1 April 2009
How to successfully scroll a project with delicate areas in the design
I am often asked the secret to making successful delicate fretwork cuts in areas where the bridge between two openings is very small, or where there are small, delicate protrusions in the design. It can be very frustrating to spend hours scrolling a project, only to have it spoiled because you break a piece of the design. There are several things you can do to increase your chances of successfully scrolling these areas, and hopefully these tips will prove helpful to you.
First, let's assume you use 1/8"- or 1/4"-thick plywood. It's very important to use good quality plywood, such as Baltic birch. Buy the best-grade ply available to reduce the risk of splintering, chipping and breakage. Pre-sand the wood to minimize the amount of hand sanding to be done after cutting, thereby reducing the risk of breaking fragile pieces during sanding.
I strongly recommend stack cutting extra layers of wood. Stacking the work pieces allows for more controlled cutting of thin material. (Also, if a piece happens to break during cutting or sanding, you will have an extra one available to use!) Cutting is made much easier by stacking at least two layers of 1/8"-thick wood. You may also want to consider adding a waste piece of material to the bottom of the stack. Because most of the burrs from cutting occur on the bottom layer, much less sanding will be required if that is a waste layer.
Joining the layers of wood in preparation for stack-cutting can be done in different ways. My method of choice is to place small pieces of thin, double-sided tape between the layers, making sure to position them in waste areas of the design. Other methods for securing the layers are to apply hot glue on the four sides of the stack, or to wrap the stack in layers of clear packing tape, making sure the pattern is still visible. (These methods work best if the work pieces are all the same size.) Finally, panel pins or thin nails can be inserted through the layers, again making sure that they are placed in waste areas of the design. Be careful that the pins or nails do not protrude all the way to the bottom of the stack because the sharp ends will scratch your saw table and prevent the work piece from moving freely as you cut.
Before cutting, it is important that the blade entry holes be drilled at a 90° angle into the stack, and the best way to achieve this is by using a drill press. Use the smallest drill bit possible when drilling the holes for the small areas. Drill a little bit at a time, and frequently lift the drill bit out of the hole to expel the waste.
Using a zero-clearance insert is a good way to keep the work pieces stable while cutting fragile areas. These inserts, generally made of plastic, are available for certain scroll saw brands. Alternatively, you can make your own disposable zero-clearance insert using a piece of carton or a business card. Drill a tiny hole in the center of the piece, and secure it to the saw table using four strips of clear packing tape. Thread the blade through the drilled hole. As you progress with the project, the blade will enlarge the hole to the point where you need to replace the insert with a new one.
Use the smallest-size blade possible to cut the thickness of wood being used. The smaller the blade size, the less aggressively it cuts.
Although reverse blades tend to lift the work piece on the up-stroke, it is not very pronounced on small-sized blades. I prefer to use the reverse blades because their cutting action results in fewer burrs left on the back of the project, thereby reducing the amount of sanding needed to be done afterwards. Change the blade regularly. Do not attempt to get extra use from a dull blade when cutting delicate areas. Not only does a dull blade not provide a clean cut, but it can also break at a critical stage of cutting, causing breakage of fragile pieces.
Slow down the speed of your saw for more controlled cutting, especially when cutting tiny curves and circular shapes. When you encounter two cut lines in the pattern that are close together, keep to the outside of the lines. This way, the chance of ruining the project is reduced if the blade should veer off the line at a critical part of the design.
When you get to the end of a cut, do not allow the blade to expel the waste piece. The force by which the waste piece is ejected from the opening can easily cause breakage of delicate pieces of the design. Instead, stop the saw just as you get to the end of the cut, and carefully remove the waste piece. (A spare blade works well for pushing the waste piece out of the opening.) To provide stability for the fragile areas while you are cutting, replace the waste cut-outs into the work piece, and secure them using clear tape at the top and bottom of the stack.
If you prefer not to replace the waste pieces and did not use a "throw-away" layer on the bottom of the stack, another good practice is to sand the burrs on the back of the stack at regular intervals, while there is still more stability in the work piece and fewer delicate pieces to catch and break.
Take care when prying apart the layers of the stack. I insert a scraper blade between the layers to separate them; pulling the layers apart by force may cause breakage. Be sure to first loosen all the areas where double-sided tape was applied. Any glue residue from the double-sided tape can be removed using mineral spirits after the pieces are separated.
From my experience, most breakage of delicate pieces does not actually occur during cutting, but while sanding the work pieces. Make sure you have a sturdy, level surface available for sanding projects. Do not attempt to sand fragile pieces while holding the project in one hand; it is best done secured on a flat surface. Use small pieces of sandpaper, and sand by hand rather than using a sanding block. You will have a better feel as to the amount of pressure required when sanding in this way. Hold the work piece firmly on the work surface with one hand while sanding with the other.
Many projects have been broken due to a lack of concentration...whatever you do, don't drop it! Of course, if the worst happens and you do happen to break a project with delicate pieces, it can sometimes be fixed with the help of quick-drying wood glue. First, be sure to retrieve the correct pieces from the waste. Test the salvaged pieces in the project to guarantee they fit well. Squeeze some glue onto a piece of scrap wood, and use a toothpick to apply glue to the joining surfaces. Squeeze the pieces together and remove the glue squeeze-out using a clean cloth. Leave the project on a level surface while the glue dries.
I hope you find these tips helpful, and I wish you much success with all your delicate scrolling projects!
13 November 2008
Staining and coloring wood
There is nothing nicer than the grain and pattern of a beautiful piece of hardwood. But sometimes we work with less attractive wood i.e. Pine or ply woods or we need to change the color of a piece of hardwood for a particular reason. Some projects also benefit from having some color added. Let’s look at the options for staining or coloring wood:
Wood stain
- For less intensive color, dilute the stain with some lacquer thinners
- Mix stains to make your own colors. Mixing a dark stain like Walnut with a lighter one like Light oak will provide you with a nice medium brown color
- Work fast to reduce streaking and lines
- If the color is too intense for your application, keep a rag handy and wipe away the stain as soon as you have applied it
- You can also rub away the stain after application by wiping it with the rag dipped in lacquer thinners
- Always test the stain on a piece of scrap of the same wood first and allow each coat to dry thoroughly before applying a second
- It is preferable to wear gloves for staining wood, unless you don’t mind having brown/yellow fingertips and nails for a few days ~smile~
- Wood stain does not lift the grain and can be finished with several coats of clear spray lacquer or clear paint-on varnish
Acrylic paints
- Dilute the paint with water for the wood grain to be visible
- If you are going to keep the diluted paint to use again later, use distilled water
- Test the color on a piece of scrap of the same wood first to make sure you get the effect you are after– i.e. blue on a yellow shade of wood will not be pure blue but will have a green tinge
- Use several coats for more intensive color
- You can also paint the wood with undiluted paint and wipe it off while still wet using a rag or paper towel – if you are using wood with pronounced grain this will allow the paint to stay behind in the grain. An example of this technique would be to paint and wipe away white acrylic on oak
- Mix acrylic paint with water-based liquid varnish for color and finish in one. Several coats may be needed.
- To obtain an even paint finish on open-grained wood, brush on a water-based varnish first to prevent the paint penetrating the wood. This also works if you want to add detail on the wood with a permanent marker – it will prevent the marker ink from seeping into the grain (bleeding)
- The water based paint will raise the grain, more so if a lot of water is used to dilute the paint. Sand in between coats with 320 grit or 500 grit sandpaper, depending on the amount of raised grain
- Try rubbing the surface using a piece of crumpled brown paper bag to smooth down the grain
- Once completely dry, either water-based varnish or clear spray lacquer can be used to finish
- For a combination of natural wood and paint: prepare your work piece and paint the surface with two even coats of a bright color, sanding in between coats. Once dry, apply several coats of clear spray varnish and let it dry. Cover the painted/varnished surface using masking tape or painters tape and apply a pattern with some fret cuts. Make the cuts and remove the pattern and tape. The cut surfaces are natural wood while the face is colored – a tidy end result difficult to achieve if you paint the face surface after making the cuts
Other methods to consider are food coloring, leather dyes, rub-on pastes and even shoe polish. Do experiment on scrap wood first!
Here is the link to a site with an article you might find informative. It describes a variety of homemade stains and alternative colorants for wood i.e. tea, coffee, household bleach and others.
19 October 2008
Tools & supplies to keep handy when you are cutting:
When setting up shop for scroll sawing, a person would need certain major tools like a drilling machine/drill press, various sanders etc. Some time ago there was a thread on a scroll saw forum asking the question "What other tools and supplies do you have near at hand when you are cutting?" You might pick up some tips by learning what other scrollers find handy to have around - here are some of the answers that were given:
- An apron that holds a pencil, small file, small metal ruler, little caliper, small tape measure and a couple of picks. Attached to one of the straps is the remote for the dust collector and in the pocket there is usually a bunch of sawdust.
- A drawer unit next to the saw with blades and tools to adjust the saw, a small square to line up the blade to the table, tape measure and a drawer full of needle files of all kinds. A small block of wood with some stick-on sand paper to file the back of the blade and to remove the burrs from cuttings.. A tube section full of different blades.
- A pin board to put up a picture of the pattern being worked on. Many blade clamps with different sizes blades already fitted for quick blade changes. A phone, radio and a small electric heater in winter and a fan for summer.
- A simple block of wood with sandpaper wrapped around it, an old used up blade or two for poking out the wood pieces that do not want to fall out after cutting. A fingernail emery board, a roll of scotch tape.
- A beer, a couple of old blades, tape measure, pencil, eye glasses, sand paper, rubbish bin, and a big hammer for projects that do not work out.
- A small square, a small chunk of wood with sandpaper on it, a stick of blade lube, a piece of poster board with a slit in it for zero clearance cutting. A self-made wooden knob that fits over the knob on the blade holders to make it easier to loosen them. A small garbage tub under the saw table.
- A small set of needle nose pliers and a hobby knife.
- A Dremel in a drill press to drill the holes missed on the big drill press. Odds & ends like sandpaper, emery board, awl, 2x4 to hold up the DeWalt saw&# 39;s arm. A five gallon bucket to catch debris, a small dusting brush and a few dull blades for poking stuff out and clearing entrance holes.
- A work bench next to my saw with a TV set, small refrigerator with snacks and water.
- A set of Allen wrenches, a few fire extinguishers, lots of lights, a Dremel drill press.
Since my workshop is small, everything is close at hand but these items are within reach without having to get up from my chair:
A sharp pencil, ruler, protractor for squaring up the saw table, calipers to use when exact measurements are necessary, punch to mark holes to be drilled when precision drilling is important, blade clamps fitted with various blades, scraper blade for removing burrs caused by drilling blade entry holes, sandpaper for removing burrs at regular intervals while I am cutting. A glue stick in case the pattern edge lifts, double-sided tape to join work pieces for stack-cutting, clear tape to wrap the stack if needed. A sturdy #12 used blade to push out cut pieces that get stuck, a used blade of the same size I am using for the cutting to clear blade entry holes when needed. A pair of pliers for pulling out a blade that is stuck in the work piece after breaking. A rubbish bin to hold the waste pieces of wood until my Doby comes by to collect them for chewing into fragments J. My magnifier light, eye glasses, coffee or cold drink and some music - and I am set for a cutting session!
NB: Whether you sit or stand when you saw, take regular short breaks to stretch and relax your muscles. Wear a dust mask, especially if you use the dust blower on your saw instead of having it connected to a vacuum for suction. But most importantly...enjoy the creative process and have fun!
19 September 2008
Sanding the project after cutting is probably one of the least favorite activities in the process of scroll sawing. Here are some tips for making this procedure easier:
Prevention:
- Use a palm sander or orbital sander to sand the wood before applying the pattern - this greatly reduces the amount of hand sanding to be done later
- Reverse tooth blades eliminate a lot of the burrs (fuzzies) left at the back of the wood after cutting
- Making fret cuts with the correct size and well-tensioned blade, with the table set at exactly 90 degrees, will ensure that these openings are clean and even
Preventing tear-out at the back of the project:
- Choose the wood carefully. Some hardwoods and ply woods are more prone to tear-out than others
- Place a piece of scrap wood under the project when drilling blade entry holes
- Select the correct blade for the type and thickness of wood you are using.
Cure:
There are several ways of cleaning up inside cuts and removing burrs:
- Sand the back of the project using a hand-held flap sander fitted to a rotary tool - set at low speed to prevent breaking of fragile pieces
- Lightly sand the back of the project using a sanding mop to get rid of most of the fuzzies.
- Place the project upside down on a non-slip mat and lightly sand using a palm sander
- Remove the balance of the burrs with an exacto knife/scalpel or use a small piece of medium to fine grit sandpaper (ripped from a sheet) to sand them away by hand
- Use a small chef's torch (the kind they use to brown the top of baked dishes or crème brule) to burn away the burrs. Place a flat piece of wood against the front side of your cutting when using the torch method - this will keep the flame away from the front part. Use the torch on its lowest setting and lightly pass the flame over the back of the project. Keep the flame moving and stay clear of very thin, delicate pieces. You may end up with some scorch marks, which will not show if you add a backer. NB!! Observe all relevant safety procedures when working with an open flame in your workshop.
To clean up fret cuts and ridges where the cuts meet: try emery boards cut down to serve as sanding sticks, small needle files/jewelers files or stiff cloth-backed sanding paper cut to small strips. Sometimes sanding paper wrapped around a piece of dowel stick or toothpick can be handy.
Hand sanding grips in various shapes, angles and profiles are available - these are useful for sanding larger convex and concave areas as well as curves and corners.
To achieve a nice smooth surface for the top of the project, some hand-sanding is needed. If you pre-sanded the wood before cutting, start with 220 grit, progress to 320 grit and finish with 500 to 800 grit sandpaper. Use small pieces of sandpaper torn from a sheet and place the project on a non-slip mat to prevent it moving around while you sand. Always sand with the grain of the wood. Brush away sanding dust regularly using a hard-bristled 2" paint brush.
30 August 2008
Photographing your projects
You have made a beautiful scroll saw project and now you'd like to photograph it and show it to others. Unfortunately the photo often does not do the project any justice - this is a frustration shared by many! Here are some tips on improving the quality of your photos:
The key to effective product photography is lighting, and the key to effective lighting is control. Once you understand how, you can control the strength, size, position, color and number of lights you use and change the subject's appearance accordingly. The most important rule about this kind of photography is to experiment till you feel that the light is right and to apply it to your s ubject. There are various ways in which you can control lighting:
Turn off the camera's flash because it is the worst kind of light for project pictures. Direct flash makes your objects look two-dimensional, washes out the color of your subject and causes glare when there is a shiny surface i.e. a varnish finish. If you are unable to apply any of the lighting suggestions in the following paragraphs and absolutely have to use the flash, then shoot your projects at a slight angle so that the flash will bounce off away from your camera. Being directly in front of the reflecting surface will cause the flash to bounce right back at the camera and result in a bright spot in the center of the picture.
Use natural light when possible. For consistent light without shadows pick a cloudy day out doors, when there is lots of light but without sun to cause dark shadows on your work area.
Place objects by a window in the late afternoon when low, warm light is shining through it (bright but non-sunny). This light is both large (which is what makes it diffuse and soft), and it is directional which can help show off the shape and texture of the subject. Ideally there should be no cover (curtains/blinds) on the window but in certain set-ups you may want to use curtains and shades to experiment with the amount of light and shade on your subjects. Streaks of light and shadows are not ideal.
With the window set-up, you might find that the side of the project furthest away from the window is still too dark. The window is the "Main light" or "Key light".
You can create a second light with a reflector to lighten or fill the shadows on the other side of the subject. This will be your "Fill light" and it can simply be a flat piece of poster board, propped up and used as a reflector. Experiment to achieve the correct ratio of highlights and shadows: Increase the strength of the fill light by moving it closer to the project or decrease it by moving it further away. You can even cover the board in foil for a stronger light reflection.
Maybe you do not have a handy window, or a day with bright light or you need to shoot at night:
Choose a suitable area for your "studio set-up". This can be a kitchen counter, dining room table or a desk, just as long as you have sufficient space to position the lights and tripod in front of the table area with your project on it.
Try artificial light from lamps if daylight is not giving you the required light you need in your pictures. Two lamps with normal household bulbs (incandescent) lights can be used. Insert 150 watt or 100 watt bulbs. Lamps that can angle toward your subject are ideal and they can be on stands or the clamp-on type. Place the lights at 45 degree angles to the subject with the fill light a bit further away than the main light, so that it won't be as strong. If the wattage of the two lights is the same, the fill light should be about 50% further away. Alternatively use a lower wattage bulb for the fill light and position both lights at the same distance.
You must also use your camera's manual white balance to keep colors true, by selecting the symbol which matches the type of light you are using i.e. a "sun" symbol for outdoor photos. Instead of using the automatic white balance feature on your camera, learn how to preset the white balance to match the type of light you are using (daylight, shade, tungsten, fluorescent).
To soften and diffuse the light of these two lamps they can be aimed through translucent white material (i.e. a sheet of tracing paper or a piece of white plastic) or bounced off reflectors. Shine the light through a white photographic umbrella or bounce the light off the inside surface of the umbrella. A large cloth reflector known as a "Softbox" can be used, where the light is placed at the rear of the reflector so that it shines through a large translucent front panel. An even, surrounding light source can be created with a "Light tent" - see links below for making your own.
To photograph portrait projects framed with glass, you have to make sure the lights reflect away from the camera. With your project hanging flat on a wall, you line up the camera so it is aimed exactly perpendicular to the surface of the project. Place one light on each side of the project aimed at approximately a 45 degree angle to the surface. Now any light striking the glass surface will bounce right back towards the other light instead of at the camera.
The EV or exposur e compensation control (indicated by plus (+) and minus (-) symbols) can be very important for an accurate exposure, especially if you are shooting a predominantly light or dark subject. Projects made of light wood are often underexposed, while dark wood items are overexposed. To remedy this problem, use a plus number (e.g., +1.0) value to lighten the image, or a minus number to darken it
Use a tripod. You'll need to frequently adjust and move your projects to get the best pictures. With a tripod, you can leave your camera set up and focused while you set up your projects. A tripod is also essential to avoid subject blur due to camera motion (camera shake). Most "out of focus" photos are not really that at all, they look blurry because the camera moved a tiny bit during the exposure.
Select the camera's highest resolution/photo size. This way you are able to crop the picture afterwards and reduce the image size without losing quality.
Turn on your cameras macro setting if the camera will be closer than two feet to your subject. Photos of small projects are most effective when zoomed in tightly on the subject. You can use your optical zoom a little, but it's best to physically move the camera closer as well.
The best color for a background is white although other color backdrops can be used to create a certain mood or theme i.e. red or green for Christmas projects. A white background does not compete with the subject and allows the simplicity of your subject to be highlight ed. Black or deep blue backgrounds are also handy for certain projects. A large sheet of heavyweight paper or poster board works well for this purpose. If fabric is used, choose a smooth, non-shiny fabric without obvious texture i.e. a cotton bed sheet. Also make sure that there are no creases in the fabric, as this can be distracting in the background and appears shoddy and unprofessional.
Links for making a Light tent:
http://digital-photography-school.com/blog/how-to-make-a-inexpensive-light-tent/
http://www.pbase.com/wlhuber/light_box_light_tent
http://www.creativepro.com/article/digital-photography-how-to-building-a-light-tent
I hope you find some of this information helpful. Experiment with lights, backgrounds and camera settings and make notes so that you know afterwards what worked for you.
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26 July 2008
Glue or finish first?
The question is often asked whether to first glue scrolled project pieces together before finishing, or to first finish and then glue.
There is no right or wrong way to do it. Personally, I prefer to assemble the project with wood glue, then apply a liquid finish to the project and allow it to dry for a few days. I like to use a deep penetrating furniture wax liquid; some scrollers prefer Danish oil or boiled linseed oil. The wax liquid takes a shorter period to cure if the item is placed in the sun. After rubbing/wiping the project with a lint-free cloth (an old T shirt works well), a final finish of clear lacquer/spray varnish is applied to all the surfaces.
Many scrollers first finish and then glue
- If you are applying stain you might consider gluing up afterwards. If there is the slightest trace of glue on the surfaces the stain will not 'take' in those places
- Use glue that dries clear. Clamp the glued pieces or apply heavy weight to ensure good results. Once the glue has set slightly, remove any glue squeeze-out using a damp cloth, scraper blade or toothpick
- If a liquid finish is applied first, glue should not have a problem to adhere as long as the finish has dried properly
- Should it be a concern if the glue will adhere well and you'd like to finish first, self adhesive paper can be applied to the areas where glue will be applied. This will keep the finish from reaching those areas
- For painted projects, leave the areas that will be glued clear of paint if possible. You can also use a scraper blade to remove paint from these areas before gluing up.
- In case of a project that is being mounted on a base i.e. a stand-up clock, it is easier to apply spray varnish before gluing the clock to the base. Use a narrow scraper blade to clear the meeting surfaces of varnish before applying glue
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15 July 2008
How to deal with wood "chatter"
There are various reasons why the blade will "kick back" into the kerf and the wood jump up and down:
- Wrong blade size for the wood thickness. Larger blades cause more pronounced chatter. Experiment with various blade sizes and use the smallest possible blade size that you can get away with for the thickness of wood you are using.
- A dull blade.
- Incorrect blade tension.
- Certain types of blades are more prone to chattering i.e. reverse tooth blades. These have a few teeth that point upwards at the bottom of the blade to clear the kerf of saw dust. The upward motion of the reversed teeth can cause the wood to lift, but with a bit of practice one quickly gets used to reverse blades.
- Attempting a tight turn with a large blade will cause the blade to "bind" and cause wood chatter. Use a smaller blade or attempt the turn with slower speed.
- Insufficient pressure on the work piece - hold down the wood firmly on the saw table.
- Wood that is warped and therefore not level on the saw table
- The blade is fitted upside down with the teeth pointing upwards
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24 June 2008
Scrolling straight lines
It is not always easy to cut perfect straight lines and a wobbly line can easily spoil an otherwise great project! Here are some pointers for improving this skill:
- Relax the shoulders and arms and apply gentle, even pressure on the wood with both hands to feed the wood into the blade, but keep the wrists off the table
- Do not force the wood into the blade, allow the blade to do the cutting
- Look slightly ahead to where you are going to cut next, not where you are cutting now, and anticipate when you will need to move your hands
- Be careful not to over-compensate when you veer off the line - return to the line gradually in a fluid movement and continue cutting
- Position your body slightly to the right of the cutting line instead of straight-on
- Change the blade regularly, you cannot cut a straight line with a dull blade
- Ensure that the blade is tensioned adequately or it will tend to 'wander'
- For some scrollers, changing the line color to red or blue makes it easier to see and follow the pattern line
- A magnifier/lamp combination is also helpful for seeing the lines better
- Experiment with the cutting speed. Sometimes a faster speed is preferable for cutting straight lines
- As with any skill, the more you practice, the better you get at it
...so persevere, and remember that despite what I said in the introduction, it is often the "less than perfect" aspects of your project that makes it truly unique!
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10 June 2008
Waxing a cast iron scroll saw table
If you have an aluminium table like I have on my Hegner, then rust is not a problem. A cast iron table, however, can become rough and even show rust if not looked after. One solution is to periodically sand the saw table and apply a wax to keep it smooth. Most people seem to prefer using a paste wax like Johnson's. Other types that were recommended during a recent forum discussion are Minwax, Butchers' bowling alley wax or any woodworkers' paste wax. Do not use wax that contains silicon compounds (i.e. most types of car wax) as that will impair the application of a finish to the wood.
Apply the wax to the table, wait till it forms a film and is dry but not yet hard and then wipe it off. Use a clean cloth and buff the surface. Sanding is not necessary every time. Some other solutions for a smooth table surface:
- Have the table top Teflon coated
- Apply a polyurethane spray varnish specifically intended for metal surfaces
- Secure a piece of glass cut to size on top of the table. A hole is cut out or drilled for the blade
- Rub the table with a crumpled ball of kitchen wax paper or very fine sandpaper
Some people prefer not to have the table too slick - work pieces can slip off the table more easily and tight turns while cutting may become more difficult to execute. If the table is not particularly rough or rusted, then to wax or not to wax becomes a matter of personal choice.
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23 May 2008
Drilling small holes in thicker material
For some projects one needs to drill very small holes in thicker material i.e. 3/4" or 1" wood or MDF. This can present the problem of drill bits breaking easily or veering off to one side in wood with hard and soft variations in the grain. A tiny bit generates a lot of heat in thick wood, causing them to become brittle after some use. A few things to try:
- Buy good quality High Speed Steel (HSS) bits - these are more resistant to the effect of heat, especially when drilling in hardwood
- Other options are tungsten carbide tipped or titanium tipped bits, but they are quite expensive compared to HSS
- Spot the planned holes prior to drilling by tapping with a center punch
- Use a high speed and a 'nibble' action (back out repeatedly to clear the bit's flutes of wood shavings)
- Hold the wood down firmly but gently, with just enough force to keep it from lifting from the table.
- Let the bit do the work, do not apply any force
To read more about various types of drill bits and their uses, go here. At the bottom of this Wikipedia page is also a link to "Drill bit sizes" and a "Drill bit conversion table" listing gauge, inches and mm.
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06 May 2008
How to deal with a pattern lifting halfway through the cutting process:
A recent thread on this subject in the SSP group prompted me to collate all the handy tips offered by various contributors and to pass it on :
Say you've already made a few hundred cuts of an intricate pattern and the pattern starts to lift and rip when you make cuts. This can be a tricky problem and may well be crucial to the outcome of your project! Here are some things you can do:
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Try holding the pattern down right next to the blade using the eraser end of a new pencil, or a chisel shaped eraser... and have a duplicate print of the pattern next to you in case the pattern tears off and you need to see where the lines 'would have been' so that you can cut freehand, if needed.
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For small areas lifting, use a toothpick to take a small bit of glue from a glue stick, place it under the lifted pattern piece, press it down and allow it to dry a few minutes.
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For larger areas, cut the pattern away with a scalpel or exacto knife, fold it back, apply the glue and stick it back down.
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Use a dab of rubber cement on a toothpick to reattach it. The cement comes off with a gum eraser when you are finished.
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Inject rubber cement or a similar glue between the pattern and the wood using a syringe with an injection needle.
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If the whole pattern is coming loose...Take some panel pins long enough to go through the wood and still stick out the top, tap them into the pre-drilled openings in various areas of the project. Cut the heads off the pins with pliers. Lift the pattern off over the pins and re-spray the pattern with adhesive. Locate the holes in the pattern over the pins and slide it back down over the wood.
Of course prevention is better than cure, so here are some options for the basic procedure to adhere patterns to wood:
- Print the pattern on plain paper. Some people prefer to use full sheet labels instead, eliminating the need for glue.
- Cover the wood with masking tape, blue painter's tape or packing tape. This keeps the glue off the wood so you do not have to soak the pattern with mineral spirits afterwards or apply heat to remove it.
- Adhere the pattern on top of the tape using glue stick, rubber cement or temporary bond spray adhesive. If you prefer the latter, spray the pattern and not the wood. Work outside or in a well ventilated area. Place scrap paper or newsprint under the pattern. Use a generous spray of glue and wait between 15 and 30 seconds before applying the pattern. Position the pattern on the tape and press down in a few places. Starting in the center and working your way to the sides, smooth out the pattern by hand (or use a cloth) to remove any air bubbles. Work gently so as not to tear the pattern.
- Optional: Apply a layer of clear packing tape over the pattern. When cutting wood that burns easily like oak, cherry and rosewood, wrap the whole work piece with clear packing tape so that it is both on top of the pattern and at the bottom of the work piece - this helps to lubricate the blade and prevents charring in the cuts. If the pattern is not detailed, it can be traced on the wood using carbon paper and a stylus or old ballpoint pen.
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22 April 2008
Scroll saw blades - types and choices
Many questions are received on this topic so I have compiled some basic information for reading and reference:
When one is new to scroll sawing, the choice of blades out there are overwhelming and quite confusing.
Scroll saw blades come in many sizes and styles. Sizes are designated by numbers and range from No 2/0 and No 0 in very fine, to No 1, No 2, No 3 and No 4 in fine, to No 5 and No 7 in medium, and No 8 to No 12 in larger sizes. The standard scroll saw blade length is 5 inches / 130 mm long. Low-end saws often use pin-end blades. These blades restrict the intricacy of internal cuts one is able to make, as a fairly large drill hole is required for the pin to fit through. The ideal blade is pin-less (also known as flat-end blades or plain-end blades). A general rule is to use wider blades with fewer teeth for sawing larger curves and cutting thicker woods and to use narrower blades with more teeth for intricate details in thin woods. Harder substances require larger teeth. A very complex pattern will require a blade with small teeth.
Use a suitable blade as dictated by the wood thickness, amount of cutting detail and sharp radius turns required. Sometimes the choice of blade is dictated by the type of project, for instance inlay work or jigsaw puzzles require using the smallest blade possible so as not to have a wide kerf. If you are using a small blade in thicker wood, be aware that progress will be slow and you'll have to take your time and be patient not to apply too much feeding pressure forcing the wood into the blade.
My blade of choice is the Flying Dutchman skip tooth reverse (FD-SR) for its quality and the smooth cuts they produce. The reverse teeth at the bottom end of the blade eliminates burrs/feathering at the back of hard wood and tear-out at the back of ply wood, reducing the amount of hand sanding required after cutting. A standard blade with no reverse teeth provides more aggressive- and faster cutting than the SR blade, but will leave burrs at the back of the cut, which have to be removed with sandpaper. General guidelines for blade size choices are:
No 2/0 or No 1 for 1/8" / 3 mm wood
No 2 or No 3 for ¼" to 1/2" / 6 mm to 12 mm wood
No 5, No 7 and No 9 for ¾" to 1" / 19 mm to 25 mm wood
No 12 for wood thicker than 1" / 25 mm
The major blade types are:
Standard tooth blades
The teeth are all the same size and distance apart. The two major kinds are wood blades and metal blades. Wood blades have larger teeth and more space between the teeth, designed that way to clear the sawdust as you cut.
Skip-tooth blades
Similar to the standard tooth blades, but every other tooth is missing. The space between teeth is much wider. The design provides for fast sawdust removal and cool and smooth cuts.
- Double-tooth blades
This is a skip-tooth blade with a large space between sets of two teeth. They cut slightly slower but leave a very smooth cut.
- Reverse-tooth blades
Exactly like the regular skip-tooth blade, except the last few bottom teeth point upward. This prevents tear-out or splintering on the bottom of the cut and is especially good to use with plywood.
- Precision-ground blades
This is a skip-tooth blade with small teeth that have been ground to shape, rather than simply filed. They are much sharper, cut in a straight line (unlike any other blades), last longer and leave a very smooth surface. These are very aggressive blades and are quite expensive.
- Spiral-tooth blades
A group of blades twisted together so there are teeth all the way around. You can cut in all directions without turning the wood. They leave a rough surface and a wide kerf, cannot make a tight or sharp corner and have a tendency to stretch with use.
- Crown-tooth blades
The teeth are shaped like a crown with a space between each crown. There is no upside-down with these blades, so they can be put in either way. They cut a little slower than a regular blade but are good for cutting plastic and acrylic.
- Metal cutting blades
Hardened steel are used to make these blades. Metal blades have much smaller teeth and less space between teeth.
- Diamond blades
A wire coated with diamond bits for cutting glass.
Blade Tension:
Setting the proper tension on the blade takes some practice and is best learnt by experimenta tion. One needs to find a balance between too much tension (in which case blades will break) and not enough tension (where the blade wanders and the line of cut cannot be controlled). Certain brands of blades can handle more tension than others and the amount of tension also differs from one blade size to another (smaller blades = less tension, larger blades = more tension). A blade that breaks in its centre before it is dull is normally a sign of over-tensioning. Do not try to get extra life out of a dull blade. As soon as the feed pressure needs to be increased to cut at the same rate as when the blade was new, it is a sign of dulling of the blade. If there is any sign (or smell) of burning in the cut, the blade needs to be changed.
Mike from
mikesworkshop gave some feedback regarding spiral blades. Nowadays a spiral blade is made from a regular flat blade. Before it is hardened, it is twisted and it is only one blade, not a group of blades.
He also had this to say: "I now have a new blade, called FD-UR. It cuts more straight than the PGT blade and last longer. Customers are quite excided about them. Check the testimonials on my web site. Click on "
Blades For Sale".
The Flying Dutchman blades are available from http://www.mikesworkshop.com/
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9 April 2008
Finishing your scroll saw projects
Some people leave their work in its natural state. So why finish?
If the project is going to be displayed, it is sure to collect dust. Cleaning is easier if there is a finish on the project. A finish protects the project, some finishes more than others. It also allows the natural color and grain of the wood to emerge and enhances the beauty of the wood.
Proper preparation is necessary before applying a finish. Pre-sanding the wood before cutting minimizes the amount of sanding to be done later. Once the work pieces are complete, hand sanding is normally the method used but for flat projects without too many fragile cuts, a palm sander or orbital sander can be used. When sanding wood, you can only sand it as smooth as the pores will allow. A stage is reached where you cannot get the wood any smoother irrespective of the grade of sandpaper you use. It may feel smoother, but what is happening is that the fine dust is filling the pores and grain and when you remove this dust prior to applying a finish, the timber will return to its smoothest attainable state.
Always sand with the grain, start with the roughest paper/smallest number (i.e. 80 grit) necessary (depending on the amount of sanding required). Work through the various grits towards the smoothest paper/largest number i.e. 800 grit. Dust down the project between grit changes – I like to use a hard-bristled 2” paintbrush.
The next step is not necessary if you use a liquid/paint-on varnish: Apply Danish oil, Tung oil, lemon oil or boiled linseed oil to the project. I prefer to use a deep penetrating furniture wax liquid instead. Use a medium sized artist’s brush to reach the surfaces of the inside cuts. If the project is small, it can be dipped in the finish. Wipe off the excess using a lint free cloth (old T shirt works well) and allow it to dry. Place it in the sun if possible. This process allows the grain and color to emerge and removes fine dust trapped in the grain of the wood. Once the oil or wax liquid is completely absorbed and dry, the project is ready for spray varnishing.
Various spray varnishes and clear lacquers are available and choices include gloss, semi-gloss and satin finishes. When applying the first coat of some finishes, a raise of the grain occurs (bloom) in varying amounts, depending on the product and the wood. Once dry, the first coat must be sanded down to remove the bloom – use 280 grit – 320 grit paper and sand with the grain. Light coats of finish give better results than heavy coats. Sand in between coats with 280-320 grit sandpaper. Wear a mask to protect yourself from the spray fumes. Spray in a well ventilated area – I always do my spray varnishing outside in the sun (for quick drying). Do make sure that the area is clean and dust free before you spray, you do not want small dust particles adhering to your finish. One way to achieve a dust free environment is to use a large cardboard box on its side as a “spray booth”, with the project placed on a brick inside the box.
You might prefer a liquid finish instead of a spray varnish. The drying time for these finishes is a lot longer and cannot be rushed. They are applied with a brush and there are various types available. Varnish is a reactive finish in that it dries by chemical reaction. Lacquer and shellac are evaporative finishes that dry by the evaporation of the solvent. There are different types of varnishes - alkyd, polyurethane, spar. An alkyd is very slow drying, has a warm color and a moderately hard finish. Polyurethane is faster drying, provides a harder finish, and the color is not as warm as for alkyd. Spar is used for outdoor projects, has a softer finish, is slow drying and has an amber color. Then there are also water based varnish, gel varnish and others. The choice of finish will depend on the appearance you want to achieve and the durability required.
For paint-on finishes, read and follow the manufacturer’s instructions. Sand in between layers and remove the sanding dust with a soft brush, slightly damp cloth or compressed air before applying the next coat. Generally, three coats are required but for open-grained wood like oak, more coats may be needed to fill the grain for a smooth finish.
If you use a wood stain on the project, first allow the stain to dry thoroughly. Skip the steps for oil/wax liquid and apply either spray varnish or a paint-on finish.
For tons of information and articles on finishing – visit this website: http://www.macsimmons.com/
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30 March 2008
Scwibbogen Patterns
In response to my email about the lighted arches or Schwibbogen patterns, I’ve had numerous requests for more information, so here is a bit of history on the Schwibbogen (as written by Chase Smeeks) as well as places on the web where the mini-lights are available. My patterns are designed for 10 to 20 lights but more lights can be used when the pattern is enlarged
The history of lighted arches or Schwibbogen, originated from the Erzgebirge region of Germany more than 250 years ago.
The Largest Schwibbogen is made of wrought iron and measures 23 feet high and 13 feet wide! This large metal arch stands on the highest point of the Erzgebirge town of Johanngeorgenstadt. The smallest Schwibbogen fits in a matchbox!
The practice of decoratively lighting windows and tabletops with Schwibbogen is gaining favor among all who love Christmas.
Most Schwibbogen are crafted by hand, in small family-owned cottage industries in the Erzgebirge region. Designed with scenes depicting mining towns, landscapes, and religious themes, the Schwibbogen is then given vitality with its integral lighting. Some Schwibbogen use candles for illumination, while others use electric lighting.
The name “Schwibbogen” originates from one of its architectural features, the suspension arch. It is said that the miner and blacksmith, Johann Teller from Johanngeorgenstadt, created the first wrought iron Schwibbogen candleholder in 1726. Travelling through villages and cities of the Erzgebirge region, one will notice lighted Schwibbogen in windows of many buildings. This tradition traces back to the Erzgebirge miners. During the last shift on Christmas Eve, the miners held the traditional “Mettenschicht”, a time when the miners, the foreman, and all the workers hung their lamps on a wall in the shape of a horseshoe. This symbolized the entrance to the mine. >From this tradition developed the candle arch, or Schwibbogen. The miners’ yearning for light played a great role in this tradition. During their 10 – 12 hour shifts, the miners saw little daylight, especially during the short days of winter. The miners carved arches of wood for their homes, decorating them with scenes from their village life. The traditional designs and motifs of Schwibbogen have remained relatively unchanged throughout the years. The magic of lit Schwibbogen fills windows and rooms with a warm glow. Schwibbogens remain one of the folk pieces most closely identified with the Erzgebirge region and at Christmas the candle arches of all sizes may be seen adding a festive glow to the towns and villages of that region and reflect another wonderful German Christmas tradition.
Today’s’ Schwibbogen are still very similar to the earlier models, generating the same dazzling effect as in the miners’ days.
Some websites with mini lights - :
- http://www.christmaslightsetc.com/categorydetail.asp?CategoryID=462
15 clear mini lights white wire $2.50
- https://ssl.adhost.com/noveltylights/merchant.cfm?pid=220
<https://ssl.adhost.com/noveltylights/merchant.cfm?pid=220&step=4> &step=4
10 clear mini lights white wire $2.00
- https://ssl.adhost.com/noveltylights/merchant.cfm?pid=221
<https://ssl.adhost.com/noveltylights/merchant.cfm?pid=221&step=4> &step=4
20 clear mini lights white wire $2.60
- http://www.save-on-crafts.com/chrisligandl.html
35 clear mini lights brown wire $2.09
- http://www.bettyschristmashouse.com/lights/craft.htm
20 clear mini lights white wire $4.50
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17 March 2008
Choosing a Scroll Saw
This will be old news to many of you, but since there have been numerous requests from beginners for info on choosing a saw, here goes:
Scroll saws are available in a variety of brands and models. Some of the better saws are the ‘Excalibur’ manufactured in Canada, the ‘Hawk’ and the ‘Eclipse’ models made in the USA, the German made ‘Hegner’ and the very popular DeWalt saw which was originally manufactured in Canada, but now made in the Far East. There are also a number of mid range and low-end scroll saws offered. These include: Delta, Proxxon, Dremel, Kraft, Craftsman, Jet, Ryobi and others.
Scroll saws can cut a wide variety of materials, including various metals and plastics. Some scroll saws have more capability and capacity to saw thicker and larger sizes of wood than others. The size of the scroll saw is designated by its “throat capacity”, the distance from blade to the rear of the machine. A 15 inch saw, for example, can cut to the centre of a 30 inch diameter circle. The rate at which the blade moves up and down in strokes per minute is called the “blade speed”. Some saws have just one constant speed. Variable speed saws allow for better control when cutting thin or soft materials, as well as the ability to efficiently cut metal and plastic. Some other features are up-front controls, i.e. an on-off switch, blade tensioning, and blade speed adjustment. Many saws offer adaptability in terms of the possibility to add a light, a magnifier or a vacuum nozzle. A foot switch frees up both hands and is often used as an accessory. Another important feature for ease of use is its capability for changing blades quickly and/or threading the blade through the work piece easily for making inside cuts. (A note to scrollers in S.A: Unfortunately our choices are very limited. If the Hegner saw is not within your price range, do try to find a saw that makes use of pin-less blades like the Delta, Proxxon or the Ryobi model with pin-less blade converter. A saw with pin-end blades is really only good for cutting silhouettes without small curves - the size of hole required to thread the pins does not allow for fine fretwork to be done).
There are some other points to consider when choosing a saw. Higher priced saws have additional features and options that improve the overall performance of the machine. Consider the full range of work that might be done with it in the future to see which saw best matches the overall long-term sawing needs. If it will be used on the occasional weekends as a hobby, the most expensive saw is probably not an option. To start a sideline business of scrolled products for sale, consider a saw that has more features and is able to handle the cutting volume. Whether the user is a hobbyist or a professional scroller, the absolute best saw within one’s price range is the most excellent choice!
Some useful links:
DeWalt: www.dewalt.com
Hegner: www.advmachinery.com
Hawk: www.rbiwoodtools.com
Excalibur: www.seyco.com
Eclipse: www.eclipsesaw.com
Delta: http://woodworker.com
Dremel: www.dremel.com
South Africa - www.hardwarecentre.co.za
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28 February 2008
Website feedback
For the last few months you have been receiving notification of updates made to my website. There are now more than 400 patterns available in 26 categories, a variety of Special Offers and a selection of Free Patterns, to which I add regularly. Other links of interest include:
- - The “Tips & Techniques” pages
- - An overview of scroll sawing on the “Scroll Saw Classes” page
- - A Photo Gallery where your completed projects are displayed
I would like to ensure that my site is user-friendly, so at this point I’d really appreciate your honest feedback. Thank you in advance to everyone who takes the time to return replies to my questions!
Please give a short critique, including things like:
- - Ease of navigating around the site
- - Speed at which pages load for you, and what connection you use
- - Quality of graphics
- - If you have made a purchase, how easy the checking out procedure was
- - What type of patterns interests you most? What topics/styles would you like to see more of?
- - Feel free to add any other feedback you would like to mention
