fc'.lstcn the backing piece
adhesive for this, as it nt•eds to be a in place behind with a small tack
really strong bond . top a 11d bottom.
t i$ said that rhere circ two l<notwork links the mirror~ at the sides,
ways of spre.1di11g lighi. ·10 and the spiral motif brings together the
be the candle, or the mirror three elements of the sconce. Tht'
that reflects it'. number· three \.vas very sig11ific<int in
This project L1scs mirrors to reflect the Celli<.: .irt. .~s can be seen in th e
candlelight many times; rhe larger triplication of m.1ny stonc-cMved deities.
mirror offers a continuous reflection as well as on the decorc1ted pages of Tools
J nd, .~s the candle bl1rns lower-. so the manuscripts. Scrolls.:iw m fretScl\V
lower mirrors r·dlcct the flame. This lust for go0d measure. then: is al so ,1
Chisels and gollgl'S
way. one sm.1 II fl;rn1c can spread its sm;;11l amount oi an.::hi tectu ral-style
light in many directions. carving involved in the arches. which Drill
Candlelight docs more than di spel show up to goLx1 effect \Vh cn the candle
Scalpel
d<.irkness: it represe nts powerful ls lit. throwing ~hadows on to the curves.
symbolism in m<1ny faiths . C indl es arc Christmas tree candles .ire ideal for Crail knife or chip knife
Ii 1 for remembrance. for worshir. tor 1his project. 1101 only beouse of their foptional)
purity and to represent Chrisl as th e light perfect size. but also because th ey burn
of the world . without dripping wax.
Mdterials
Photocopil's uf templates
I 4A Jnd MB on page-s
109-10
.
J~crosit iv n.~ble spr<iy
adhesive
1h ~. length . to 111..:ikc a wedge shape. to sit in. Check for iit - tht- mi rro r
170 x '10 x IOmm for shelf
Take a piece oi bo.m! .:lpprL1x. 280 x shou Id be flush with the outt>r frame
(6',~, x I'/. x ·;..in)
200mm ( 11 x Sin) and mark .J line when in position - then put the
Sp.1rr timber for carving jig down the centre about 200mm (Bin) mirror safely 10 one sid1.'.
long. Clue the wedges in pair~ at
I mirror measuring 160 x
either end of this line..'. so that the o Position template I 4A 011 (he..' front of
68m m (b'/. x 2·1sin)
slopes fo rm ·v· shapes into which the the wood. slip in so1nc c.:irhon pJpcr.
8 mit'l'or s1.1uares mea~ur in g sides can sit. Gluc and nJil a piece of then rr,Ke on the design.
18 x I Smm (';, x ··,.'.inl ~<..Tap wood acrc..)5$ lhl' l'nd of one \!-
shaped block to form an end stop. 7 Identify the ten rriangul.u ~hapt-s at
12 ruund mirrors I 3mm
the top of the .=irc:h .:ind score .Jlong
( f in) in diamc.>ter
2 lake the piece of timber measuring 1he Jines. Reduce the depth of eac h
l\rletal tr<..'L'-1.·a ndkholdl'I 230 x 170 x 10111111 .:rnd stick template tri.:inglc by Jmm ('l inl, keepi ng th e
with srikc: in base 14:\ onto it u.;;i11g ~pray <.idhcsivc. sides wrtical to ensure .:i uniform
slope. O nce you have carved the b.:tSL'
·1ree-c:an dlt' IOOmm Jong x
J Drill ,1 pilot hc..ile to allow for the interna l triangle. you wi ll have- the line to join
11 min c.li.:1111eter H x '!'. in)
cut to be made. C~1t out the shaded up to the top of the slope.
._k.Jrproof vJmish arc.J. keeping good sh<Hp edges wht-re
the circle comes in 10 .1 point.
Stone glL1e (or similar
Sllit.Jbk to glllC g l..'ISS to
wood)
Wood gll1e
8 bras .. screws
•--~-~-
8 Lightly s.:-ore a line from the corner Lli
I
I
I '
form a triangular shape. Two ,ZJ Carw t he other· sid e in th\C> s.:imc
lengths oi timber will Lw 11L'eded for way, making sure that it slopes
th is. Cut e,1Ch side to length. in the opposite direction from the
ma tchin g the length of th e carved first side.
b.1ckbo ard as far .1s the lin e at the
b,1sc of the carving. 24 Glue all the sm .111 mirrors in place in
rl1<.'ir rebates.
r 7 Place one of th e sides in the c.Jrving jig
for support and, u~ing carbon paper. 25 Drill a hole in the sh elf for the spike oi
transfer the design from 1empl<1tc 14B the candlcholdcr. I h.:id to offset mine
onto the surface. Begin the .::.arving by tow.irds the frl111t. as th e dianwter of
rn.~king four. squ,m~ reb<Hes for tht' the cancHeholdcr was wider lh.:m the
mirrors. T he depth oi the rcb:.'ltes shel f. If th e '>rikc is longer tha n 10111111
should be J 111111 ('/ieil1) greater th.:in the ( 4.in). cut ofi .:my surplus flush 1,vith
thicknL'SS of the mirror til e. ihL' under·side of the shelf.
3 Shape the spoon by curving the make a slope where the tW<.)
back into a convex ~hapc. I ust'd J nt>ckpicccs join the body .::md head,
structur"'d tooth bit in my Drenwl. but keep th<' re-t of the knotwork .;irea
but WOLild only re(tJmrn e nd duing as flat and even as possible. If y1;1u
so if \'OU arc experienced i n its use. roJJow the bands of the rattern you
Otherwise gouges will do lhl' job will notice that the ear l.:lppct actually
perfectly well. becomes thL• lL1nguc.
r
6 Using a sharp ch ip kniie ir crait knife
SCL)rc along tilt' wing from thE' large
circle to the tip. Shape the leg and tail
fe..1thcrs below this point by reclucin ~
the depth by 2rrnn t-'ldn) owrall , then
alklvving it to rise up ag.~in towa rds
the spoon bowl. i~ound the sides of
the lc.>g ,1nd toes and llSl' J \1-tooJ to
111Jrk the divi~k111 between the front
two toes. makln~ the front Loe slightly
lower th.~n th e rc.1 r one. The toe .;it the
b,1cl< of the foot has to appear to
IN(;'.:ive under th e m.:iin t.1il feather.
over the middle feather then back I 2 Tract' on the knotwork design of the
under the re ..1r fc.:ither. Do this by 1wck and SCl>re alLlng the lines in the
r·educing the m.1reriill eithl' r side of usual 1.v.~y.
e.1ch weave, as in previous projects, II
but make the side oi tlw tOL' rounded 13 Reduce- the woo d 011 either side oi
.1nd keep the fl•Jrhers flat in contrast . E"ach b.:ind where it we<ive s Lmder
another. When all rhe kn o twork
7 Form !he claws by cutting a groove has been completed . round off the
into the line of c-ach Cllt iclc .:incl sides of the bands.
curving the cl.1w .1 nd surrounding toe.
The. e can be exaggerated to make l 4 Shape the head by reducing th(' depth
them effective. of the !OJ beak. so that the head can
be curved. and reducing the lower
8 Score .~long th e line th at endc1ses the beak behind the tongue. Rou nd r..1ff the
t>ody feathers, then reduce the whole edge: o( the head to make it meet up
section inside the line by 2111111 f'li·in). with the curves of the neck and car Ill
[nsure that the surface of this area is lappet. Qr.:iw in the eye and line of th e
smoorb, then tr.1nsier the design for iaw. and curl of the car. then mark
the ft•<:1thcrs back onto the wood. them our with a V-tor..11 or sharp knife.
ScorE' along th ~' straight lines bet1vccn
the layers oi feathers then use 41 I - Compkt t' rhe carving 011 the bLW,d of
curved gouge at right angles to score the spoon. then sand . mooth.
th e bottom of L'ach feather.
16 Wax 01· oil the fini shed lovcspOLlll. as
9 1\4ake th e vertical line between the preierrnd . I gave mine an aged
feathers using .1 \I-tool. sharp chip appear.;incc by ,1pplying ,1 dark WcW
knife-. or er-aft knik. on top of a c!E"ar wax. th.:in wiping ft
llfi before it dri es. The dark wax st.:iys
JO Remove the small t riangks oi material in the grooves after polishing.
between thl' bottom of the fo'<l thcrs. accc-ntuating the dl':iign .
11 Rou ncl off till' front chest of th e I 7 Drill a small hok in the bad in
bird, .11!owing it 10 mel't up with th e ordC'r to h<rng the lovespoon on a
curve of the kg. n<1il if l'l'quired.
Co~sTeRS lN bc1LOeR
Materials
Photocopies of templates
16A ,:ind 16H (page 112),
Jnd designs I 6C- t 611 as
required. on pagC' 11 J,
...·n!Jrged by l25 l}iJ
Wood glm· in prt•viGus projects. I have used de~ign will produce rwo version s of the
contrasting veneers to give life to the s..:ime design reversed. This means that a
Repositionablc spray designs. which arc tlwn ser into a set of six coJstcrs can be mJdc using just
adhesive recessed base. I have included a wooden three of tht designs. or two sets of
Fine garnet sandpaper holder to store the 1.'.o<isrcrs. coasters could be made with six differing
The method I have uso.>d to make the designs in each set. and eac.:h set
White spirit amt lintfree contrasting with the other. The patterns
coasters and holder is specifically
cloth designed 10 show tha1. ii are is taken, chosen for the coasters have beJ?n kepi
Waterproof ink dr.1wlng roLind objects cJn be made without the simple, to rcdllcc the number oi cuts
pen (fine ) use of a lathe, 1.vh ich woLild be the more needed. to c;itcr ior those who have not
obvious choice of power tool for this used veneers be-fore. When the tech nique
Doubk·-sidcd ~!icky tape prnject. l have used power cools suc h as has beL'n practis~d and mastered on !hes('
I IC'atproof varnish a scrollsaw and router. which nor simplified designs. you could go on to
everyone w ill h,we acct'ss ro. but all th<..' make yolll" own dt'signs using more
steps could be worked using hand tools. complicatt'd pattern$.
~·
'
\\ '
Tools
Scrolls.:iw or hand frets.-iw
Compasses
II
swapping the cut pici:es. The cuts must 10 Cut out two or five more designs in the
be m..~de to folk.'!\v the linl's of the design same w,1y, depending on whether you
,1.:curatdy. so that the pieces will iic want se ts of three or six different
b<ick together perfectly whL'll swappC'd. patterns, then make into coastc1· · as
explained abDve.
7 Spre<id a thin. even layer d ~lut' into
the routed are<i of the co ..1ster base 11 To make the holder for th(' set ~1f
and carefully st ick rhc rc-asscmbk'd co<istcrs. take tht' remaining limber
p.:ittcrn into place. Somt' v.:irk tics of and cu t a "i -6 mm {'/ ,in) SL'Ction fr~\!11
Le.we it to dry thoroughly !hL'n ge11tly ca n bl' stuck directl y on Ill the timlwr
sJnd it level tJ sin g fin0 g.mwt p..ipcr. if preferred.
Cle<in w ith a little whitL' spirit on ..
lint-free cloth and rlw fr~'sh rnlours oi I J Cut around th e oulsi e cirdc of
the veneer s will Lx' rcvc.~lc ci. the template then separ<rtl' the tw.._,
pieces .
9 Draw in the n:'m<iining lines of thC'
design us ing a fine. w.:ilerproof ink 14 · 1 ~1ki ng 1he largt'Sl lop section only.
drawing pen. then give 0<1ch coaster dri ll a pilot hole in the n1iddle. then
two coats Lli heat-resistant v.Jrnish. cut round Lhe inner circle using a
rubbin g down gently betwe~'n coa ts. scrollsaw or frets aw . Gluc this .._1nto
VarnisJ1 the bouom .ind sides as well, the base and leave to dry.
to prevent ,1ny mowmcnt of the wood.
I 5 To hcil iwre removing the coa. rers
from the holdt'I', cut OLlt a section from
the side of the holdt'r m1.'..1s11ring 35111111
(I 'kinl deep by I 5mm ('~{in) wide. and
round it at the bottom. as shown.
67
Tradition.,lly, the lio n represen ts st n~n gt h
and majesty. and in Celtic art it is the
evangdi st sym bol for St M.1rk (.:i lthough
in -U1c 1'00/1 o[ Oimow it was used as a
symbol for St John}. T he lion was
so metimes given wings to emphasise its
divine nature.
Method
U se spray adhesive to stick the trivet
tcmpl.:ite. I 7C. ro the la rger of the two
p ieces of timber L)J' yoll ca n. if you
prefer, trace the design onto the
surfoce using c.:irbon p<.1per between
tlw t~'mplate and timber.
2 Cut th e outside of 1h e
roL1t1d
Materials
design using a scrollsaw or hand
Photocopies of templutes
iretsaw. If necessary, cut in .:it right
I iA. I 7ll and 17C Lll1 pJgc
angles to the po ints wh ere the
114
knotv.,1ork \Vi ii wc<.wc , to be sure of
Tlmbel' rnc<.1suri11g .1 pprox. a sharp outli1ie.
100 x 160 x IOmm (6'1, x
6 ;; x ',\\in) (beech) .3 If not already done at step I. peel off
the design and tr,111sfcr it to th e face of 5 Reduce the are,l between t hr.: Inside oi
Timber measuri ng .:ipprox.
the timber as desc rib ed. the knotwork and the coas ter by
200 x 70 x 25mm (8 x 2 Yi
2mrn ('k inl so that the coa sler wi ll be
x Jin) flimc)
4 l~out out the circle to h Id the cork lcvd with the b.:ickground \vhen the
Cork coa ster. 95mm coaster. Make this the depth of the carving is complete.
iJ'/,in) in diameter thickness of the co.:i stc'r. plus 2mm
('h in) to allmv fo r thi::- depth of the 6 Reduce the small tri.'.lnglcs b~·tween
l~i:-posltionable spray
kno two rk l'.'.Hving. You can LIS C the knotwork to a depth of 2 mm
.Jdhesive
chisds and gouges for thL. if a router l·'.l,zin).) found c1 sharp chip knifo most
Heatproof polyurerhane is not available. suit.lble for this.
varnish (clear)
Tools
Scrolbaw or iretsaw
6S Ct 11 ll \Vt>«Ch:~ ... rT
7 ScL1re along the lines rh"1t cross th e work . C.1rvt' the tail inwards to make
kno twork then. 1wrki11g at right it appe.1 r to .:-ome from behin d the
nngles. reduce the timber down legs. Slope 1hc end of the back leg so
towar-ds thC' cut to give tlK• that it tucks in behind th e front paw.
appearance oi 1,ve.wi ng under. Repe<H Round the sides of th e bcick ,ind front
the process ior all the crossing points. legs and p.1ws.
8 Gluc the coaster in place in the centre I <I Reduce !he 1ri.1terial around the b.Jse
rebate. of the tail on the lion 's left side. and
carve a ·v· berv..1een the back leg clnd
9 M.1ke a ca r·d tern plate of the lion chest. curving them inw.1rds. Make
mo tif I 7"\ .:111d use It to draw three the tail appear to wcavc bt•hind the
lion shapes. legs by sloping it inwards. Slope Lhe
end oi the back leg as on rhe left side,
10 Cut out each lion cm a scrollsaw or to tuck it bt'hind the front paw. Round
fretsaw. then cut oLrt the sma ll areas over the legs and paws.
under the chin and lx'hlnd the 1.1il.
TR IVEl 69
15 On 1hc front edge cut a ·v· between trivet will be fastened. Dip the chest in
the back legs along the scored line. below rh e arms .:ind shape the mane
and round over the edges. and iacc. If any sanding is necessary.
S<>nd before finally adding the t'ye.
l 6 Cut out the space bct\vccn the front nose <ind mouth.
p.:iws. t.:Lltting it right back Llntil it
nw~ts tht• ar~a th,11 has previously 19 Glu e the three lions to tht~ under-side of
been ell! under· tht <:hin, in st·eF' 10. the trivet. p l;i ing them ~'qu:il
RLiund L1Vt~r thl' sides of the p.:iws. distcinces ,1pan ( I 2ln. sLi rhat thC'
edge of the trivet is touching the m.rn,'.
I 7 N.1rr<:1w the he<1d from each side up to Place a weight on the trivet Lrntil the
the scored lines .~nd round the edges. glue h<is iirmly set.
k'aving thC' mane full 'vvidth .
20 Varnish the trivet and lions with ti.vu
18 Shapi:- thC' back and shoulders but or three coats of cicM polyureth,im.
le.:iw the top fi<.~t. ,~s this is where the
Materials
Phok,Cl\pics uf temrl.ites
IS:\, 18H and 18( on
page~ 11 5-117, enlargcd
by 142'\6
Carbon paper
CkM varnish
he Cladd.1gh motto is 'In Cladd,1gh, Jll?M ,a lw.:iy in lrel .~ 11d. Here
love. in friendship. let us he set Ll~J his 01vn business making Glazier ·s points l1r t<icks
reign ·. A little the
of ;ewellery. ;md designed the Claddagh
Picture rings and wire
h istL1r>' of the C!,1ddagh r·ing. The rings hec,1me immensely
d1.:• ·ign hc'.1s been r·derrcd ro in the popular and were passed as family
Claddagh l.ovcspoon project (page 20). heirloom~ from mother to d.1ugh1cr_
Tools
now I'll cx plc1in morL' <1bout its creJIL1r, The design L f the Clackf,1gh ring
Scrol Js,1w. jigs.:iw cir
Ridiard l<.)ycc. became known ~icmss the 1.vorld as
frc1s,1w
Richard loyce had b.:en taken captive emigranls left Ireland at the lime the
in the .MC'ditE'rr.:incan by Algerian pirates great famine of I S·'f?-49. Man\' more Router (option,11)
.rnd sold ro a ~·1oori s h goldsmith. 1,1,rho r·ings were ldt ,1s security back in
Rotary m ulti-tool
trained him in mctalWl'rk and set him to Ireland . .ind used 10 raisl~ [ht' fa re to
!optional)
work . v\lhen William l!I bccJ nw king L)f escapL' the fam lne; poign,1ntly. many
: ngland in I 689 he secured th, relc.1se of were 11eve1· recla imed. Selection of woodc.:irving
.:ill his subil'C ts held captive by tht' 1\foors. One v.;riJ tion th;.1t sometimes .1ppears tools
Rich.:ird roycc·s master tried to pl'rsuadc in the design is the height of thl' crown: a
Chip knife or craft knife
him to stay by offering his d.:\ughter's high-dL1rncd crown \\'L~tdd have been
h,1nd in 111orriage, bur [(1yce rrckrred to WL'rn by J queen ancl a low-domed
rct urn to his n.:i.tivc (ishing village. crown belonged to a king.
i"l
In rhi s pr-oject the Cladd.1gh design forms 4 Apply glue to the ct ntre base of the
part of the frame. which i$ remin isce nt Lif tim her. att.ich it firmly to a pieCl:' oi
th e ring shape. t\ n clcrn., I knot \VC'cWC'S scrap wood. then either clamp the
J round the border. base to tlK' worktop. or use a routing
mat 1L1 hold it in place.
Method
Pho1ocopy the three rempl<ites of the 5 Att.ich .i trammel bar to the router
design and cuL along !he dolled lines. Jnd locJte the pin in the centre mark.
Tape them together Lo form the Cut round the circle as far as the cuffs
complete design, making sure that of the Cbddagh design. making
the places where thl' .Ktu.11 design several pusses, each 3-4mm C!i.in)
meets arc firmly joinl'd and taprd. dcq1cr than the last, until the full cut
is made.
2 Cut the design out, including the
small g.1ps between thL' hands, lw.m 6 Reset the router tu cut the inn er circle.
and crown. ,1nd tlwn
trace the aga in cutting as for a · the cuiis oi the
tcmp l,::i tc sh.~1 c L1nto the face 1..1i the Cladci.1gh design.
timbc1·. usin~ carbon p.1per. At this statje, whilst the router is
still set up for lace cutting. the two
.1 Th e mirro r· fr,1111l' can now bl' cut 1..1ut . fine lines on t.'ach side of the
Yuu can do thi s with ,, scro lls.1w, knotwork can be incised. using a
iigsaw or fretsaw but. If you have 2mm (',.;,in) str·aight router bit. lo a
access to .;i router·, a far ri1or·e .:iccur,1te depth llf 2.'.Jm ('.~ in). Routing gives J
part-circle can be m.lck'. If YL1LI wish very even line and make. the
ro Lise a rouk' r. first loc.."Jll' the ccnt1·c knot1vork carving easier. but thi s tep
oi lht circle on yoLll" timhl'I'. The is l1ptional. as the lines c.;in be carved
diagrams below show )ll'LI how tL1 do using a chip-(arving knile and gouge
thi s accu r.1tdy. .11 step l 2.
II
/;,- -~
\
' ' \.
(II
I
\ \
\\ \
\ i
.I \i
\ ,~,
J
72 ( I i I IL \\1(1~ 11ICl~.'\I- I
7 cut out the small gaps be l'\M?cn the
hands. heart .:md cwwn and then turn
the work over lso that the back is
uppt'rmostl, in order to rnark th e
posi1io11 fo r tlw mirro r· n~bate.
\ }
1 7 Curve the ski.;-::; oi the heart down to
meet Lhe fingers al the sides. Round
1hr thumbs .:ind make a dip al the base
of the thumb. Use your ov.m hands. or
those of ,1 1villing friend. to see the
.· sh,1pe they mJkc in this position .
the b<1sic sh.:i1 ing of one hali first even and b.;1la11ced. sand it smooth.
as a guide. then you can sh.:ipc the Next. dr.iw in thl:' line"> for the
L1the1- side ki m.at.:h it. L.::irvt' the fing er"> .:rnd frills on the cuifs.The
cro1-vn ailcr the h.mds and hean have di1rk rnMk on the fingers in th e ~ hoto
been completed. is from J knot th,11 I thought I 1vould
L~egin by <rngllng the cufi down in just miss - I 1-vas wrong. That's wood
towards the roll at the wrist. and for you. It does, howt'ver. serve .:15 a
matching the slope on th e other side. useful reminder that you should t,~ke
from the hand to thL' n.:11 . Take it down JlL)\l'of knot:> ,1 nd nacks wlwn
quite deep to give good definition. Al choosing timber for a project.
25 Slope in the bottom of 1hc- t~ardrop minimise any movement lif the
sh.:ipe .1l tlw top or !he ..::1·01vn and wood. co.it thl' fr,1me \Vith al ka st
carvC' ou1 the little shape in thl' middle two coats oi v.1rni$ h. to ensure a
by I mm ('l..inl . really good seal - this will also help
prcvl'nt the mirr-cH king crackt•d by
26 Decorate the arches of th e crown using movem ent in the wood.
a punch. I ,1ctually deco1«1ted mine
using an old posidrive screwdriver. tut 29 Place the mirror in the rebate wilh
a round punch could be used. the 1 lywood b.Kking behind . Fasten
it in place using glazier's points L'I'
27 Cut a backing piece ior the mirror from tacks.
th e 4mm ('1.U nJ ply1.vood . DrJw round
the mirro1· to get the correct size. JO Screw two small picture ring$ into the
b<ick of the fr.:itne. level with each
28 Since lh~' frame is 111,1de from J other 011 ei ther side of the 1·ing. c:ind
singk picct' of timber. the gr..'lin \Viii thrt•ad a piece of pk:t ure wire through
run in .111 di1·cctions m~ind it. To Ill hang tlw mlrTLll·.
STAlNe-0
GL\ss upl1GbTeR
IREU\ND lf\.I 1889. THI~ vast ,1mount of wo1·k ior churdws not
SON OF /\N ENGLISH only in Ireland . but also in Engkrnd.
fathL'r and an Irish mother. Scotland, \Vales. AustraliiJ and ~cw
His work Wcl~ strongly i11flt1cncc-d Jersey. USA.
hy the work of 1\L1brey f>eardslcy. as 1lis c:irly wo1·k in stained gl,1ss
can be SCl'll in his !llustrations ior lhc> was CXl:'Cuted entirely by himself
literary \vorks of au!hors such as but. m; demand 111cTl'ascd and his
Edgar i'lll<in PL1~'. Sa111ucl laylor hc.:llth dctC'riL)rated, his stuc.!iD
ColNidgc, W. B. Ye.its. A!ex,11Kkr undertook 111L)rL' of the 1>vurk. but
Pope 0111d l lans Christian Andersen. alw~1 ys under his Sllpcrvision and to
His reputation as J stained glass his high stJndards.
.1rtist w.:is firmly csrablfshed through I l;.1rry C/<1rkc died in Switzerl.rnd in
his first llliljor commission, to design 19JJ, at th.: agl' L•i 41 , 11.Jving
and m.:ike the windows of the l-1L1nan sucn1111hcd to 1he luherculosis 1hat
Chapel in Cork. lrt'land . he h<1d battled with for so IL1ng.
SI Os1v11/d's C/111rdi, 1\s/1fo11-i11 -M11kaf1dd
Matcri.1ls
PhLltocopics of templates
J <JA a nd 191\. on pages
11 B-19. bolh enfarged by
113'~1'. and of J <JC on
rage J 20
Continued rwr/m/
3mm self-adhesive
le,1d strip
T 1ryu0i sc•
llf .,1115'' ,rnd - -14·· - i -
Wood ~lue
l'dlu1v
2 m.:ignetic catches with
flat mNal pl.:ircs Method for the lighthox 2 Clean the face of the ilcryllc sheet. and
t\egin by making the painted stained then lay strip~ of sdi-Jdhcsive le.JL1
All-purpose glue
gl.1ss panel. as this will be used to get cilong the lines of the design shO\ving
Strip light fitting. ~63mm .:rn .:icn1rate ir,1mc for the front of the through from undc-rneath. pet'ling off
( IU ;,,,in)Jong. with 211 mm uplightcr. T.~ke the cl e.:ir acrylic sheet the le.ad-backing .:is you go. If you arC'
(8 1. .inl. 30w light IUOI..', <rnd tare templa1e I 9/1. underneath using the type of lead that comes in a
mains iining so thl' design shL1ws thmL1gh from double srrip. cut ii .1long the middle
bt.>low. Cut round tht> outside llf the iirst. LI sing uclirniry household scissors.
Acrylic primer
design u~ing a scrolls<1W at slo1N
White paint spcc..•d. or use J frC'tsaw. A slow 3 rollovving the manufacturer· ·s
cutting speed is llt'CCss.iry to avoid instruc tions, use the tool supplied
Metalli.: blue Cl1 .lmc:I p.~int
melting the plastic .1s it is being cul. with the lead strip to press it down on
(or ~(,Jlour of your ~-hoke)
whi ch might jam tht• bbde. th e sheet il nd sea l the edge . m.::ik ing
sure no gap~ .:ire left for the paint to
scc'p through .
Tools
Scrulls..'!w. jigs.mi or
4 The sm.:ill lines of the face. scrolls. the
frt-t:'aw
diamond shapes at the ror. etc .•1re
Drill drawn on using the imita tion I 'ad
outliner directly from the tube.
Router (option a I)
for the hack. which is longer than lhe side, approximJtely 70mm ( 2 'i,in)
front and without the ho le. dow n from the top. Screw the other
part of the ..:.1tch to the inside of th~
I i Paint th e i11 side L)f ,:ill the pieces \>1.-'hi tc, front piece to match up with the
wh ich will help show off the stained metal plate. Thi~ will hold the front
gl.:iss w hen tlw Ji oht i. not on. _ecu rely in pi<Ke. bL1t ena ble i1 10 be
removed , for access to the ligh t.
I 8 When dry. •)sscmblc as follows.
count<:'rsinkin8 ,111 rh c screw head s: 20 Check th .oit all tht' joins arc lightproLlf.
screw· the s1rip light i itting o nlL1 the pa rticul<irly wh ere the main frLint
base. placing it centrally a lo ng thL' piece rest s o n the sloping pa rt oi the
length; glue .:i11cl ~crew the ~m.1ller smJJI, lowct· front piece. (Ii you h.wi.:
fn)J1 1 pit'Cl' to the fro nt of 1h e b.:isc. difficu lt y wi th thi s, you can glue oil
Glue .111d screw the sides 10 the strip o( fell behind the join to stop
base a nd shlirt front piece. Gluc any light t•scaping. after It h.as .111
a nd screw the back to the base and been p,1i ntl:.'d .
sides. ensuring that the light c.1bl1:'
iits down the h le be.tween the b.?isc 21 Paint the box <15 desired . I used four
and the b.:ick. coats o( m etallic blue enamel paint to
give ci deep richnC'ss to the bo x.
19
. I
\
22 \Vhen the paint i - dry, glL1e the
painted p.rnel inro pla.cc in thl' tcbott'.
If the re are any gaps showing
bcl\\'een the outer kJd decoration
.:ind the frame, use the i111it<1tion lead
t.:i fill them in so that no str·ay light
wi 11 shmv when it is lit u'p.
Me t h o d for t he ca rv ing
Transkr the template for the carving
(I 9C on page I 20) onto the r·ernaining
piece oi timb~r. Cut out thL' internal
sh.ided areas •rnd then cut ruund the
L1utside. using .:i scml lsaw or fretsaw.
S1 . 11NEll G L~ ss u ruc11 Tr R SI
Mare rials
Photocop.ies of tcm p l.~te~
201\-201. on pagl'S 12!-25.
Enl.1rgc 20F by 111 %
Timber measuring
1'15 x 1100 x 11::\mm
15'!. x 43 x -'A in) (pine)
Timber measuring
]CJO x 240 x 18mm
( 11 ··;., x 9 h x '/. in) (pine)
Wood glue
10 x wood !'news.
countersunk
6 x cross-slot chipbo,1rd
screws. countersunk
his final project is in.:idt• up
6 x pl.Jstic screw covers oi lhrcc bathroom fitt ings -
toothbrush holde r, lowcl
I x lOOmm nail (4in)
ring and toilet roll holder -
Sprung toilet- roll holder which are decorated with fish .1nd
inC'rm aid morifs.
Cl.lss or plcis1ic \U mbler.
Fish apptM on Celtic metalwork
approx. 56m m ( 2 '/1in)
s uch as coins .rnd cauldrons . and on
di.1meter at base
many Pictish stone ~·.1rvings.
82 c I I. r I ( \'\I LIL l ll L. ,, r r
gain grt'c'.11 kno1vkdge and havl? th e (till' arms of the towel ring) .:ind 20E
power· tL1 fc..)relell future evt>nts. Whrn (the k)othbrnsh holder) L)n!o lh e
Finnegas the bc1rd caught ii, he gave it l'L'l1Bining I 45mm (S '/dnl wide
to his ''PPl'l' ntice Finn 1VlcCL10I to cook, timber. CLlt out the sh<1 rcs. using J
with strict instnictions nut to t.1st c the scrolls.~w or fretsa1v.
flesh. As 1hc fish W..1.S cooking. Finn
prodded it with his thumb .:ind burnt 2 If yoLJ h.we .:i router, re Lit a dccor<itive
hims elf. Ht• instinctiv~ ly put th' thumb edge on the face L>f the three back
into his mouth ,;rnd unwittingl y became pl.:ites and the arms of the tollet roll
the pussessor oi the gn~.~t kno wle dge. hi..ilder and towel ring hokier. I used a
He went L111 ro become a great leader. 6mm ('.<iinl diameter ovolo hit. If you
and legend has ii that every lime he don 't have access 10 a router, the
faced a difficult decision. or w.rntcd to 1tdgl·S L'.L~n be rounded over using .;
sec into thL' fulurc. he would suck his s,111ding drum anached to a Dremel or
thumb tu ~all llf~Oll hi s magi c rowl'rS. other rotar·y loo!. or by using a
In Celtic mythology. km,,Je dl'ities 1m'dium (I 20) grade s.~ndp..1rer.
were .:issoci.11ed with fresh Weller, and
natural springs and wdls were often 3 MJrk !he position of the rebates on
believed to h<ive healing powe1·s. the iace of the three back plate~ and
The image Llf the nwrm<iid as h.,lf- arms c.if the toilet rnll holder. This can
woman. h ~If-fish appears in Till' Hool< of be do ne either by drawing ar-ound thl' Tools
Kells. ak111~ with ,1 niermc1 n. ThL' 111errn,1id outside guidelines of templates 20G.
Sa0llsaw. or jigs..1\V .ind
in this project is b.3sed on .:i carving on 20H and 201. or by culling the shape
fretsaw
one of th(' tv1cigle Ston es hol1Scd in the out oi the card template and drawing
i\.1eigle lvlltSL'L1m in Angus. SCL1!],1m1. roLmd rh e cutout. Ori II and sncwdriwr
She .-ippt>ars on a small fragment of Rout the rebates to a depth of 4 mm
Router (optional) or
architE'l'lur.:il frieze. betvWL'll two (··1.. Jn). If you do not h,we a router.
SJndpclpt:'r
..1nimal s. SCOf'L' around the outlinL' with a sharp
With the coming of Christianity. the knife .:md remow the inside waste Carving tools
iish became a symbol of Christ. using a chisel. See the three photos of
1he ,1sscmbleci pans, on page 86.
Method
1\'lake L'L)pies of templates 201\-2L1F.
paste 1hcm onto thin c~1rd and cut
them out.
Take templates 20A fback p!Jte fm
the toikt mil holder l and 20B (the
back pbte for both the IOL1t/lbrush
hL)lder and towel ringJ: draw around
these ontu the I 45mm (5'!.in) wide
timber-. m,1king ti.vu copies of
tempJat C' 2013. 011e ior each item. Cut
the shapes out oi the timber using a
scroll s.1w ur· fretsaw.
Draw around templates 20C (the
arms of Lhe toilet roll hoi<.forl. 20D II
for the pdrt-circlc. follo1vin~ the t'ild1 toile t roll hokier arm (templ.:ire
instructions for the Claddagh Mirror 200. Position the depr'ssions 35mm
on page 71 _ ( J ';,in) from the iront of rhe arms.
6 Round over the front and rl'ar iaccs of I 2 Drill pilo1 holes through the back
the ring. using ;,i router if .w.1ilablc. If pl.:lles of the toiler roll holder.
not. the corners can be s,,ndcd o(f. toothbrush holder and towel ring. to
le;,iving the ring in ;:i more.' squared-off allow th em !o bc screwed lo rhe
shape. Keep the two ends Llf the tof1 wall whC'11 finis hed. Position the
extrmsion square. where It will Sil hL1lcs nc<H tlw top. on e ilhe r side of
between the t\VO arms. lh c rebate.
7 Drill a lrnle length wisl:'.' throLigh the 1.1 TcJ make the;• decorative inserts, nit
top of th e piece as shown. m ..1ki11g the <Imm ('61inl thick ti mber rough ly
i t slig htly l.irger· in di ..1rnct<.'r th ..1n to the length of the nwtifs; you 1vill
the n ail_ need l\\IO of tcmpl.:ite 20G. four of
template 2011. '1nd tlrn~e of templat e 18 Cut round the outside ._1f the design
201. Stack the timber tog1.'ther for e,ich and cardully separatc the pieces.
motii using ch.:iuble- sidcd sticky t<ipe . Tr ..rnsfcr Lhe lines onto c..:i<.:h f<ice. and
as described for the Celric l<n twork th en CMVC in the usual way.
Border 011 pag~' JJ.
Screw the toothbrush holder onto the - f.King forward - on the outside of
back plate from behind . ead1 .:irm of the toilet roll hL1lder. the
Pass the c ut- down nail th roL1gh three fish motifs at the rop oi <?ilch
the top of the towel ring bdorc b<1ck plate, and the four· merm,1ids ,1t
placing an arm 011 each end of the ecich side of tooth mug holder ,, nd
nail. then screw the arms in pl,1cc towel ring.
on the 1·cmaining back pl<1te. Th~'
towel ring shou ld then swing llllt 23 Screw each piece to the b.:irhmom w.1 11
freely on its nlL)lllll. through the pre-drilled holes, using
Glu e all the decorative ~'i 'ccs in the cross-siot screws. l~re · a painted
place. positioning the two fi5h motifs screw cover LWer each screw hea d.
The PROJeCT Oes1GNS
ht.> designs needed tl' make Areas that Me to be cut out inside
.1/1 the proje1.:ts in this book the designs ure shown In diagonal
.ire induded here, and they sh.1ding on the designs. (Noc all the st~p
·hould be phot<.1coplcd or by-stcp phOLographs show this shading.)
traced off. Llnlcss otherwise st.:i1ed. the Arens that need cl.:iriiying ior
designs are drawn to the corrC'Ct size to .my other reason - for example where
mak<.' lhc rrojccts. \.Vllcrc a template b.-ickgrl)LJnd has to be reduced but not
needs 10 be enlarged \·vhen phl)IOCopying. completely rcmowd - are indicated by
thr size of enlargement is given. vcrtic.-il shading.
Bi
------ -~---------~-----------
28
2C
20
In it i a I 'm em 0 h 0 Ider t:;ce pogc I 8
38
Initia l memo holder sec pagl' 1s
l
3(
30
In it i a I m em o ho) de r
1
see po,(jc 1s
3E
Claddagh lovespoon s.:q111gc 2L1
Dou blc photo frame sei: 11 aw 2J
. i
J
7B
7C
7D
SA
'Tree Of Life' Seed keeper See page YI
SC
9A
lj
l
L
---·· . --~-=---------------------~---------------------:
JOB
L
· ------~----------- -- -----···-----·-------------------------------·· -- -- - - -
Knotwork jigsaw boxes sec pngc 44
llA
I Ob CHT!c W u0 D ~ "Af ~
Celtic cros s sec paf!e -·18
i L~
13/\
1J C
•
::::;J
13B
.----'~-::... ~ ... :....... _ ......... ~ ~-- -~- ......::..,_~----·· ---··-~~-
'I
' \
L l 11 r HPI~<. t l'!:~ll·'I' 11 1
Coasters in holder see page 64
J6A
16B
160
!6[
\
16G
17A 17B
Tc1npl.1 ll' f•'r hon k~-1
11 4 C11r1c WL'wDc1;.ur
Claddagh m I rror see pnge 11
JSA
~- --~-.: -::
19(
Bathroom set Secpn,~c8 2
r -
I
L_ - - - - - - - - - - - - - - J
,---
t_ - - -
20B
---·---~~-
] I 20C
I
l
l' I
200
I I
20E
Bathroom set sc:c 11n.s.:c s2
- -- -
-
\
J
I
I
I
20 F
20H
20G
201
Glossary
l 9A
LI plighter St'c p11ge 7t•
198