-,..,
....
.. ..=---. """:7"---=---=--
,.
...,
i"
~.:':'..: ~~:=.... -;."' --::-----~.:::---~ ·...
•
. ._, .
7
r . . .•
•
. . '.:Q-
•
.I.
.· '
---
•.j:..
·. I
..
:.:.
~
.... --.... . ' r:- ":"' - '\
.-
---
:..
-·- '
:. •
0
...
...
...
-.....
~
...
-- • v
-,.,
..r .. t -; .. ~ · ....
-~ »
....
~-
-
r
•
..
•
."
I- ' •
.•. ..
....
CoNTeNTs Introduction GETTING STARTED Tools and materials
6
Workshop safety
8
THE PROJECTS Celtic knotwork border
12
Knotwork overlays
I5
Initial memo holder
18
Claddagh lovespoon
20
Double photo frame
23
Eagle wall plaque
26
Message board
31
'Tree of Life' seed keeper
34
Hand mirror
37
Dragon trinket box
41
Knotwork jigsaw boxes
44
Celtic cross
48
Fun photo fram('
52
Mirrored cJndle
sco ne~
57
Zoomorphic lovespoon
61
Coasters in holder
64
Trivet
67
Claddagh mirror
71
Stained glass uplighter
76
Bathroom set
82
The project designs for tra cing and photocopying
87
Glossary
126
Further readi ng
12 7
About the author
129
Index
130
1NTR00UCTION
......, I ... •
I
t Columba; Who ~s born developed their own cultural dl\letSitt~ In Jreland around A0520,_ mqctt of Celtic symboll-srn --~l~: romril~n ~to them all. was possibly one -of the rnost Influential people Jn :rhe_·Qtlgtns of CeltlC artg0:1>adc:.as fat the history of Celtic art. Following a as :JOOQec;, when megalithJt stone dispute with the king of Ireland In· carvings .were decorated With geometric Ao563, over the copyright of a book he patterns, but 1ts foll devel9Pment came between 450Bc .;tnd:;$Ql!c,.a tfme _known had duplicated, St Columba enug,ated to Iona, off the west c.o ast o.f SC'otland, as La Tene petiod• The C!l.ts: ofLaT~lie period prQduC'ed l,Jr()nze repouS&.t ta set up the monastery. From th~re hli; impact spread throughout Europe~ and oblects for pe™>nal wear, as well as:Wr: many of the manuscripts still In hoPSe ornaments and religious purpoM. existence - were produced as a direct Frqm SDsc the Roman Emptre grew in result of hls-1nfluence. str~ngth and Influence and consequ~11tly St ColumQa understood the Importance much of the. Celtk culture was of lea ming hvm ~st ma$ters. not only Jn su.ppress-ed arrti: , dtJu~. -~ ~ote an artiStic sense, but also In ·a sp1rtruaf' outposrs of Western·:eu:~m~. . ro way, a _l~son that still hAs ~fw..P®:' tetaln their :tradftfO'ris.-aml $.ntlnued to today. In his dying prayer forth,'.mqf)e'. ~lop their art. th~ - ~'5- -\\le~ of Wna he said: Caltcla In NOrthern spmn, Br!tta:11y. Wales; ~.tland, Cornwall, the Isle of -see thal you be at peace amdhg youru~, Man and lrelarJd. In Ireland especlatfy, ~ chl1d!en, arid love one-anothtt. FOllC1W the ha\il~: rertudned ttce from Roman example of good men qfoid~ control. G¢1tlt_art flourished, so by the time ·Chrtstlanlty reached. there Jn: _the fifth at1d sixth ceritury Ao the Celtic Much of modern c~ftlt dest•n fs 'taken from Irish manuscripts o( the -~tXth to artlsrs were able to brlng thclr own eighth centuries, rriost noiablf from .unique Influences to th~ )fJL!lrilnated The Book of Kells, the Llndl$fii:m~ manuscripts that me mohasterJes Cospels and The Book of Durrow. , Q-~ ,pl'O(juced. Their pagan af:lfs~ ttadlllons we.re not swept aside by the coming of the arti~ts who decorated the ~spels c:on{<;l1ned ·Jn these books we~ dr,awtng Chrtstlan tty, but weie-·1:ncorporated Into the artw9r~- _:that d_ecorated the on a much okler pag~ artistic tradition, developed· by ,aooent Celtic handWrirten pJ1e/$ and enriched them tribes.-From about IOPOac.tbey ()qruj>ted greatly. Th¢se tnSU:lar -manuscripts were a vast area radiating from «ntral Europe made 1.1p qf the four N~w Testameni to Scotland, Ireland and Spain. Altho_ugh gospels of Matthew, Mark, Lu~ and many different tribes existed and John, written In the Latin ofthe vutg<1te
Tools It is possible to make all the projects In this book with a falrfy basic range of tools and, where I have used power tools. I have tried to suggest less expensive hand tools that can be used Instead. Having said that, there Is no doubt that power tools can save a lot of time In shape-cutting, and in reducing the bulk of material In certain projects. For the reader who Is thinking of Investing In new tools, my advice Is to buy the best you can afford. I would also recommend taking a training course to acquire power tool skills before making a purchase. Many tool stores run half-day or full-day courses to teach the basics In Tbp-of-tlte-rangt scrol/saw
6
CELTIC WOODCRAFT
routing, scrollsawlng etc., and these are Invaluable for finding out which mode! would best suit your needs. If It Is not possible to attend a course, a lot can be learnt from demonstrators at woodworking e.)(hibltions. wha will willingly give free advice and tips on 8"51r bench~top scralfSRW
Jjns/(' Jigsaw f1nd rotary tool with commonly used accessories
.. .. . ...... ...... ~
~
:
~ ·· · · ,'";
'
.• "' .•
'
....a
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 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 to.o!s, there Is a bewildering variety ava1Jable, but the projects ca.n be ma
in mostof my work. Lt really is a case of your personal preference when it comes to choosing and .using tools. There are. many bo.oks you can refer to. in order to 1¢am more aboutwoo
Mate:rlals There :m m4tly
ti.ti!~' $~1~,
m.
~ngJ1'l gertet.a4b.U;r;~~~ate
desfgn:s.
m,(}$ 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
I
A selection of palm c111vi11g tools and chip carving knives
ls. classed as a harciwooq. syoam0.re 1.s. alsci: a s.ooc1 timber for carvin~ Celtic designs. BQ.th st these \.Voods ·are v¢cy light In colour; s.o you rnay prefer tQ experiment with darker timbers, such as mahogany or cli~try, providing th~ gra)ri
paneming Is not'.too prono1.mcect softwoods such as. pine- may at first s~erti .ealiy to qr\'¢> a11d can eye us~ tot certain a:pplicatlorts~ l;>ut they do noi hold
del
Some Qf the materials needed to complete the projects
CelTtc kNoTWoRk BOR0eR
Matertals several phot~pi~Of t~rfiplatc IA (sc~ page Slf, .e:t e-9fargcd J>y I 25 % P.fne st4fr wood, 6
6$mm ·{It, .x ]Min)
x ~
lengtlt
req~i'l rcd ~posl.!f~gable ·Sp_r~y.
adhesive Dooble-slded s~ t~P.~! Palnt. V¥nlsh or wax fjflish, as ~eq u l rcli Tools Sc~llsaw. etectrk Jlgsa\¥.
or hand tretsaw Orlll fined with sm~P blt I 2mm ('hln) ~~t ch1,e1
craft knife or~~P
12
!qufe
CELTIC WOOOCRAFT
his. prOJ~t $hQws you how to aclill!Ve the ribbon-like Interlacing so typical of Celtic knotwork, whJd:t forms the basis of many of the designs,in this book. The simple but lmpresslv¢ border adds the perfect finishing touch to a room and, by using a variety of finishes. you can achieve a hlghly Individual look. Celtic knotwork, which appears on stone crosses of the sixth century AD and onwards, and In the Intricate patternfllling designs of the eighth-:tentury Illuminated manuscripts, ·can Qe. made up of one, two or more Interlacing bands. Some people believe that there ts no symbolism att;:r~he_d to the different types of knotwork; and It Is probable that meaning has been conferred In more
recent i:frneS,; It is easy to see, however, why other peaple belleve that the unbroken bands of the knotwork ~present a saqed path through llfe, with no beginning or end, an ..et:e.r.n~I Journey of spiritual growth. This project may look daunting but. beCause the de$lg,n Is worked In small manageable sections, It Is not difficult to make. The main sklll required Is patience, and. In my eXperience you wouldn't be a woodworker if you did not already possess this trait. Once the sections are <:omplete. they Join to make a continuoiis border, as shown. which can ~ rut to tit corners. Alternatively, lf y<;;u. want to use the bor~r to decorate small pieces of furniture, cupboards or boxes, simply redU.~e the design to the size required.
Mc b"d
I (Ui lf't
~1r1ri
gt
drllled hole first. A scrollsaw Is Jdeal
~
§S
1;h"1H11
tc
upc- 10 11 'O
tg
ae "'
design, carefully separating the pieces and removing all traces of
r
~ i -11
sticky tape.
I:'.
6 Using the original template as a 1 nrtL
r;J lhr
udnJ Cts
rurs
"'
h1-eadl
lht
M~
\
guide. transfer all the crossing lines onto the pieces with a light pencil mark. It Is essential to copy the lines faithfully so that the woven effect is even and continuous, especially
L~
"---"
when pieces are Joined end to end.
..
........._
-~:-
CELTIC ICl'IOTWOU BORDER
--I
I
.
-
13
7 With a sharp chip knife or craft knife. score along 1hesc lines to a depth of 3mm ('hin). 8 Using the chisel at right angles to each line. gradually slope the wood down towards the line. so that the band appears to weave under and over. as shown. Also reduce the wood by 3mm ('/91n) at each end of the border where ft wlll meet the next piece. 9 Give each piece a final light sanding.
To complete the profect, you have a choice of finishes: • Varnish the border, then fix it in place around the wall using a suitable adhesive such as 'No More Nails'.
Tl1t 11nl/qut, wcalltt r(d-bronze effed
14
Ce:L.T IC WOODCRAF T
• Alternatively, ff you wish the border to contrast with Its background. prime and paint the sections first, then glue in place as above. • To give the effect of a plaster relief finish, prime the wood before sticking It In place, then paint the whole wall and Celtic border with the same paint. • Or, to achieve the antique weatheredbron ze effect. apply a base coat of emu lsion paint In a terracotta colour after priming. When dry apply a coat of metalllc copper paint. Allow to dry and then dip a small stencil brush in gold metal paint, wipe off until almost dry, and then stipple randon:ily over the copper. Repeat with another darker shade of copper until the desired effect ls achieved (see below).
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 a variety of objects, and are mad\? using similar techn'iques to the previous profect. Four different templates for overlays are provided on page 88 but, once they have been mastered you will be able to use other patterns from Celtic art source books to.make your own overlays. The templates can be enlarged to any size to suit the object they are to decorate, and I suggest enlarging by 140% for the first attempts, as this will make the internal cuts easier.
Some suggested uses for the overlays:
• Decorate the lid of a purchased or home.,.rnade box (above left).
• use four matching comers to deeorate a chunky plain picture frame (right). • Decorate drawer~fronts or doors on furniture. • Make the same design In contras~ing tlnibel"S to create a semi-abstract picture. • Connect the open-ended pattern (template 2A, on page 88) with straight strips of matching timber to form a frame, 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.
a
2 Using a scrollsaw or hand fretsaw,
thread the blade through the pilot holes and make the internal cuts. Make sure the corners have sharp angles. with no roundedness.
Materials EE\larged pho~opy' of template 2~, 28, i.c or ZD
(iis prefepie.d: see page S8J
.u
Assorted timbers to siz~ of template Cot ~!lla~ment~ 4-6mm
P~•'Airl) thick
(e.g. pinft ivory. jarra, American hard maple, hardwood strip) Repositiona~le
guide to which way they cross. It Is Important to get the lines right at this stage so that the weaving effect w!ll be correctly carved.
$pray
adhesive Double~slded
sticky. fape
Glue
finish
Tools
SCfollsaw or hand fretsaw Small chisel Chip knife or craft knife Drih with. s~!l drill bit
16
$cg~. ~IQng'.· the l~s using
a sharp
knlftt ·
Cfear wai< poltsh. varnish,
or pref~~~
s
CELTIC WOODCRAFT
6 Use the chisel at right angles to the
bne and I~ the material on either
side of a crossing band, ·to give the appearance of weaving underneath. Slope It down to about half the depth of the tJmber. The angle of the slope wtll depend on how cl<>sely the band& are to each other - sotne Wt.II nftd.to be quite sreep to acht~ the depth; while others can be.mo.re~gradifal.
,,. .,,. 1
I
··." »{'- . ~ -.··- ~ .... i _·
-
~-~~~~- ~
r'c·-- -----
• 7 The photographs above show
a
different, enlarged, template (28) being used on a piece of 'pink Ivory' variety of timber, which was used to decorate the box lld on page ls.. 8 [f you wish to make a set
10 Cut out the waste areas.
n
12 carefully separate the
9 Drill pilot holes through all four la~rs·
prece.s
af:td
ciean off any glue residue. itansi'et. tJte llnes onto the face of~ pt~
of fq\tr
corners. use the same ;sta.ekcuttlng technique .as in the previous project (see page 13). Cut four pieces of timber to the approximate size. of the template and layer firmly together using dou ble-slde.d tap~. suck the template on top usl.ng spraymount adhesive.
Cut round the outside of the-de~;
t 3 score atong the llne.$_ W.ttha sharpknJfe. I 4 Lower the '.nfiit~fial .Ort each stde of
the croS$1ttg :~mi to create the
weavtrig effect_ ; 1s
$eal the QVei'lays using i:lear. waxpollsh, varnish, paint or any Pth~ cltosen ftnlsh, before gluing u:f ybiir
c:hosen obfed.
KNOTWORI' OVERLA'VS
17
lNITIAf_. memo boLOeR
MatertaJ~.
P'ftotq¢opie!t~ let~l
tef'l)p'i.;itesA~¥$
r~~iredr(~~~es S
Fo:r _:ach 1n1r~\:~,~ faie·, dl' tlrri_lSe-r app~x, ~-x 1m x 2$nm (~ Jt~~ 1c 1iry)
(Some ~tiers rrufy~ulte l~
v.ider. p;'~atJJJWe;"Jb b~r)fr1
P1¥'e -0f wiR""" 7®'m ..c.: ..•. ~--
,._
~_
(2'1~) :.~~~·
8Sl
have demonstrated the method of carving knotwork in a fretwork
Thi~
proj¢d $hows; you ,how to
N:.l
l~g, 2mfn U~) dia~~ett
Srnal! ¥~led~
he previous two projects
!>-~~
style.
c-aiw krtotWbtk fi:i: low relief; thafls, on:ro:
GJ\w'
the; surfa<:t? pf the tlml>¢r. Th:lS: te¢hniq® :wlfl be ¢mploy~ ·(n ritanY ofthe:prof~~ tM:t follow.
~tposit~a~~.pr~i a.uhestv:e-
1n1ttl;l( .len¢:r1>ow:eye:·~w«~~tethf.' manusci'fp'is prOdu#cf by :'CeltJc arttsts;
:rs~~~h·~:~~=i~::~~=--
Tools ~~ro11~~ er -frc~~~
d~n Wfth 2rrim ·PA~lfl) bit ; .-
Pliers S~all·c~5el
di!P-. Arv1nkntf~ ' ii' d:aij'
kJff{-· _ ~A:;·'· r: .if:i
letters:
fmaglnabfo~ l~
-some are so
that 11 c:an: 0¢'· dlffiettlt for the: Wttralnecl eye, to d~)f'her them. Jn inaituscrlpts rudras: The &rok:'b-f kells thts,\V
could Jnd11lge l:n ~tunning ~lgpts qf
fantasy when
decofatt~g ~tters,
sure In
the knA\V~clge that the -scllolcirly reader WOU]d be vecyfamlli.9J with the text.
18
l:ULTIC WOODCRAFT
/nit/a/ letter A In the stykcf The Book
-0f Kells
Ornate Ciipn.l
m
5 Carefully
lower the background around the knotwork to a depth of l-2mm ('A•-'kln).
loc.1 :.e a p.aro;:u ~
lh..
small
cal ' 'Shdppl
•>r
r iey
couW,; U ie::oratt
6 Score the crossing lines of the knotwork to half the depth of the raised bands using a sharp knife. Slope bands down at right angles to the llnes on either side of the crossing points, as In the previous project (see page 16 step 6).
II
7 To assemble the clip holder, fasten the
Method 1 Photocopy the chosen letter apd s~ It to the Umber with spray adhesive. If necessary, drrll a pilot hole for blade access to cut out the cenue of the letter.
crocodile clip around one end of the piece of wire, using the pliers to achieve a very tight flt. Make sure that
the dip .cannot mo\le· around wh:e~
on me
using a dab .of:glue!/~
top of ihe Jetter using the 2mm ('l,&aln) drlll..btt. (Jf~ piece of wire Is of a dlffeJCnt ~ie.t.
8 Drlll a hole In the
2 Use a scrollsaw or fretsaw to OJt out the letter.
use a drtll bit that coi'mpehdS t
the wood, place carbon paper between the
3 To transfer the
trace
ptaln end ot the Wire In the drilled ho~ uslntra small amount of glue to h9lq. It.lrr place It ne<:e$Sary.
Score carefully along the outsJde lines
10 Stal d:\e. '~With .~ .or varnish as
template and the wood and
round the design. 4
of the design usfng a sharp chip knf~ or craft knife.
9 Place the
pmtr~
INITIAL MF.MO HOLDER
19
l.;Q.V~s~n· ~~e:sig.ilil
Qften fnco:rporate ce.ltlc :kll<>twor-k iitlong; th~ handle, arid I .hav.e :d~wlo.ped this ld.e.a further ·by· .a dapting th~ tra:ditlona I Claddagh design from Galway. claddagh Is a .small vJIJ.age on the co~s.t of :~lway Bay Jn Ireland, and
tM.
he tradition of giving
lovespoons Is alleged to have originated Jn Wales during the seventeenth century, when a young man would
carve a piece of wood Into a spoon to give to his love as a token of courtship. 1t Is possible that the degree of Intricacy In the carving reflected the greatness of his love.
20
CELT1C WooCICRAFT
~ltit1,n~lve
Claddagh design Is s~d '.ta: ·tta~: be:en: developed by a native ~i the. vJUa.ge; Richard Joyce. who fashioned gold rings. The heart, hands and crown re.p resent love, friendship and loyalty. The legend Is that when the. Claddagh ring Is worn on the right hand with the heart pointing .outwards, It shows that the wearer Is unattached, with a free heart. If the heart.points Inwards a love Is betng constdered. Worn on the left hand with the heart pointing Inwards means .two · loves .have become Inseparable. There are many suitable timbers that can be use
tul!pwood, which is fairly ea:sy:to c.atve wfth the most ba$.lc of tool~, Y.ct1 can see from the ph'afugraphs that gOOd results can be acliteved uslng; e~n the lea~ exp.ensl'.ve of ~raft knifes. As always chough, use the .toots that you are most comfortab~ With anq, most ln:ipQrtantly, always keep a good sharp edge.
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~
templa~. to the ftont
Pl~· . the of the th'rfbf.r
using spray ~heslve.
pilot hole tn .each at the shaded areas to allow .access for the frecsaw/scrollsaw blade
2 Drtll a
3 Make all the Internal cuts first~ by
threadtng-the fretsaw/scrollsaw blade. through the pilot hole, ·th•n c:.umng round the Internal llnes. 4 When all the tnt~rnal cuts are complete, cut around the out&lde Of the lovespoon. Remove the template and transfer. the. gµldellnes onto the: wood as shown.
~~die' section, use a sharp chip kiiltei craft knife, or chisel to score ~n11thel1n11:s Where the bands will .a t)$$ over and under. It is essentialiU).keep these In the rfght order so th~ weaving. worb correctly. Score to a depth of about 2mm c~min) to begin with, then using a straight chisel at right angle~ t9 each Urie; gradually reduce the WOod
5 Starting with the central
at each .side of the weave. 6 Next round over the edges of the
b.inds using a knife or chfsel, taking care to also round. the corners where the band appears· to. cross under another. Round off the bands all the way round the wp and down as far as the point where they meet the cuffs above the hands, then reduce the area behind the cuffs by a mlllfmetre or two to make the cuffs more prominent.
Materlallli
or Pt.!etocopy or teMplate 4A (see. t'ag~ 94), en1argect'by rtl % Ti'aCilJi
PJece of timber, 230 x 70 x I .Zmm (9 x 2 )C hill) (Arjt~rican ~llpwood)
R'posltlOnable 51pray adhesive
Wax or other- j>f~errcd finish
Tools Pl¥1e foptLmi;tat If the tiinber Is very uneve.D) ~ndpcg>er~
If reqtlfred
Sergflsaw, t18s~ fitted
with scrplling blade or band~w
orm fitted whh
small
wciod bit ~Ip knife
or craft knife
I 2mm (~hfii') chisel
Rorary tool fopttonal) or g!1ugc fQI' bow~ shaplrJg
Round pu~h and hammer
C LADDAGll lOVESl'OON
21
1 Shape the back of the spoon Into a
convex shape, tapering the pointed end more steeply towa.rds the fron~. ([f you need help with the s.hape, use the shape of a sl>oon from th~ ' catlery drawer as a guide.) . . . t used ..a •· tungsten burr bit · fitted on :the Dremel to remove ·.the bulk of the waste, followed by a sanding drum •. but you ·could use a gP.uge to shape the back lnttead.
about 4mm ('h,Jn) in diameter. make a series of circle
12 Using a punch
shapes all round the outside and down the middle. I Improvised as
.
you can see. by taking a ball pen to pieces and using the metal ferrule as a punch. Fortunately ii survived the experience and lived to write another day.
of punched circles, then score it with a sharp knife or V-tool. Cutting from inside this line. angle the blade and C'\.lt away some of the wood to give the appearance of puffy material. Create some creases at the bottom using either a V-tool or knife.
I 3 Mark a line around the Inner edge
the
s SCQOP- ~u.t the Inside bowl of the spQQ.fl!': carefu1!y ch~ing . the depth a:s. you go along and matching .the.wpJngyou. have given the back: ·~I'll to ac!ileve an even thtckness over the whole Of the.boWI of the sPQOn. Ag~n tu~ the bremel for this, but a gouge can ~, u$e.d If preferred•
9· :!9.un~ gy~r ri.t~ ~~s . of the .c.u·f.f$ a·nd mmds, then.taper the ends of the fin~rs and thumbs down, so th.11t they tlppear to be holding the heart from just behind. Next, score along e.ach sid.e of the ~and.s at .the
wrists, taper ~own ~-~- wood on both sides of iheSe, ·then round over the edges, of th~ b;ind
you ha\te one, td make the lines be~~n · ,ire tiJ{f$ and flnge~ othe..Wtse .a ~ft krl1fe or chip kntfe can be used. Round
10 Use a V-tool, If
over all the sections Of the cuffs..-.nd the fingers. I I Now shape th~
crown.
Fl~t r.e~t.1q.e
. the dept~ by abcut 2m:m 0n'2fn) and ' use a 'chisel ro.btVel It down where . ;It meet$ the top b.a nd. Notch the :'V' of the lite.le t.r.langular shape at . ~the top,. then curVe Just thfs part.
22
CELTIC WooOCRMT
Ii
Sand If necessary, then apply a coat of wax (or your preferred finish). l ftnd an old. soft toothbrush ideal for this, as it can get Into most of lhe nooks and crannies of the carving. When dry,
buff with a
llnt~free
cloth.
lovespoon, di1U a small hole In the back of the crown. -Asmall nall or tack In .the wall Is all that Is
1.5 To hang rhe
necessary to hook It onto.
OouBle pboTo p~me .
/
his project introduces the Celtic zoomorphic motif in an
ek111entary
form.
combined with the style of knotwork used for the Initial lvlemo Holder
(p ..~gl'
18) . The serpentine
body of
a dog forms the borders of the frame. L~Ompleting
1.vith its hc;:id and tall
the
design. The ear lappet extends to form the knoiwork on one si e, with t.he lail
dividing to 111~1kc tlw knotwork on the opposing
.side.
As
i~
comnwn
in
zoomorphic design. the tongue also gives rise to a little nourish of irs own . Normally a dog design woul d have at least two legs visible, bl1t I wanted to keep the outline of the irame fairly simple. so this hapless cre<.,tme
\Viii
have
lrel,111d, Dubli11 , have n1.1ny exquisitcly
to n:·rnain J victim of artistic licence.
There w,1s gr·eat bclid ,1mong the Celts that tlwir deities were c,1pable of shape--
crafted filigree panels of interlaced birds
and beasts.
shifting or meL:1111orphosis. laking on the
1\nimJI $ were revered by 1he Celts and
guise of animals and birds. This gave rise
symboliied the power of nature. yet 1vcre
to the mnny zoornorphic forms to be sct•n
often cL1mpan~d to hum.1ns in terms of
in the ea rlit•st Celtic Jrt. A panel on the first
the ir qualitk's of loyalty and bravery. It is
century nc Gundestrup Cauldron depicts
this
the forest gpd Cerunnos with antlers on his
qu,ilities thar m,1h·~
head and holding a sn,1kc that has ram ·s
de-signs
mdding of human and animal
so
the zoomL'rphic
fascinating.
horn s. GL1th !h
I have ddiberately u!;~d 25 mm (I in)
symbolic of regenerCltiC1n . as rhey can be
deep timber to make the frame. so that it
shed and re-grown . l\'u merous other
will be frl'E'Sla nding whe11 finished . Ii you
examples of zoomorphfc design appear in
would prefor ir to be less chunky. then
manuscripts such JS The tlaok of Kells .:ind
all mc
the
tht•
rebat e shallower, then make either ,1
magnificent /\rdagh Chalice and Cross of
supporting stand for the b,1..:k. or attach a
Cong. housed in the N,1tional Museum of
h ..rngt'r Ill the back for wall ha riging.
Lindisfarne
Gospds.
and
by
-''-'
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. 2 Cut round the outside of th e design on
Materials Photornpics of template
RepllSith.>11c1bk !lprcly
l-'iel·e
c
1.1f
prt'fer hand
tools, use a fretsaw .
.51\ lsc-c page 9 5)
adhcsi
the scrollsaw or. if you
J Drill a pilot hole in Cdch of the thrt'l' shaded areas to accept the scroJlsaw
timber 2 20
x I 50
)( 25mm (8'/.I x 6 x Jin)
or lrt'tsaw blade. then cut out these internal a re as.
(syc.:lmorel 4 Carefu ll y lift off th!'.' 1empl.1tc and 2 piece's of b.Kking timber
r 'move any glue re sidue from the face
appro x. I JDrnm x !OS m m
of the timber by sanding with fine
(S·A x
~'I.in)
{plywood or
MDf)
2 picccs I JO
x
sandpaper. Replace lhC' template on the wood, slip some carbon paper
l1i
acetate approx .
105mm (S
,~
x
4'/1 inl
(option,1 ll
beneath it and place
,1
litik masking
tape al rhe side to hold the tt•mplate in pl,Ke. Trace the knotwork design onto the surface of the WOl)d.
Sm.:ll! t.;icks or glaziers·
points
5 Before starting to carve, turn tht' frame
over .and make lhe rebates kir the
Tools
photographs: mark a line approximately 4mm f'/dn) in from rhc cutOlJts and
l'l.;;ne (if reqLliredl
then rnake a reba!e with th~' router to a
s.111dpapl'r: 120 grade (nwdium) and 180 grade (fine)
depth of I 2-15mm !'h- 'A: in). (If you do
not have ;;\ccess to a rouk'I', thl" rebates can be made using a chisel.) You will
need ro make several p.1sse. 1vith
5crol!saw or fretsaw Router '"-'ith 4mm (·;;,Jn)
st r.,ight bit (optiona l} Chisels ,111d gL)Ugcs
Cle.ir w.ix polish or preferred finish
the router. about 3mm ('kin) deep each successive lime. 10 avoid putting ('XCcssive pressure on rhe cutting bit. 6 To make the backing pieces th.;it hold the photographs in
pl.1cc.
lay the
frame foct side up on the 'I mm ('/,in) board and draw a line round the
Crail knife or chip knife
inside of the rebate onto the boc1rcl a s shown. Cut these Lwo pii?ces out using a scrollsaw or fretsaw.
7 Next. turn the frame face upw.;irds. nnd score .:ilong the Jims oi the knotwork using J chip knik, craft
knife or chi sel. B Using the chisels
,111d gL1llges, remove
the material between the bands of
knof\vork.
,1i111ing to
cut
tht-
background to ,, depth of 2-3mm ( ';., - ·;~i n) to allow for definitiL,n. Some
of the sm.:ill .-ircas to be removed an::' besl tackled with rhe point of J chip
knife, or a sc.:ilpt' I can be ust'd on
B
softer timbers. 9 When all the background has been lowe red . begin to m,ike the weaving effect oi the bands. Make sure that
the crossing lines have been scored, then lmver· the m,1 terial on either side
of each crossing point using a str,1ight chisel. working at right angles to each band. \l\lhcre a band crosses .;mother in dos•' proximity.
the gradient of the cut must be foirly steep, but can be more grc1dual
II
where the crossing point is further
.:tway from the next. then round the sides of the eyeball 10 Where each of the bands comes to a 11 end, form it into J bJ/I shJpe.
by
cutting rhe scored lines down at an
angle. 1v1ar·k out the sm..ill circle at the ccntTe of the e-ye.
I I Reduce the depth of the body on either side of the head by abolf!
l-2rnm ('/i,.-'h,in) to enable the head
I 3 Complete
the fr
sanding where neccss.Jry. then apply
to be carvC'd. Round off the !op of !he
at teas! two coats ol dear W c"IX pollsh.
head and reduce the level of the
or a finish of your choice.
II
material around the jaw line and up to I he car lapp<'I. RoLmd the edges of
14 Cut ~1our photos to size using the
tlx' check . jaw and snout and give
bading pil•ces as a template . li you
ddinition lo tlw tongue and te::cth.
Wish to make
a protective front for
f\.1ake a groove ior rhe nostril with a
the phot og raph.
knife or V-tool.
acl'lille the s<1mc size. Put th e
cut a riece of
acc1,1te ,rnd photograph 12 Shape the eye
by marking out the
frame. with
lines with a sharp knife. Remove the
behind, and hold it all in place \>./Ith
trlilngul.:ir shape behind the eyeball
sm<1ll tack or glaziers ' points.
-
1
in the
the backing pil'ces
--
--
'
-
m
-
---
-
- - - - --
-
Q_Gle wAl.l plAque
Materials
Phocornry of tc-m pJ,1t(' 6A lst'l' rage 961 . en larged to I 76'Ki
In The Book of l
x 2smm
115 1<.x ti h x linl (lime)
lkpositionabk sprcly ad hesive
mo re
frequ en tly.
gi ving
till'
appea rs m.:rny rime s ln
opportunity for a iar gr eater variet y of
m a n uscri~>ts
designs. Some eagles are depic ted wi th
il lumin.itcd
Tim ber mcasmin g .3 90 x I 65
he e a~~ll' is ,1ssod atcd w it h strength .in d \\·isdom. It
as an evange li st symbol for St lo hn. al though in The l:klLll.: iJf D11mw the eagle
fuu r \,vings . and one ha · eve n bc c~1 given a h"m d w ith which to hold a book.
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
pe rfectly roun d head and eye facing righl ,
l.Jken as a refcrcnl-e 10 Christ's incam<11ion.
with ,, illrW
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
Rotary tool (o pt ional) Craft kn ife or chip kni fe
En,1:k in
1/1,· ~ tylr of The B"ok ot Oum.1w
Method
6 Round over 1he edges o( the chest,
the enlarged template onto the
back and body down towards the
timber and cut round the outside
legs. Rol111d the legs and taper in
using .:i scrollsaw or hand fretsJV./.
the Jnklcs.
I Paste
Take particular care .:iround the head
and ied and make s ure the comer cuts are nice and sharp.
7 Take about 2- Jmm e;.;-'4in) off lhc depth
of the whole right-hand
wing, belo\.\I the topmost feather 2 Transfor the lines of the design onto
and large curl.
the timber, but don't transier all the chest feather details at this stage. as
8 Keeping the over
they would dis
round over· the top ,rnd bottom
initi.:il shaping.
edges of the neck-ring and curve it around the neck.
3 Begin roughi ng out the shape of the eagle, r·educing the depth of the
9 Once all this basic shaping has been
front leg by abour half and the back
.'.lchievcd, add the finer details. First
leg by about a third. Reduce the
step down the wing feathers from
depth of the left-band wing by
the top row, neare.;t the body. to the
a third, working around the neck-
wing tip. To achieve this. pencil in
ring. To save time I rt>duccd most of
the lines for the top row of feathers,
the bulk using a structured tungsten
then scor~ around them with a sharp
carbid~' bit
Dremel. but it
chip knife or craft knifo. Create the
could also be carved with chisels
step- down effect by reducing all the
and gouges.
material behind the lines to a depth
in
my
of
' ,.·:.:
2mm
(1/,, in),
working
in
the
4 To allow the neck-ring to sit proud,
direction of the wing tip . Once the
reduce either side by 2mm Ch:in}. and
first row of fcather5 is complete.
then round over the sides of the neck
mark out the next row, repcating 1he
and head . Reduce the t1No head
process and stepping clown each
feathers at the same time by about
time by about 2mm ('/,,in).
6mrn (1/.in) . 10 Work the long lateral feathers in a
5 Reduce the beak by ,1bout 6mm ('!,in) as you round off the front of the head.
II
simil.1r way, stepping them down from top to bottom lengthwise.
m
Ill 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
runs
the
length
feather t IMt
of
the
wing ,
18 Mark the line in the middk of the ring,
·v·
reducing the tip as necessary to give
notch a
an even depth .
over the sides of the rings. Also shape the ring
I J Smooth the chest of the ecigle and
along chis line and round
around the bod}'· keeping
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
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
!hen undercutting behind the curve.
ID· r r\GtE
-
I
I
•
\.\I.Al I
l'L/\Qlll"
29
22 To finish the head, reduct• thL' 101,vcr
26 The diagonal lines along the wing
thC' bc,1k by scoring ,1long 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.
half Df
RL•u nci over the cop edges of the beak .
J nci
fcatht'r" <1rc made by cul1 ing duwn at
luwer 27 If nCCl'SS&iYy, sand lightly. ;.111d then
apply the iinish of your choii.:C'. l used
the point whert:' the forehead ornd dieek meet the I c:ak to give gn:'cltt'r rJefin it ion.
2J Undercut
a clear w.:ix polish .111d thi:n, lo give the c1ppt•a ran ·e of age. I went over it
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
with the• same sweep oi rnrve to mark
it
out.
keeping
tlw
t
lh
)L)I
at ri ght .~ngles 10 till' h c,~ d .
28 To allow tlw e,1 glc to be hung on .:i
25 Sh.-ipc
lil1l'S and creases, tlw11 applied a
further· L'(1Jt of clear wax polish.
the eyc- by chamfe1·ing intl• the
wall. drill a 2mm ('/,:i nl hole in
the
b:ick.
slight ly off-centre
tLl
marked line with a shMp k11ife.
countl'Tb..'llance the difkrerKc in size
leaving
and sluipc
the
centre
of
tlw
eye
dome- sh,1ped 1\.-lark the mall circle in the
l)f
the \·Vin gs. This c..~n
th en he hooked over ,, sm,1 11 nail c~
of the eye with the tip of a knife.
ntre
tapped into the wall. so that it . its flLrsh agai nst the wall.
Materials PhL•tocory oi templalL' t•nlargcd to
page 97) and
if dcsir1.•d
71\,
I H80o (sec
rn. c or D.
(SL'l' pagt> 98)
Piece of tirnbt•r measuring
•100
x :?.90 x I 2mm <15 '• x
1
11 .6 x !in)(lirncl
Pii.'cc
L)f
MDI· measuring
't00 x 290 x -Jmrn (15'., x II '.I'.
x
'/,.jn)
Rcpositionable sprvy .Jdhcsive
Carbon paper Wood glue v,1rnish he border on this mes ~age
The message bo.nd itself is a blackboard
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
of
Lhe
opcn-wt'ave
knotwork of the previous pro jects.
surfaces could be use board.
u.,;cd
with
her(' it is closely intertwinL'd so th,H
whitt'boar·d that
no spaces are vi sible between the
wipc markcr· pens.
or
a
can be used with dry-
The wording ill the top o( the bo,1rd
can L'a -ily be ch.:inged for something that has <1 personal 11ec1.:•ssarily have
Cl111ccrH1·a ti on is ,1 lso the key to
cho:.;l'n. i\
me,rning;
it does n't
to be ,, place.:'. as I h
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
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'.
vLI[
Toe> ls Scrollsa\~1
bands. II is still ~'ossiblc L 1 trace the
mor"l' conccntratiL)n .
Bia kbo.Jrd pJint
such as a cork rushpins.
p
Primer
as one. If nothing inspires
or fretsaw
Drill Router
lif avai/,1ble)
Sdcction L1i chisels and
Chip knife or craft knife
JI
mu ch
After
deliberation.
chose
Whatever one chooses to believe, there is no
of G!astonbmy in
·Glastonbury· as rny header. Glastonbu ry
doubting the imporuncc
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
Method
rist' lo m.:iny myths and legend s.
The early Celts regarded high ground
,1
sacred place. and revered it as such.
The
Celts
s.:n..v
1)crsonificati on
their
oi the
gods
as
natural
the
fo rces
Stick photocopied template 7A onto the face of the timber, using spray .:idhesivc. Cut around the outsidl'
\Vi th
a scro ll sav..· or fretsaw.
around which rheir lives revolved. The Tor Itself was believed to be
2 Drill a pilor hole in the cl"ntral wast e
secrel entr·ance
are
IL) I he Isle of Ava Ion hidden in iL side.
Cut out the internal waste, carefully
Av,1 lcm was the re.:ilm of King Arthur
follmving the curves ~>f the design .
m
,1
\·v ho. in the sixth century. ddcnded the Celts against the 1\11glo-Saxon invasions.
3 Transfe r the design onto the face of
following the withdrawal of the Romans.
th e framework , using tracing paper.
End I 'SS myths and legonds have grown up around King Arthur and his Knights of
II
rfo~ r~ound · r~ible, and niany places lay
5mm
claim to being the site of his court.
section. Use this as a guide to make a
including Cornwa.11 and Wales. The truth is
4 mm (51J, in) deep rebate.
that as a great king he would have had
,~..:l
4 On the reverse, rn.irk a straight line
If
f>li.inl away from the cut out
you
want
to
mJke
pierced
many strongholds up and down the
lette r ing rather than r
tt01·ing.
country. Clastonbury 'JiJr being lxH one,
make the rebated area rt'ach within
albeit
Smm (';,,.in) of the top of the frame.
a signiiicant one. His iamous
111agid.111. Merlin. was credited with laying
following the arched shape. You can
out a huge ten-mile wide zodiac around
then cut letters out so that the black
the Tor. using fc.:itures in thio' landsc.:ipe.
of the b.Kking bo
\'
.'
"~\
1. I
The Tor is also reputed to be th e burial
(see step I 2). If possible. use a router
a it er the
to cut the rebate - otherwise use a
c.rucifixion. Saint JosE'ph of Arirn<1th eil is
chisel. and squar~- off the bottom
said lu have brought the chalice ti sed in
corners using a small chisel.
place
..
of
the
Holy
Gr.iii:
the I.as! Supper to Glastonbury. and buried it on the Tor at Chalice Well.
5 Cut out a piece of the 4mm ('h,in) thick
MDF. to fit in the routed area. The
11
easiest wily to get an accurate iit is to lay a sheet of tracing paper on the
board, tr·ace the routed shape, then use it as a template. When cut out it will be used to make the ch.:ilk board.
bur it ciln be pur to on e side for now.
6 Scor·e along the lines of the design on the ftice of the frame. using a sharp
II 32
(LITl C W Ot'OCR 1H I'
chip knife or craft knife.
Ii 7 If you think you may h.ivc difficulty
13 Protect the frame w ith a cl~
in identifying the thread of the
This is part icularly important ii it is to
we.we during carving, try shJding
be sited in
the arec:is that have to be reduced wirh J p~'n or pencil.
behind. ;ind make a dt• •p 'V'
b~ tween
kitchen.
14 After priming the MOF backboard
8 LO\ver thC' bJnds where the~' wcJve
cl
two
lettering. of
coats
at
lcasr
blackboard
p.11nr
apply
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 define the knot\.v ork .
,, chalk holder for the board. To do
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'
the tiny triangle
leaving the back 4mm f/d n) deep
ell
the bend.
sh,~pc .
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
shown on the right.
J
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
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
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.
m
'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·& Suita ble timber measuring 2 70 x 160 x I 2mm for
ba ckboard ( IO"h x 6 /,
x
Ain l (lim e) ~l ,1t c hin g
x
I 2 mm
recs
timber 270 x 60
for shelf ( IO'!. x
Repositio nab le spr,1y
adhesive 2 brass SCl\ 'WS Wood glu e
fL11·
particu lar
The mNif Jppca rs in The /fool? (If Kells
the Cel ts,
several tirncs. the 'ArTc!';t of Chri. 1'. folio
b ran ches
11 '1 recto. being .:i good l:!).'.amplt.> (. ee
reaching heave nw ard and
lntroducrion. page I) . The vin e and
mL1ts fi rm l y plan ted In r-. lo t hcr
grapes appe.irs 011 eith er side of the head
Earth . Trees represe nted not only a li n k
of Christ as well as on th0 co ltun ns .:it
between the= upper and lower world. but
either side of the piclure.
w it h
2'/< x 'hin) Carbon p
held
sign ifica nee
th ~ir
their
were also a reminder of the etern
of the scn sons. The ' tree-of-life' motif is found in both
p<1g.1n
Gr ap es frequent ly appear in th r
and Christian art. Jnd stands as a
Thu s in this on~. JpparC' ntly simpk'
5 empty -15mm film
symbl1I of b.1larn.-e .md unification of the
mot ii. many layc r·s of symbolism exist.
c.:mi slers. prd
two rea lm s. In ordt~r to in(orporatc the
The ·cree-of-liic" motif has bl~Cn used
for
seed swr.1ge
W r:ix or Vilrn ish finish of
choice
2 picturt' hangers
'tr~~·
of lift'' into m,1mrscripr decoration.
as the basis of th is project. wh id1 is
the d,'sign was often m ad e 10 emerge fro m
dcs ig 11 ~'d
~1 ~'Ot . which symbolized 1vlother Earth. The tree itself w as mostly portrayed as the
dry. re Jdy fo r sprin' planting. Tlwre cir~
vinl' .rnd ~ r.l pl'S . a symbol associated 1..vith
1wo designs ro choose from . one of w hid1
which rep resents the 1·esurrect io 11 and his l'te rnal Ji(c_
is heJdcd ·seeds ', the 1.1thcr ·oo..:has·.
Christ,
to store St' c•ds g.ithcrcd .1t
harvest ti me .1nd prescrwd in the d.:i rl< and
which trJn slares from the Irish into 'Hope :
II I chose the word because I feel th c1t when
3 Ne xt. trim along the pattern lin es to
JI! the
we 1ilant nc\v seeds . we pl
produ ce clean vli'rfic.1! side s to
iuturc. continu ing the circle oi life. Both
bra nches. kaws and gr;:ipcs. This
designs ure made in the same \V,~y ,1pa r1
will ensure th
from chunging the letters.
t'Ven design to work wilh w hen you
Tools
Scrollsa1v
frets,1w
Dr
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 are bl,Kk so thal lhe seeds can remain in
kn ife to score .1long th e lines. and
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
k,we the art«1 where the lid
sn~1 ps
()11
then cleared the waste away using.
s.~
me way.
olht•r
storag~'
ust•s, such
..:is
papN clips.
push pins. sewing pins, golf tees, or even
4 Sh.1 pe the pot from tree grows
which
the
by l'L1Linding th e sid es
bit
.12mm (I t,in)
ilat
1\'LK1d
bit
k1r h1..ik culling
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
SLTl'WS
Collntcr~ink
unpainted. to ensLrrl' a good fit. The project c,111 easily bc ;:idapted for
Chis('\s .md gouges
5 lkgin
shaping
the
branch1.'s.
,rnd in any case you would. of cou rse. nt•ed to choose ,, more appropr·i,1tc word
c111erg"' fro m th~'
than ·seeds' ro identify the contents.
towards tht' ends. Thi s way you c,1n
sta rting .:it the I oint w here they
f L~t. and w1.1rki ng
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 thM crns . then USt:' the chisel .11
Cut round till' outside lines.
rlghr 2 Careflilly reduce all the backgwund
angles to grade down the
rn,11 erial to give the appearance of
weaving under. Only l'OUlld th e sidt•s
from around th <' 'tl'ee-of-lift' ' design to a depth of 5 -6 111111 (';.,-'/.in). I used
after you ..1J'c sati sfied with
a rou ter fitted wi th a 7mm ('/d n)
L1f the weave.
th e dept h
s1raight cutter for most of the 1vJste
remova l. then used a 2111111 h'd nl
cutter tu get to the smaller areas. If
7 As )'O u co me to a leJf. reduce the 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
be removed using chisels and gouges.
·v· where it meets rhe leaf.
,111
invertl'd
'T1 <1 I·
o r L11· c '
s ~r
r•
~l ·t l'~ll
.35
:-: . 1!......
·.. ~
~
'
.
.
.. -··.'
...
•
8
As you come to a bunch of grci pes, redL1cc the depth by only l-2mm ( ',~o - '!d n)
to size ,~iter CLttting. This is easily done
with a small sanding drnm.
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
slightly.
pilot holes for the . crc\vs. Use a
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
using a srna II
them
gollgc
place in a workhend1 or vice. apply a 9 i'v1ark the curved lines lll1 each leaf. Llsing a small gliugi:- held vertic.illy.
layer of wood glue along the edge. 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
as shown. The 1.Jrgest flat bit avail,1ble
16 Make
,1
se t of labe ls ior the
canisters to identify the ~'.ontents oi
is 32mm (I 'J.inl. which is jL1st slightly
each. and stick them onto the
th~
can isters near thC' botlom , where
too
small
for
34mm
(I '!..in)
diameter canisters. so sand them back
they can be more easily read.
bmo Q)IRROR
his hand mirror introduces ,, new clement of Celtic art,
that of the spiral . The spi1·al. m tr·iskck. is made
up ot three legs or curves thal radiate from J common centre, and is thought to represent the sun and the movement of heavenly bodies
0th <: rs interpret the
three coils as representing the three elements of hecwc11. eanh and \Varer. and a safeguard against evil.
The spira I motif appears in very
(',uly pagan Ct•ltic .art: one of the oldest examples is on the entrance stone at Newgrange i11 Count y Meath. Jrel
dates
back
to
3000L1c.
Newgrange - a p.1ssage-tom b and th e alleged bt1rial place of the JIKient Kings \
of T..1ra - is one of the most famous prehistoric monuments.
Spirals with two coils appea r on e
,1ge tnl"tal clo,1k f.i steners
'·
Spira ls appc;,1 r in pictorial form in TIJe
Book of Kd/s, where the Celtic cul isl look the
simp le
sriral
and
introduced
fantastic variati ons by adding anim,11
clnd bird features. The mirror ieaturcd in this project follows the tradition oi the ena melled ..~ nd engraved bron ze mirrors prL1du.:ed
by
nJitsmen of the pre-~oman i._dti c i.wrkd of British culture.
The Celts were p.:irticularly co11sck1u~ of their .:ippcara 11 ce. especiall y th1:ir cloth ts and hair. so m irrors and combs
Matcri.-iJs
were
Photocopy of rcmplat('
ve1·y
impona nt L)bjccts.
M<1!1)'
Pictish stone carvi ngs beJ 1- .1 mirror ;.ind
l)1\.
on pcige I 02. cnlMgtd by
comb motif. In this dra1V i11g of Jnorher
125%
oi the i\berkrnn o stones. the mirro r ,i nd ·r/1t' double-sided cross churchyard_ i\11g11.~
Carbon paper Rl'positiona bk
1lbalrm110
comb can bc seen in the luwcr righ l -
hand corner.
spr..,y
The actual design on !he bark o( the mirror has been adapted from rhc cent ral
<1dhcsive
motif on the eighth-century High Crnss of
Timbl.'.'r. at lc ..~st 160 x 260
x
sla l> -~lt>m· /11
12mm (o/, x 10•; ,
1\bcrlcn1110. Scotla nd. : hmv n bek1w.
x 'tin)
Two legs from the Jowe1· spiral s brL·.1k
(European oakl
away t\.) create the knotwork
011
th~·
h.;ind k-, for ming an eternal knot.
Round mirror. I 25 mrn
For thi s proj ect. I ust'd Europe.:111 o.1k
(Sin) in dia rnL'tl'r
for strength . as the handle hJs ti'.' be strong
Gluc SLlit.:ihle fr.'r stil'ki ng
enough to support the 1.w ight of tlK'
glass to timber.
mirror. O.:ik is not t he ec"l ~ ieq of woods to carve. as thL' grain is quite coarse. but lhc
Tools Scrollsaw or hand fr('tsaw
Stirn r at A/Jale111110
fini~hed result makes ii worth the effort.
Ro111cr wirh straight CLllC"r
fllptk1 nall .1 nd 1K1n-slip mat Dre1ncl \·vith cutler
bit
Nl1
9936 (upt iL1n,11)
c..uving ch isels and guugl'S Chi1 - carving lrnift• (optil.m.11) Clear wax polish . or firn~h
of your choicc U.:tai/ 011 th,· dghtl1-ccn/11ry lli>:/1 Cross of 1\bcrlc1111w
{ •• •.
I
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
9A)
i nstcad of using the h.1ndks. As \·Vi th
l he
any routing operatirn1. ensure that the
timber, .:ind cut
base i · kept level at all times. so that
it, L1r sl ick the tcmpl
thl' cutting bi t cuts .:ii an even depth
th e
mirror
thr 1ugh
frame
carbon
(templ ..1te
pa per
onto
timber for cutting out usi ng spray
throughout. Use .:i 11011- sUp router
adhesiw. as shown hen.·. I prekr the
111.1t
la11e r method. as l find ii easier to
during the routing oper.~tk1n .
foll ow
a
black
lini;-
c111
under the
wL
rl<
t ll
l1L1ld it in place
white
background. but it me.ms that thic
-I J(oLind ufi the mttsidc edges. also
11-.~ccd onto the
using the rnuter fitted \Vith ,, round -
design must then
be
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 with one hand. ur·.:iw 1·ound the
5 Working still on the m irror side. 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
plus an extra millimt> tre to ,1llow tor glui ng .ind tin,;d sanding. A
tool. but only if you arc well ~·ractised 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
mirror,
Of'eration. but
if
you
,1ccess to a rou!C'J' L r
dL)
not have
rLiuting facility. the rebate can be made
usi 11g ch i~eb
gouge or chip l'.:t1·ving knife.
<> Dre me I witl1
and goL1g~·s,
6 Next
bl'gin the carving on the reverse.
lk'forc starting
Io
carw the spirals,
making su1-e l'h,1t the base of lh~'
the ce11tr
rebate is s.moolh .:ind even.
arc several ways l•f doing this - the
Nlost st.111d,1rd roulers will have bL' used frceh.:ind IL
cw
to
the ci rcle. as
the diam C' tc r is roo . mall to be cu l us ing th e
centr.11 pivo t meth od. Th is
is not a problem if both hands ~n··
choicl' is yours: you can cut the sh.:tpe using
.:i
gouge o ( !he same SWl'CP oi
curve. he ld at right angles ; mJrk !he line with i.1 V-tool. or score it with chip knife or craft knife.
.:i
Tire rdmi.· wt It) /rl lf1<· mirror. mtd l/tf rdgc.< nl!1mfrd
7 Deepen a \I-shaped grl1ovc between the coils
by removing material evenly
on either side
(1f
the sco1-ed line and
11 Using <1 fine 5mm (-'A. in) :;t raight chisel, redt1ce tht' r
011
either side of each crossing point to
cu rve OVt'r the top of e.Kh coil ,ls it is
give the effect of them weaving under
formed. Work Jt right .:ingk's to rhe
<1nd over cJch other.
cenrrnl line. unle
s u. ing .J
\!-tool.
I 2 When <1 11 the c.-irving is complete.
8 When .lll the spirals are complete.
sand as appropri.1te and apply the
remove the areas between them
iinish of your choice. I used a clear·
(shown shaded on the template) to
wax polish. as the colour and grain of
an even depth.
depth
Try
to make th i s
the same as the depth
between the coils of thi: spirn ls.
the
wood
needed
no
further
cnh.:inccment.
Do not apply .my
fin ish to the ar
.:i
where rhe mirror is
to be glued, however, as it may 9 Reduce the outer ring to the same depth and round
prevent
over the large coil
th.-it is left rndosing the spirals .
13 GILi(' the mirror firmly in place on
the reverse side. 10 Work the knotwork design on the
handle in the sa me rn.-inner as in previous chapters. by scoring the
lines then reducing the backgrou nd .
his
rro;cct
i ntroduccs
symbol. and became part of tiK' \\/clsh
a zoomorphk design in J different material: ,1 brass dragon inset into the lid of the box. For once. there is no <.Klual carving to be done, since the pattern is woi-ked on the scrolls.:iw (or fretsaw) and with an engraving tool. The dr..:igon i~ a mythic,11 bea ·t that
1\ recurrent theme rhroughLlut the history oi lhe dr<1gon has been one L'f guardianship, The dragons of f.iiry tales famously guard caves full of treasure. so what better symbol tl.1 protect the cht?"rished possessions within yom box.
appears in many shapes and guises in
Method
Cl'l!ic folklore. Dr.:Jgon pairs, 'S' sh.-tped
fl
U~c
BC. mainly 011 meia!\-vork objects such as
to attach the dragon template JOA to the f,1 ce of rhe brJss. If the brJss is thin. it (',111 be stuck lo a piece of
sc,1hbards and spears, This signifies the
SCl'up plywood lo
and placed back to back, ;ippcar in Celtic art from as early as the fourth century
pro1cctive role they played . The symbol oi the dragon has particular signiiica11ce in 1he Cdlic l·ulture of the Welsh. Since J 901 the red dragon has been adopled as a national
doublc-sid,,d st ic ky
make
l<1Pl'
cultin~
and
handling easier. If not, slick a layer
or two of masking t.~pe lo thl'
underside of the brass 10 prevent ll1 the s.11w tabk and to m,1ke hJndling easier.
J.1mag~·
4t
Materials 2 Drill pik1t holes in th e sh..ided
Photocopies of k•mplJtes IOA .1nd JOB. on p<1ge 103
the
dragon
design
10
o.=tn'
.:illow
of
the
drawi ng pen. When this is dry. it is a
necessary to apply .:i co.:it
L)f
l.icqw~r to
prevent oxidiz.:itio11.
intern.:il 'Lits to be made. Piece of brass me.1suring
90 x I SOmm (3'/. x 6inl
rimbcr. 100 (4 x 6
x \ 50
3 Using
x 40mn1
speed, cut out all the intern.ii w,1stc.
8 Use double- sided tape to st.Kk lh c omm ( 1.tinl piece of rirnber onk1 thl'
10mm (I '.!:in) piece oi timber.•incl
x l'f in)
Timber. IOD x I SO x 601m
{4
iine-tLx1thcd bl21dt> .:ind half
.1
x 6 x 'Ain) x x () x '/dn)
4 Whe n all the internal \vastc has bee n
the n stick the- box tcmpl.:ite. IOL\ , onto
re moved. cut aruund The outside oi
the top osi ng spray adhesive. Cut
the drZJgon motif.
,1 round the outside of the box.
2 pk•i:es of timber, 100
150 x 4mm / ..\
Double-sided sticky
5 \:Vhilst
tape
Wood glue General-purp~) S1..'
glt1c
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
engrJving bit iirred in a rotary 100110
to the top of the '10mm (I 'hinl dl'ep
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.
eng1·avi11g bit w ill cut th rough the
~u-.:h as Bostick
paper
onto
tht.>
brass.
I ut the
of tlw p<1pe r 1vill stop the bit
Fast-dry enamel. matt
presence
black paint (uptkm.:ill
from slipping.
IO Drill
J
pilot hole inside the innt'r line:
th read the saw blade through, Ihen .:ut around lhc- inner lin e. ki form the straight sides of the box.
Clear varnish
6 Remove
and file .1ny sharp edges as necessary.
Brass polish and lacquer Repositionabk
11 Place the body of the box 01110 c.:ich oi 1.hc 4mm ('/.,,Jn) p ieces of timber
"pr.1y
7 Polish the brass and. if desirl'Cl. define
m.lhesive
Tools S1..·rollsaw or frc1s.1w
Drill fitted with 2mm ('A ·in)
the tcmpl.:ite and st1cky tape
bit
Rotary 1001 fill 'd with small t'ngr.:iving bit
.r
in turn and dr,iw round th e i11 siJ1..· of
the cngr,wed lines by going uver them
the box to m a ke
1\1th a ii11c, blZJck, W<1tcrproof ink
for the lid .
u base and a reb:itt·
I 2 Glue one of the pieces into the base of the box .1nd leave to dry.
c
j
I 3 To make the lid. place the br.:iss
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 this line to matL·h the depth of the
16 When dry. glue the brass in place in
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 limb('r this may not be necessary.
I 8 Tc.1 complete thl' box, ;ipply two coars o( clear varnish. inside and our.
II
[)I~ ACit PN TRrN to;('
r
til>X
43
kNoiwoRk JIGSAW Boxes
Materials Photocopies of templates 11 A, 11 B and 11 C on pJgcs
104-6
I 90mm (7'hin) square
pieces of MDF. I each of 4mm. 6mm and 30m m C'h·in. ·.~in .md l 'hin) hi~
Spare 4mm C'h1in} thickness MDF
Duublc-sickd sticky
tap~
Repositionable spray adhesive Carbon parer Impact adhesive
MDF primer (see scage I JJ Emulsion paint Paintbrush (I 2mm/ hin)
C.lndlc and 0000 sandpaper (opcionaU
Clei!r wax polish
44
Cr: TJc \'l
challenging
piece
comprises J set of five
Several t' l.Jborar(> book covers and book
shrin es also
feature
this design
in
ltdded boxes. which link
embossed metalwork ,1nd the notable
1ogethcr
cross slab-stone of Ulbster in C<1i·thnes s,
in
cl
jigsaw
f.:ishion . The greatest challengt' is to fit
Scotland, a Isa beMs the same P
all the boxes b.:ick togethe r in tlw l r
materi,1 I,
medium
densi l y
correct place. \virh their matching lids.
rnade
when th e project is fin i sh~ d .
fi breboard (1vWF). I chose this pcirt ly
Once all the boxes arc set up
because it is rc.:idily availc1blc in l ht.'
togetht>r, the knotwork decoration on
th ickness ncedt'd. partly bec ause it ls
the lids forms one continuous th n:-.:id
extremely easy co work, and also
weaving
so
becJusc I wzinted to use a paint finish.
reinforcing the link . The continuity is
J\s always when using rnan-madt.>
from
box
to
box.
materials .
intention
equa l-a rmed
cross
with
pMticu!arly
1\1DF.
dust
mask s must be worn at all times . dL1c the resins !hat arc used In lhr
interlc1CC is a common C'lenient of Cdtic
10
decoration, .Jl1d occurs on _ewra l pages
manufa cturi ng process. (You w ill find
of Kells.
most prominen tly
advice on workshop safe ty generally.
flanking the figure Df Christ and SI John
includ ing precautions to take whc:n
(sec page viii. facing the Introd uction}.
using MDF. on pages 8-9 .)
of The Doak
Method
Cl11lfident enough to t.:ick!e rhe real
I First prepare for cutting, by stacking
thing . Fortu n.:itdy MDF is inexpensiVl'.
the three pieces of MDF and firmly
s~
fixing them together using double-
you do make
it ·s not the rnd of the 1.v orld if .:i
mistake.
sidcd sticky tape between the layers. Pl.1ce the 4mm (-·.1i,in) piece at the
5 When all four ·arms· have been
bottom. the 30111111 I I ',{,in) in the
separated from thl" centre blix, mark
middle. then the 6mm (' /,in) on top. Tfwse \Viii be the box components of
each part of C
base. body and lid respectively.
to identify thl' com.>ct pieces whL'n it comes
to
reconstructing
it
nil.
Carefull y sepcJrate the three layers of
2 Stick the box rc1nplnte 11 t\ onto the
i'v1DF l)n all five bOXL'S.
top using spray adhesive. The boxes are now ready lo he cul out on the scrollsaw but. before l:ieginning. use a
6 Tilking the middle section of each box.
set square to check that the bladc is
mark a line 4mrn Ch in) in from the
pE'riectly vertical .:is, if it is even
edge. The cenrre will be cLlt out to
slightly out of true. you will only be
make thl' box c
slide the boxes up or down in
boXL'S can be cut following the whole
able to
one dlrc:-crlon instead oi both .
J
squ.;ire and do not attempt to
cut into the protruding circles (unless
3 Cut roLind the outside o( all the boxes first, before attempting to scp.lrate
you're
the jigsaw shapes.
Tt'm plate 11 B. on page 105. shows
a
complete
m;:isochist ).
how it should look. 4 Wry c.lrefu lty cut Olli the jigsaw
Drill
J
pilot hole in the middle th read 1he
scrolls.~w
shapes. Each has to be done in one
waste area,
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 about
it.
practise
Scrollsaw or hand frC'tsaw
Small chist>-ls and ~otigcs
box shape, but for the cl?ntral box just cut
confident
Tools Dust mask
by
7
Make a rebate to hold the lids in place ·pare 4n1m ('h,in) MDF
making soml:' spare template copies
from rhe
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
!Jrill Craft knife or chip kniie
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
hand fretsaw.
fin.ii pressure to the join. Above you
box befo re ..111 lying
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 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
the manufacturcr ·s instructil)llS. Gluc
finished sha pe, so t ha t rhe k notwork
a p hotocopy of template
11 C
w
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
transferred
the
dt.•sign
successfully
has
before
removing it comp lc t.d y. 10 All the carving is done wh ilst the
boxes are joi ned, so that lhl' lines of tht' knotwork follow smoo thl y
from llne lid to the nex t. T,1ke a
sha r p chip kni fe or c raft kni fe and first score ,1long the pencil li nes. Next, very carefull y rcdL1cc th e
b,1ckground between the 1·1bbons. using a small gouge. Ideally. the
background should be reduced to a dept h of 2-Jmm (l,;;,-'J.i n) .
I J Paint all the parts of the box wilh
primer. 1\l\vays use
<1
primer that is
compatible with rhe fin.al finish- Wlwn the primer is dry sand it smooth, .-:is it
v..rill have raiS('d the iibres of the
MD~.
Apply two co,1ts of cream emulsion paint. or whatever base colour you choose. \Vhcn this is dry. apply the blue paint (or what~vcr colour you prcier) to
I
/.
I
the bad ground.
M If your skills 1-vith a fine p.:iintbrush arc
limited.
you
may
find
the
following method useful: take a w
surfaces of rhc knotwork. mJking sure all areas are fully covered .
11 Once .1JJ the background has been r~duced, crt ate the weaving eiiect
oi by redLlcing the ribbons on either side of each the
I 5 Next.
interlacing
rain! in between !he knotwork
without worrying if you get paint on th~ top surfaces. When the paint is dry
cro ssover point. l\lv,1,1ys be mindful of
n~rnovt~
the way the ribbons weave regularly
a very fine grade of steel wool.
under .:md over.
the wax by rubbing down with
prdN,1bJy 0000. This should k,we the two colours separate. with a slightly
I 2 In the photograp h above you can see the progression
oi the
di s trcss~'d type of finish .
carving,
clockwise from the top: the design
J6
Apply a th in application of dear v11ax
has been scored along the lines. ihe
palish to all the our_ ide surfaces. so
next lid h,1s hJd the b.1ckgrou 11d
th.1t the boxes slide
ap.ut easily.
reduced, ncx! shows the ·weaving' completed, ,111d the final lid has been
All that rema ins is for you to pLlt the
sanded and is ready lo be painted.
boxes back together Good luck!
Celnc CROSS
he design of c.lrvcd stone
evolved
crosses thousands
amalgam .:ind
concepts
()VCr
of ye;:irs,
Jll
of
rn•iny
cultures.
There
arc influences from the standing ston~ s of so!Jr cults. frum the cross carvings
stones· dating back to France. through t·o chc
on 'ancestor
10.ooonc
Christ ian iz.Hion of the \Ne st in the sixth century. AlthL1ugh the cross shapt.> is most
obviuu sly
Ch ris tianity. the
associated
\·Vith
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
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
would have bCl'n on wooden crosses. I have incorporated a small boss centre of
the
my design.
The frcl'slanding. ringed cross design
St M11rti11 's
dcvcloptcf in Ireland. but is found in other Celtic societie!S, ;.rnd m
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
Cross-slab /It Abcrlcm110 gmveynrd
Cros.~ .
Iona
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 by I 251'.Jt,
viewed from both sidt•s, hLit you may
fmnt of the cross. using
prdcr to carve just rn1e face-.
accuracv.
I
107.
enl.irged
T imher for cross: 280
x
180 x at lcasL 25mrn
llJ x 7 x I inl Oimel Timber for b.~se: I 10 x 90
x
4Smm (4'/: x 3;,
x 1JAin)
(lime) l~cpositionable
spr.ay
.1dh<'sivc Carbon paper Wax polish. or
pn·ierrC'd
finish
Wt.iod glue
ruler for
I
5 On the outside edge of the ring. dt«1W
Method Ensure Ihc11 both sides ~if the timber for
two lines around the ci rcumference.
the ao. s .:ire perfectly smooth and
i:ach :- mm ('/".in) in from the front
even - if not. plane whc'rc necessary
and back
Jnd
Indicate the depth to which the ring
sand
with
medium
or
fine
as shown.
Th ese lines
sandpaper. Stick the temp1<11e onto one
must be rcdLICl'd, so that t ht:• cross
side of the timber using sprcly cldhesivc.
sl;:inds proud.
2 Drill pilot holes into c.Kh of the centr,11 sh.~dcd areas of the design lo allow blade ncn'ss. and make the lntl'rnal cuts. Maki: sure that the points where the ring and cross me('! art> shclrp. by
6
To reduce the depth oi the ring by
th is
amount, score c1long the lines on the face of the cross. th en use a chisel or gouge to remove the waste from the front cJnd back. as shown.
cu lting in from opposite diri;:ctions do not cut the corner in one sweep.
clS
this w 1uld round it.
7 Trace the cle!>ign onto the arms of the cross a11d ring on both sides. using
Tools
c.:irbon paper between the tcmrlat0
Plclnc (optional - if required) Mcdillm or fine sandpclpcr
(I 2.0 or I 80 grades)
Scrollsaw.
helve been
and wood. You will find it ecJsicr to cut
m.:ide. cut met around the outside and
out the ring sections of the temp!.1tC'
tht•n remove the tem pl.1te.
before tri'lnsicrring them .
3 \<\!hen all the internal
CLllS
fret~aw or
ek'ctric jigsaw Drill \Vith wood bit M~tal r ule
ShMp kniic
Chisels and gouges
II so
,1
Ci i l l (
\i\/(ll) DCR~ fT
'\.
...:.•-
-...,r- •::;-., ..
8 Use a metal rule and sharp knife to sec re along the str.;iight lines.
12 Complete the tenon at the bcN;' of the
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
reducing the materi
the top oi thf:' base. cut iri a mortice ioint tlw "imc size and depth as the tenon.
14 On
3, 5 and IL 15 Gluc !ht cross onto th e base and. I I Next. round over the sides of the
central boss.
when dry. finish with two or rhretc' or JS prcfcJTl'd.
t:L1,1ts of wax polish.
The: 111ot1ict 1111111..,1011 tlir cro5$ 111 tlr<' l>ase
joi111 11s(d to joi11
J=uN pboTo FRAOJe
Materials Photocopies of templates 13A. 13B and 13C on page 108
Suitable timber measuring 160
x 110 x 25mrn
{6 '!. x
1'i-x lin) (sycamore)
N.B. See notl'
direction C.'f grain in Stage I. R~positionable
prcviou s
spr
adhesive Carbon paper Approx IOOmm Hinl of nilrrow cord or string
Acetate if required
lmp,1ct .ldhesive
you
some iun w ith this small , chunky. photo fram e. I have b.::isl'd the design on a dog. which
appe.H:> in
various forms in Celtic art . Dogs had great symbolic significc1nce
in Celtic folklore: they were associated wilh healing and protection and would
invariably accompany their masters into
Clear w01x and baby
battle, or on ianlastic journeys. SLKh
toothbrush. or preferred
was
finish Tacks
their
importance
Cf-. 1 1 IC \V O L'IDC~ .-\ FT
tha1
they
appe
sto ne carvings.
:;2
projects.
c.:in now rel,1x ,1nd have
TooJs Scrolls.:iw
l'r hand frctsiiw
Drili for pilot holes
Long-nosed pliers (option,1 I) Tile <:i,<;hl/J "'11t11ry SI 1\ nrlr~w ·s s11rwphr1>111s in
small gougt's, chir carving
Fift·. Swtlmttl, slmwi11g stwrnt /11111ting 1/ogs carved it/ lrtg/J rdie/
knife. or
Cr.:111
knife
Ci rving tools or rot,1ry In th~' design
used for this rrojL'C!, the
arms of Lhe dog arc fai rly normal , not intertwined as might be expected. bLJt the
The chunkiness ~1( the' frame cn<1bles it to
bt> fr<.'estanding .:111cl self-supporting.
Router ,rnd ~lraight cuttl'r
I u ed sycamore for the project, but
legs are something dsc altogether. The
It works w ell if yuu use
interladng of the lt>gs is t;iken over by
timb<.>rs for the dog and fr,1n1(', as )'OLI
cords to which the feet are au.ached: 1hese in tmn d.:rngle over the lop of the photo.
cmly jarra was used ior the dL)g, and
and it Is almost as if the toes are pointing
syc,rn1me for the frame.
t\VO
tools and cutlers
foptionall
contrasting
can see on the facin g page. where dark
to the pkture contained in the iranw.
Method Stick the three template s L>nto the timber using spr<1y adhesive. ensuring tlMt the grain runs vertic<1lly. The feet
need to be con iclerably thinner than the frame and dog. jL1st 3-4mm
r~~-:
at 25mm ( I In) thick from y0u1· block of
I
wood. then slice off two sections the
I1
l.
,
('4 ':.',~in) thick. so you could cut one foot
'
~ - -
required depth with a fretsaw.
'------- __)
2 Using a scrollsmv or hand fretsaw, cut out the dog. frame and foot.
3 Drill small pilot holes for the blade to m.-ike the intcrnJI cuts for the <.Jog (template 1313). The area.s of the dog to remove arc the rhree shaded are.i_s on the ternplJ!(' between the
l
.~
r,1il. the
two
s 'cl ions sep.irating the legs and the
gJp in the belly. 4 Drill pilot hoks for th e intcrnJI cuts !n the frame (template I 3i\).
T/11· <0111po11e11!.< rnl out r~111(1• lo 1/1c sllllfif!g
b1·gi11
l' LJ.~ l'HOTO FR~MI·
I I
I
•
~J
s
Slip some carbon p,1pN between the
B Remove .-ibout smm (-';;,.in} from
template .:rnd the wood and lr.:insfcr the remai ning design li nes onto the
the leg that is ne.'.lrcst the centre. at the point wher·e it meets tht' back
su rface of the dog.
of the dog. Gr adually slope it back
6 Begin shaping the dog: reduce th e
depth oi the tail by removing Jbout tOmm ('4inJ, kaving a dL'rth of about I Smm
L~ inl.
For
this
I used
a
up towards the rump. curving the sides at th e same tim e. to m
if it is weJ.ving behind th e
back of the dog. Then re move a similar·
c1 1l10Lll1t
of material
from
be used
belov.: the other leg to make it clppear to we.:wc i11 front of th e body. 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.
structure>d -too th
tung sten
cilrbide
cutter in a rot.lry tLK>I. but sm.:ill chisels or gouges could al
L)
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.
Continue c11rving all the edges oi the
the snout by ;:ibout Jrnm {',~ in)
body except th e b
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 that it .:ippca rs to be b~hind the lmver
Remove some of the; material below
J. rounded look . This c.:in be done wi th either small gou;~e s. a knife - su ch as
the ear .11 the back of the nt:>ck, to give it grealer definilion. Curve the top
a cfop carving knife - or even a craft
edge of the ear and taper the tip
kniic. R.ernovc a little of the body
down slightly.
the
lower
ztrm
to
cre
something of an armpit for ddini!iun.
11 Ensure that all the r~maining edges
and aga in curve the ar m into a
of th e body have be en curwd over
smooth rounded shape. Reduce the
to give a reall y
depth of the arm tow;:irds the ·wrist' so
including the section of lhc belly
that the I
CELTI<. \ ·\'OOOCR1HT
>V
arm, and curve the edges over to giw
below
51
head, incl uding the step tha t
created wh en redu ci ng the snout.
clW
can be given deiini tlo n.
smooth
that has been cut out.
finish.
I 2 Now .::.:irve
the knotwork on the t.:iil.
Transfer the guiddines onto the 1,1il lo
and through the undt> rside or the belly
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 line.
The photo below slKiws tlw position of 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.
1h ..1t h.~s the s.:imc curve as
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
shape. by redudnt; down the l..1sl secliun of tail bdur·lC it goes inlL' the
he ..1rt sh.:ipe. and notching,,
·v· shJpe
.:it this roint. Curve LWt r· all the side s
along the length of the tail. 14 The ft'et need 10
bt• shaped by curving
and to es. but r,1ke .::.:ire with your fingers, as they are very
ovt.'r tlw sides
tiny pieces 10 \.vork \Vil h - a p.Jil' of
40mm l J /:in) long
glue a fLlot to one" end oi each. Assess the fin.;il len)ilth of the cord by holding it against the 1.fog. ,1110\ving ;;1 small piece ex tr.1 to fit in1L1 the drilled hole. then cur ro length. 25-J2mm ( 1-1 '/.in). Thre hok i11 the b.:isc oind ~,luc i111L1 pl.:ic12 in the prL1truding leg. Gluc the other pil'cl' of cor·d into and
the" hL;k L'>CIO\\' the centre- IC>g. allowin~
it to dangle in the groove helow.
k1ng-nL)sed pliers c.:in bt• used to grip
prekrrt'd.
the" ket. if
19 Nuw work L11l the frall)e. Begin d1".11;1.ii11~
15 Bdore
adding the final features,
give the dL1g a good sandinf!, to 111 ..1ke
a line on the b ..1ck.
hy
5111111
( '.I.in) in from the eJgc of the cutolll.
Th is will be the rebate
10
take the
ii really srt'WOlh and cuny
photograph. Rcb.:M this edge to ,,
Dr.:iw in the eye. mouth, nose ancl
shoulder curl lines firs.L and ! lwn
ckptll oi I 2mm (',<;in I. lo bring the photugraph closer tu the front of tht.'
il1dL'nt along t ilt' lines.. J us\.'d
fr.:i me. If you have ,1 router, fit a sm,111
ri
snwll V -- tool k)r this. but a chip Lil'
st 1·.1ight cutter and,
craft knife could ,1ls1.' be ~IStd.
fr.1111e firmly to your workbench. rout the rd1arc in a seril's
iinal iob is to make,, shape in the bJ$C fL,r the cord of the leg to wcilve iorward. Do this by cutting m11· 0:1 sm.111 sem[-c irc ul.:ir share .1t the bollum of the boJy, directly belmv the (:-t:•ntre Llf th..:- le~ .
16 The
I 7 The l'Ord for the legs is iust pressed inlo
the IJL1les. rathe1· than thre,1dt'd tl1rL1ugh
thC' wood. Drill the holes with the
.:i bit diameter Lli the
CJ st I mm
(';;,.i n), and make
corl'espo11ding CL)fd,
in this
them
only
w
about I .Smrn (approx. 'A'..inl
dt'l'p. jusl enough IL• glue lhe cord into.
Drill <1 hole in the top edge Di each foo1.
securing
L
Jmm l ' ,~ in) off at a 11mc.
thl'
f cuts. taking
One \Vay of making sLm' that your
route r stays level is to cut out the shape of the frame from the centre
of a piece oi 2.Smm (I in) MDF. slot the fr,1me .i1110 It, tlwn cl.:imp this to the cvorkbench.
If
you don 'l h.we Jcccss to a
router. then it is possible lo use a rourer anac hmcnl .:md straight router hit ior the Drcmcl. F.lilin~ either oi these
pt ions.
)'OLI ("111
form
,1
rebate
using a chisel. 20 Cut,, backing pit'Ct> to hold the photo
in place in the rl'bate - rhe e.1s iest
way is to draw arow1d the rebate onto the ba ·king piece. If dcsirC'd, you can also cur a piece of acC'tJte the ·ame size to go in front of the photo. 21 Curve the front edges oi tlw frame
2J Give the compktc-d frame a suitable finish: I applied a clear wax with .:i
and cutolJt SC'ction, and sa nd to
soft baby toothbrush. to get in all
give ~1 smo1..1th finish.
the Ii ttle crevices.
22 Glue the> dog in pl.ice on the to1 oi
.)6
Cf-LI
IC...
W1..Hll H." l~1' I I
24 Put
yollr chosen photo in the
the frame. with the lt>gs dangling
rebate . with acetate in front ii being
over the front. I USl'd
u sed . then fc'.lstcn the backing piece
adhesive for this, as it nt•eds to be a
in place behind with a small tack
really strong bond .
top a 11d bottom.
GJlRROReO
cmOle SCONCe
t i$ said that rhere circ two
l
ways of spre.1di11g lighi. ·10
and the spiral motif brings together the
be the candle, or the mirror
three
that reflects it'.
number· three \.vas very sig11ific
This project L1scs mirrors to reflect the candlelight
can
be seen in th e
triplication of m.1ny stonc-cMved deities. as well as on the decorc1ted pages of
Tools
manuscripts.
Scrolls.:iw m fretScl\V
.~s the candle
rhe
.~s
larger
nd,
times;
Celli<.: .irt.
sconce. Tht'
mirror offers a continuous reflection J
many
elements of the
bl1rns lower-. so the
lower mirrors r·dlcct the flame. This way. one
sm.1 II fl;rn1c can spread its
light in many directions.
lust for go0d measure. then: is al so
sm;;11l
amount
oi
,1
an.::hi tectu ral-style
carving involved in the arches. which
Candlelight docs more than di spel
show up to goLx1 effect \Vh cn the candle
powerful
ls lit. throwing ~hadows on to the curves.
symbolism in m<1ny faiths . C indl es arc
Christmas tree candles .ire ideal for
d<.irkness:
it
represe nts
Ii 1 for remembrance. for worshir. tor
1his project.
purity and to represent Chrisl as th e light
perfect size. but also because th ey burn
of the world .
without dripping wax.
1101
only beouse of their
Chisels and gollgl'S
Drill Scalpel
Crail knife or chip knife foptional)
Mdterials Photocopil's uf templates
I 4A Jnd MB on page-s 109-10 J~crosit iv n.~ble
.
spr
adhesive
4 Cut round the rectangul."ir outside
Method Timber measuring: 230 x 170 x IOmm for b.Jck (9 x 6";,, x ·/ in) (lime)
-10 x 4Ll x I 20mm for sides
First make a carving
pg.
edges o f the mirror frame.•.
to rest the
sidepieces on whilst they are being
carved. The- jig can be madt> out of
5 Turn the piece over
and
position the
larger. rectangular. mirror owr the arezi. OrJW .1rou11d the
scraps of limber or ~-!OF as follows:
cl'lltr.~ I cut out
cut four wedg6 of IVL10d "1pprox. 4 5 x
( 1"/i,, x I'/,,, x 4'l
30 x 50111111 long (I'/.• x I'/. x 2inJ ,ind
mirror's edges. then use •1 router or
{sycam1.1re)
make a slope of •15' Oil L1n c side along
~:hist-I to make a rebate for lhc mirror
170
x '10 x IOmm for shelf
(6',~,
x I'/. x ·;..in)
Sp.1rr timber for carving jig I mirror measuring 160 x
68m m (b'/. x 2·1sin)
8 mit'l'or s1.1uares mea~ur in g 18
x
I Smm (';, x ··,.'.inl
12 ruund mirrors I 3mm ( f in) in diamc.>ter
1h ~. length . to 111..:ikc a wedge shape.
to sit in. Check for
Take a piece oi bo.m! .:lpprL1x. 280 x
shou Id be flush with the outt>r frame
200mm ( 11 x Sin) and mark .J line
when in position -
down the centre about 200mm (Bin)
mirror safely 10 one sid1.'.
long. Clue the wedges in
pair~
·v· shapes into which the
sides can sit. Gluc and nJil a piece of ~<..Tap
2 lake the piece of timber measuring
x 170
.:rnd stick template
with srikc: in base
14:\ onto it u.;;i11g ~pray <.idhcsivc.
._k.Jrproof vJmish
Stone glL1e (or similar
Sllit.Jbk to glllC
x 10111111
the wood. slip in so1nc
c.:irhon
pJpcr.
then rr,Ke on the design. 7 Identify the ten rriangul.u ~hapt-s at
1he Jines. Reduce the depth of eac h tri.:inglc
by Jmm ('l inl, keepi ng
th e
sides wrtical to ensure .:i uniform slope. O nce you have carved the b.:tSL'
J Drill ,1 pilot hc..ile to allow for the interna l cut to be made. C~1t out the shaded arc.J. keeping
good sh
the circle comes in 10 .1 point.
g l..'ISS to
wood)
Wood
Position template I 4A 011 (he..' front of
the top of the .=irc:h .:ind score .Jlong
230
11 min c.li.:1111eter H x '!'. in)
o
wood acrc..)5$ lhl' l'nd of one \!-
shaped block to form an end stop.
l\rletal tr<..'L'-1.·a ndkholdl'I
·1ree-c:an dlt' IOOmm Jong x
then put the
at
either end of this line..'. so that the
slopes fo rm
iit - tht- mi rro r
gll1e
8 bras .. screws
l br.:iss pk·ture hJngrr and 2 small brass screws
•--~-~-
triangle. you wi ll have- the line to join up to the top of the slope.
8 Lightly s.:-ore a line from the corner
Lli
each triangle out to v.ihere it meets the
corner of rhe next lricrnglc. This will
give
guide for wlK'r·c the slopin~
.:i
edges will come together. Ch~1mfcr down from ihc line of the outer triangle to the b.1sc of the inner triangle to form .:i
uniform slope all round. folk1wing
the sweep of the curws. 9 Lightly score the two lines at the base
of the cutout an.:a, and then slo1x' across the base down 10 -'Imm ('Jd n)
from tlw back. to Slope thl' sidt•s in the sam e manner.
part-cin..:Jc
11 Slope the inner edge of the
at the rop of the .:utout .m~a. I 2 Cut out the small triJngle above the cen tral spira I. sloping
13 Carve
the spir.:il by srnring along the
lines using a V-tool or
,1
knife. thrn
makt> them into ·valleys·. 14 Three spi1·al legs \Vil) sta nd out from
ml
the carvl'd v.:illcys, which can then t\.1u11d~·d
be
over to complc:te the
spiral molif. J 5 Carve the two smaller spir.11 motifs in .l
similar way. but reduce the Ml' a
betwern the trumpets ,1nd spirals by about Im 111 ( _,;,in). These two motifs .:ll'C
qu ill' small and I k1und it 1;:,1si1;:•r· to
use a scalpel to shape 1hcm.
16 Pri.>p,1 re
the
diagonally length of -10
sides
by
cutting
th rnugh
rhe squ.ue x 40mm limber. Th is
can be difficult ~v' ithLlllt the right saw. in which case tht' altern,1tive is to rest a squ.~rc st>ction of timber in
s1•/ml molif i$' $/1011•11 tire l<>J' of lf1t· 11it·t11rr 011 Jhc kfl
, \ C01llJ•lt1t1/ $ 111111/
the carving jig and plane down to
rrt
I I
I
'
form
a
triangular
shape.
Two
lengths oi timber will Lw 11L'eded for th is.
Cut
e,1Ch
side
to
length.
ma tchin g the length of th e carved
,ZJ Carw t he other· sid e in th\C> s.:imc way,
making sure that
it slopes
in the opposite direction from the
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
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
thicknL'SS of the mirror til e.
ihL' under·side of the shelf.
18 Reduce th e b.ickgrl'Lmd armmd the knotwork
I mm
26 The
.:my
surplus flush 1,vith
compon ents
can
n1.1w
be
asse mbled.
('/, inl. leaving the
narrow outside border raised ,1lso.
27 Gluc the shelf in place ar th<' bottom .ind use two screws thr·ough from the
19 Creat e the we,wing dfoct on the
b,ick to hold it firmly.
knot\VL)rk in the USLIJI manner.
28 Gluc rhc two sidepieces in place .rnd
20 Position the smc1 ll round mirror· in between
th e
knotwork
whe re
use screws from be hind <1nd bek)\V to hold them firmly.
indicated on I h L' te mplate
29 Varnish the timber using heatproof varnish for s,1ft'ty,
21 ~,1ake J round rebate equal to th e
de pth of the minm.
30 On the back of the sconce. cut a rebate behind the hanging plate to
2 2 c.~rve the top spiral in the same way as
m
ior the backboard (sec stages I 3-14 l.
,1Hmv it to pass over a screw, zind 1·hcn screw the h.Jnging pl ate in place, making sure that rhc screws used are shortl'r than th(' carved depth of the wood.
31 Fina lly. glue th~, remaining l.:irger mirror in place and place a candle in
the holder. /\s the candle hums down, its il,:irnc will be 1cfl1?cted in
the lm·ver mir rors.
Zooa)OJZPblc lovespooN
m the Claddagh Lovespoon featured on p.lgc 20. I put
my
Ol'-/ll
interpretation
(1f
h,1t
Materials
started .:is a very Welsh rradition. I hope
Photocopy
I cJn he forgiven therefore for- taking
15A rn1 pa~w 111, C'Tl !argccl by 125%
.'.ln Irish theme into
the-
pn.xcss
introducing
one
step
1A.1
fLlrt her
by
zoornorphic th eme. There
;i
.:ire very few projl'CI patterns availab le rhat
bring
new
approaches
ro
old
themes, Sl' I hope rhis will open up new
ot Ct>mplatc
Timber measuring approx . 260x6Dx Jlmm (10 /. 2-',~
x 'Ain)
possibilities for people wanting 10 create
Rcp1..1sitio11abl~ spray•
Celtic designs.
adhcsivt>
The bird in this design is t,1ken from
Tire undis{arnc Gospels. but simHar bircl ornamrnts appear in The Book of Kells and perceived
Fine grade sandp.:iper
(I 80) or fine stt.'d wool
Carbon paper
un Pictish stone CJ r·vings . The Celts
x
( lim~l
the
d iffe rent
cl.Spects of bird s' abilities clnd behaviours ,ls symbolic in various ways. Birds could
Wax polish or preferred finish
be the bearers of messages or the
pmtents
L'r
possessed
omens good .:rnd bad . They wide - ranging
tr,1its.
from
beautiful singing and g1·.iceiul swimming. lo dcstrnction with talon and bcal<.
The
they were rcwred for th;:it rl'ason .
Tools Scrolls.nv or h.:md fretsaw
Rot.:iry tool fittt'd with no 9936 nremd bit !option,1 I)
Chip knife or cr<1it knife Chisels and gouges
,\/let hod
4 Sh.-ipe the front of rhe spoon bowl in1o
tcmplalt' to the prcp..:ired smface o f the timber. using
shJpc. using the dotted line
Stick 1111.'
J concave
smooth
as a guide to 1.v here to start !he
the shadt•d .:ircas of th e templat~· to
ck,wnward ·"lope. J\t this _tagc I prefer to just give the b.1sic shape to the bvw[
allow tlw scrollsaw blade to enter.
and return to the fina l finish \-Vhcn the
spray adhl'Sivc. Drill pilot holes in alJ
rnd then make lhL' internal cut~ to
re.st of the spoon i. carwd. The simple
remove rhc waslt'.
reason for this is 1ha1 ff I make any
irreversible errnr·s, then .:ill the rime 2 Rcrn(wc rhe te111pl,1tC' and sand off
spent on the bowl is not \.\f<:l sted.
any glue- residue using fine gr.:ldc s.:rndp ap~·r.
then
reposition
the
5 Begin to shapt' the bird by reducing
template, slip some carbon p.1pl'r
the depth of the knotwork design at
undernC'ath it . .:ind trace the ci1?sign
the neck. I Llscd a st ructmcd tungsten
onto !hc timber.
bit in my Dr('md to remove the bulk. then
3 Shape the spoon by curving the back into a convex ~hapc. I ust'd structur"'d tooth bit in
fini~hed
make
a
off with
slope
.1
gouge. T1·y
where
the
t(l
tW<.)
J
nt>ckpicccs join the body .::md head,
my Drenwl.
but keep th<' re-t of the knotwork .;irea as flat and even as possible. If y1;1u
but WOLild only re(tJmrn e nd duing 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
by reclucin ~ by 2rrnn t-'ldn) owrall , then alklvving it to rise up ag.~in towa rds fe..1thcrs below this point
the depth
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.
II
e.1ch weave, as in previous projects, 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
7 Form !he claws by cutting a groove
has been completed . round off the
another. When all rhe kn o twork 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 them effective.
l 4 Shape the head by reducing th(' depth
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
t>ody
beak behind the tongue. Rou nd r..1ff the
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
[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
curved gouge at right angles to score
I - Compkt t' rhe carving
011
the bLW,d of
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
between thl' bottom of the fo'
in
the
grooves
after
polishing.
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
curve of the
kg.
Ill
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 Piece of timber .,~.,prox.
b30 x 100 x 6mm (25 x 4 x '/.in) for coaster o,~ses (l\tncrican tulipwood)
Piece of timber approx . 110 x 110 x somm (4'!.. x 4'.A
x 2in)
for holder
If you do hJve .~ lathe. use the usual
(beech)
his set of six coasters is made up of knorwork and
turning me1hods to produce the tiases
Contr.1sting veneers. at
;;pi 1·,1I dcsi:rns.
and holder, then make th e veneered
lcJst 100 x IOOmm (4 x
carving Involved. lnstl' .ld
with
rw
4inJ. two per design
of using three-dimensional technique s .1
Wood glm·
in
Repositionablc spray
prt•viGus
projects.
I
have
used
patterns as shov.m. Using two contrasting veneers for e
rwo version s of the
contrasting veneers to give life to the
s..:ime design reversed. This means that a
designs. which
set of six coJstcrs can be mJdc using just
arc tlwn ser into a
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
coasters could be made with six differing
White spirit amt lintfree
coasters and
specifically
contrasting with the other. The patterns
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
use of a lathe, 1.vh ich woLild be the more
needed. to c;itcr
obvious choice of power tool for this
used veneers be-fore. When the tech nique
The method I have uso.>d to make the
pen (fine ) Doubk·-sidcd ~!icky tape I IC'atproof varnish
holder
is
designs in
each
set.
and
eac.:h
set
ior those who have not
prnject. l have used power cools suc h as
has beL'n practis~d and mastered on !hes('
a scrollsaw and router. which nor everyone w ill h,we acct'ss ro. but all th<..'
simplified designs. you could go on to make yolll" own dt'signs using more
steps could be worked using hand tools.
complicatt'd pattern$.
~· '
\\ '
Method Sa nd both sides of the timber that will
J If necessary, tidy up the routed edges with ,, :;harp knife. It is a goocJ idea to
be used for the coaster ba st s <1 nd use
rout just inside the final linl' if you .Jre
oi compasses to draw out six
in any doubt .:ibout being .~bk to CUI
coaster ' , using template 16;\ .1s .1
accurJll'ly co the line, J.nd yLiu (an
gu ide to help you set the radius of che
then cut b.Jck to the line with
J pair
.J
kniie.
inner and outer circle ·. 4 Cut out the:· six
2 Set the router· at a depth to match the
depth of thl' veneer. plus a little extra to allo1.v for· glL1i11g and sanding. In my case it was 0. 7mm in total. Ii it is not possi ble to use a circle guide with yom router bcc ..n1sc Llf the small circ umforcncc. hold the base plate of rhc router instt>ad of the
discs. following the
outer line. using a scroll s.:iw. jigsaw or fri,•tsaw. 5 Choose one oi the motifs ,rnd make
two phowcopies. Stick .1 remplate to
caC"h c.,f two contrasting cc.,loured veneers, using a spray .1dhesivc.
handles to gain m0re con trl1I . RL1ut
6 Using a sh.irp craft knife and culling
out the central section of each holder
bo.Jrd. c.-irefully cut round the de_ign.
up to the innt•r line. It is easier to
but do NOT cut any of the crossing
rout the b.1ses before they Ml' cut
lines of the knotwork patterns. As l'•Kh section is cut. cut the some sectkm ~11 clic CL1ntrasting Vl'neer
out individu "1 lly, as shmvn, .~ s this
gives the muter b.:ise a bigger are.:i
ior support.
Tools
Scrolls.:iw or hand frets.-iw Router wilh straight bit or
chisel ShJIT craft knik scalpel or chip carving knife:
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
w,1y, depending on whether you want se ts of three or six different
,1.:curatdy. so
that the pieces will iic swappC'd.
b
same
patterns, then make into coastc1· · as explained abDve.
7 Spre
11 To make the holder for th(' set
~1f
and carefully st ick rhc rc-asscmbk'd
co
p.:ittcrn into place. Somt' v.:irk tics of
and cu t a "i -6 mm {'/ ,in) SL'Ction
wood veneers c<111 cock!.;- quit.;> easily.
the bottom.
fr~\!11
for exam ~;lc the burr wnc~·r used in
If you do nL'l hdvc tile facili ties tu
the spiral motif. so .1pply prt.>Ssure ior
do this yourself. your kx ..11 builder,·
ris long as nei:cssary to 111 ..~l
mcrch.ints
the parts of the vencl'r stick firn1 ly.
probably oblige. Stid< this piece b..Kk
m
wood
y.:ird
will
to tht' bL~!torn - tising ckiub ll:.'- si dcd
8 The fine corners
breakage
are
1Nha:-11 lhl'
susct'ptiblc to
grain nms acrnss
the dL'sign . which i~ una voida ble.\ so make
stk:ky ta~ie - ready for st.1ck cutting.
any necessary repairs
10
chc
veneers using sm.Jll offcuts. D on't be put off if !ht' co ..1stcr looks
12 Use compci sses ro draw tcrnpl.:ite I 6B
for the coaster-holder onto the top of the timber. again using th(.' template
.:is
a guide for the radi u. oi the two !ht•
t~mplat c
a little disappoint ing at chis stage.
circles. Alternatively.
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
lint-free cloth and rlw fr~'sh rnlours oi the veneer s will Lx' rcvc.~lc ci.
I J Cut
around
th e
oulsi e
cirdc
of
the template then separ
9 Draw in the n:'m
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
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.
Lli
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. 16 If liked. tlw top uf th e holder cJn also be round ed ~we r tu giw a
smoo1h finbh. Vilrnlsh in the c;ame
way as the co<1sters
(St'l' stage 9)
then. once lhe vMnish is dry, place the coasters in the h~1ldcr.
TRIVCT
he knolwLirk katurt•d in
The knot\VL)rk design for the trivet is
this project shows how a
made up of two bands. one which
ci rcu lcir pcHlt' rn c.in be
IVE'.:\VC'S
into
il.
IV
Ji"L)LJnd the
design
a
without .:rny knots.
the
busier ba nd that h.:is ~11 the work to do.
Celts. not only because it is a solar
looping back on itself a!I the way Jround.
incorpor.:ited
design. The (·ircle was important
symbol.
but
also
because
IL)
the
unending line is a rc rnind1n of thL' continuou s circle
L)i
lifo.
th(;'
shape
adopted
,1 Jt ' rnative way
for·
ll)
highlight the
knotwork bc1nds is to paint them in two
differl'nt
Going b.Kk much further in time. it
w.:is.
An
CL lour~
with diluted emulsion
paint before varnishing. The feet of tlw trivet
lhe
cll"C
similM to a
construction oi many megalithic sitl's,
lion dl· ·or-.1tion from The llooh of Kells .
Stonehenge being pli'rhaps one of the
HE'
~L'cnwd
sul'h
c'I
humble
and
most famous circles of al! . E..1r!y huts
subscrvirnt
wcrli' round. cis were hill fons. because
deserwd a bit of recognition. even
cr..-atllrc.
the circle• was !hL)Ught to be prott•ctivc
thou~h I h,we
both physi.:ally and spiritually.
iurthcr suhservicrKl'.
thought
lw
put him in a position oi
!.h1 11 d~<"(>f1//io11 l!i /hr
style of
l'hl' l\ook of Kells
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.
th e outside of 1h e design using a scrollsaw or hand iretsaw. If necessary, cut in .:it right angles to the po ints wh ere the
2 Cut
Materials Photocopies of templutes
I iA. I 7ll and 17C
Lll1
pJgc
114
knotv.,1ork \Vi ii wc<.wc , to be sure of
Tlmbel' rnc<.1suri11g 100
x
160
x
.1 pprox.
a sharp outli1ie.
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
Timber measuri ng .:ipprox. 200
x 70 x 25mm
(8
iJ'/,in) in diameter l~i:-posltionable
spray
.Jdhesive
Heatproof polyurerhane
l~out out the circle to h Id the cork
lcvd with the b.:ickground \vhen the
coaster. Make this the depth of the
carving is complete.
thickness of the co.:i stc'r. plus 2mm ('h in) to allmv fo r thi::- depth of the
Tools Scrolbaw or iretsaw ~out~r (option al)
Chisels and gouges
Chip knife or craft knife
Ct 11 ll
\Vt>«Ch:~ ... rT
6 Reduce the small tri.'.lnglcs b~·tween
LIS C
the knotwork to a depth of 2 mm
chisds and gouges for thL. if a router
l·'.l,zin).) found c1 sharp chip knifo most
is not available.
suit.lble for this.
kno two rk
varnish (clear) Emulsion paints (optional)
and the coas ter by
2mrn ('k inl so that the coa sler wi ll be
4
Cork coa ster. 95mm
5 Reduce the are,l between t hr.: Inside oi the knotwork
the timber as desc rib ed.
x 2 Yi
x Jin) flimc)
6S
roL1t1d
..... .
l'.'.Hving.
You
can
7 ScL1re along the lines rh"1t cross th e kno twork
then.
nngles.
reduce
towar-ds
thC'
1wrki11g at the
cut
timber
to
give
work . C.1rvt' the tail inwards to make
right
it appe.1 r to .:-ome from behin d the
down
legs. Slope 1hc end of the back leg so
tlK•
that it tucks in behind th e front paw.
appearance oi 1,ve.wi ng under. Repe
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
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. 11 Transfer the designs onto bo1h sides
of c.:ich
lion ,
either
by cop~ting
freehand. or tracing from the template. I 2 Ornw the following lines on the front
edge oi each lion : down the centre of the back legs: 8mm P/oin) in from th~
edge of each fronr paw: Smm C1..in) in from each side of thC' forehead: and Smni l'loin) in frnm each side oi tht•
IE
Progm~s ivr
singes
of car11l11..i: l'!Zch si1h-
of tht Ihm
snout . as shown. I J Score along these lines, and along the
lines of the design on both sides of each lion . Reduce the materia l aroun d the end of the tail on the lion's right side 10 make it stand ouL, then carw Olll
the waste between !he !ail and !he
ba~' k leg. curving tht' edges as you
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. t'ye.
S<>nd before finally adding the l 6 Cut out the space bct\vccn the front
nose
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 ~'qu:il
been ell! under· tht <:hin, in st·eF' 10.
the
RLiund L1Vt~r thl' sides of the p.:iws.
distcinces ,1pan ( I 2ln. sLi rhat thC' edge
I 7 N.1rr<:1w the he<1d from each side
up to
the scored lines .~nd round the edges.
trivet.
p l;i ing
them
of the trivet is touching the m.rn,'.
Place a weight on the trivet Lrntil the glue h
iirmly
set.
k'aving thC' mane full 'vvidth . 20 Varnish the trivet and lions with ti.vu 18 Shapi:- thC' back and shoulders but
le.:iw the top fi<.~t. ,~s this is where the
or three coats of cicM polyureth,im.
Materials Phok,Cl\pics uf temrl.ites
IS:\, 18H and 18( on page~ 11 5-117,
enlargcd
by 142'\6
Carbon paper Timber me,1suring 380 x 360 x 3lJmm (!5 x 14 '/, x
I 't:., in) (sycamore) 4mm plywood. 320 x 320mm (12'.t.x
l.2 ~{; in)
Mirror, diameter OSmm
( l 2 in)
he Cladd.1gh motto is
'In
Cladd,1gh, Jll?M Ll~J
,a lw.:iy in lrel .~ 11d. Here
love. in friendship. let us
he set
the h istL1r>' of the C!,1ddagh
;ewellery. ;md designed the Claddagh
reign ·.
d1.:• ·ign hc'.1s been
A
little
r·derrcd
ro
of
in
the
Claddagh l.ovcspoon project (page 20). now I'll cx plc1in morL' <1bout its creJIL1r,
r·ing.
The
his 01vn business making
hec,1me
rings
popular and were passed as family heirloom~ from mother to d.1ugh1cr_
The design
L
f the Clackf,1gh ring
became known ~icmss
Ridiard l<.)ycc.
immensely
the 1.vorld as
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
.rnd sold ro a
goldsmith. 1,1,rho
r·ings were ldt ,1s security back in
trained him in mctalWl'rk and set him to
Ireland . .ind used 10 raisl~ [ht' fa re to
bccJ nw king L)f : ngland in I 689 he secured th, relc.1se of .:ill his subil'C ts held captive by tht' 1\foors. work .
v\lhen
~·1oori s h
William l!I
escapL' the fam lne; poign,1ntly. many
were 11eve1· recla imed.
Rich.:ird roycc·s master tried to pl'rsuadc
in the design is the height of thl' crown: a
him to stay by offering his d.:\ughter's
high-dL1rncd crown
h,1nd in 111orriage,
bur [(1yce rrckrred to
rct urn to his n.:i.tivc
(ishing village.
WL'rn
by
J
Glazier ·s points l1r t
Tools Scrol Js,1w. jigs.:iw cir
frc1s,1w Router (option,11) Rotary m ulti-tool
!optional) Selection of woodc.:irving
One v.;riJ tion th;.1t sometimes .1ppears \\'L~tdd
CkM varnish
have been
tools Chip knife or craft knife
queen ancl a low-domed
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 J
round the border.
scrap wood. then either clamp the base to tlK' worktop. or use a routing mat 1L1 hold it in place.
Method Pho1ocopy the three rempl
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
trace the tcmp l,::i tc sh.~1 c L1nto the face 1..1i the timbc1·. usin~ carbon p.1per.
and
crown.
,1nd tlwn
6 Reset the router tu cut the inn er circle.
aga in cutting as for a · the cuiis oi the Cladci.1gh design. 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 . Yuu can do thi s with ,, scro lls.1w, iigsaw or fretsaw but. If you have access to .;i router·, a far ri1or·e .:iccur,1te part-circle can be m.lck'. If YL1LI wish ro Lise a rouk' r. first loc.."Jll' the ccnt1·c
fine
lines
on
t.'ach
2mm (',.;,in) str·aight router bit. lo a
depth llf 2.'.Jm ('.~ in). Routing gives very
even
line
and
is l1ptional. as the lines c.;in be carved using a chip-(arving knile and gouge
thi s accu r.1tdy.
.11
step l 2.
-~
' ' \. \ \
\ i
\\ \
\
J
I
.I
\i
,~,
~1·1 lllf co1111>nss1·s nt just over
two /im·s ()11 /he im>irle of Ille circfc m< s ltown
Dr1lh'
72
( I i I IL
\\1(1~ 11ICl~.'\I- I
the
circle on yoLll" timhl'I'. The
lht
1-101v to fi11rl ti!" rcn lr1· ot' 11 firdr
(II
make.
J
knot1vork carving easier. but thi s tep
II
\
of the
diagrams below show )ll'LI how tL1 do
oi
/;,-
side
knotwork can be incised. using a
Ila/(
tl1c S.:11gth of Iii•· lines . Pia«· tile 1>oi11l nl nth: ,·nil'"'" n1c11L· i11sitlt• 1111d r•utshl.- t/11· li111·. u.·p,·111 011 111.·
MIS of (f0S51'S. TJr,, u11lrr of tl1e circk is al t/,.. /JtJi11! where
01'1cr /iii.·
tht>se two li11.:s cross
Drnw
tr
litu bl'lwa11 Ilic two
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. 8 Lay th e mirror on the b.:ick oi the
frame so 1h,1t the ga ps bet ween h.:inds. he.:irt .111d crow n .1re covcrl'd -
this will leave it ofi-centn.', tow.-irds
the botto m.
l)
Dra\.\1 round the m irrnr and 1hen find th e cen tre of this circle, ,1s described previously.
Io RoL1l a deep re ba re fo r the mirrnr inside the li ne, to .1 ckprh of I Smm e1,in). i.e. half the depth of rlw frame. There is no
need to rou! the centre of the circle.
a. this 1,0.11 11 be removed when tlK remaining Cl.iddagh design is rnt o ur.
11 Cul out the remaining section of the fr.:ime. the Llt)dlfagh design. using a . crollsaw. trl' tsaw or jigsaw.
12 0n the front ol Lhe frame. dr.:iw in the line
IVhL'f'C
th e cuffs meel the frame.
Using a str·.1ight chisel. bevel th e
fr.1 me down to abol!l 2-3111 111 (i/'..i n) below the lcwl of the cuii on each
[4;·.:' ·- ::~.:
.
sk1e of th e fra me. I J Transfer r·he kn~i t work design onto the
frame using .::arbon paper and reduce the bJckgrOL1nd around the knolwork
by
.3111111 ('A; in).
th e
t\·VO
II
Thi s \viii bl' l'J Sier if
gL1idi11g b<111ds were 1u1ted at
stage 6. Tlw outside edges of the knorwork can be removed by cutting down vcnk·ally w ith a sm.111 chisel or gouge
and then liftin g the
vl.1stc out.
I 4 The small .Hcas between rh e light bends can be rl' moved with the sharp poi 111 of a knift'.
111
Ill
the same time'. round it over tO[' and
botton1 to gel rid
L)f
tlie squ.:ired-off
look . Sh.:ipe the hands hy reducing the dept h and angling the fingers
dow11wc1rds.
\
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 .
18 Curve the edges of the roll JI the wrist I 5 When all the background h.1s been
and round owr the botwm edges of
removed. score all the crossing lines
.rnd lower each !->ide to giw th e effect
the hand. Shape the top oi the heart. curving it in bclL1w the bottom edges
of interweaving.
of the crown.
16 When ~haping l he Claddagh pa rt of the design . ii is Jdvisablc to do the b<1sic sh.:i1 ing of one hali first
as a guide. then you can sh.:ipc the
Next. dr.iw in thl:' line"> for the fing er"> .:rnd frills on the cuifs.The
cro1-vn ailcr the h.mds and hean have
di1rk rnMk on
been completed.
is from
by
towards the roll at the wrist. and matching the slope on th e other side.
CELTIC W L'L11'<. Jl,\11
m~1tch .:md, whe-n it is completely
even and b.;1la11ced. sand it smooth.
L1the1- side ki m.at.:h it. L.::irvt' the
L~egin
74
19 Carve the other side of th<.' d<.'sign to
J
the
fingers in th e ~ hoto
knot th,11 I thought I 1vould
just miss - I 1-vas wrong. That's wood for you. It does, howt'ver. serve
.:15
a
useful reminder that you should t,~ke of knot:> ,1 nd nacks wlwn
from the hand to thL' n.:11 . Take it down
JlL)\l'
quite deep to give good definition. Al
choosing timber for a project.
20 Score iilong the lines. then cut a deep. steep-sidL'd groove in bctwet'n the fingers. R<. und over the sides of the fingc-rs. then shapc the frills of the
cL1ifs In ,, similar 1.vay .•1lthoL1gh the
grooves ,1 r·e not made as ck:q1. 21 To shape the crown. first reduce the depth by 2-3mm ( .f.in) ovCt"all. so thJt
Ell
it docs not appear JS high ..1bovc the heart. Transfer the design onto the
crown .:ind score along the str<.1ighr horizontiil linc.
22 Round Lwcr ihe edges of the straight section, top ,111d bottom.
~-·
•
2J Score .1long the t\Vo ,m:hcd lines and tllt:'r1 slope the pa!le-rn down by .:ibout
2mm
('I.in)
to leave !hi::
'pacldt•d Cllshions · un tlw crown raised Jt thL' botto m. 24 Re-draw th e lines and. at th e top of the
..uche -.
bevL'i
tht•
cushions
to givt a soft. rounded appearance. Cut some creases Jr the
inwards
bottum of the cushions and round
over the bollom edge, 25 Slope in the bottom of 1hc- t~ardrop
sh.:ipe .1l tlw top
or
minimise
any movement
lif
the
!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
26 Decorate the arches of th e crown using a punch. I ,1ctually deco1«1ted mine using an old posidrive screwdriver.
tut
a round punch could be used. 27 Cut a backing piece ior the mirror from
by
movem ent in the wood.
29 Place the mirror in the rebate wilh the 1 lywood b.Kking behind . Fasten it in place using glazier's points L'I' 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
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 run in .111 di1·cctions m~ind it. To
thrt•ad a piece of pk:t ure wire through Ill hang tlw mlrTLll·.
STAlNe-0
GL\ss upl1GbTeR
A ll'i11do 11• of tit<' 11111/rn/a1ory. St Oswnltl '. Clmrr/1.
'"'"''''I
~~~~~ ccasionall}' across in the place. vislteti
J
.:i
one
CL")mcs
n"1ttm.' of stJincd gl ~ss means th.it few
t111expected
people hav~ the opportunity to see it in
I did wh en I
all its spk•ndour tmk~s they .:ire .:iblc to visit the chun.:hcs, and photogr
111L1st c1S
d1urch at Ashton-in-M.;ikcrfield.
1K';i1· Wigan. Lancashin~.
in this mcditJm . Unionun.Jtcly. thl:' vcr~'
hidden :;.11ictuary
to view the l·larry
re p1·L~ductio11
is
rarely
able
to
~fo
Clarke stained glass windows. I was
justice !o hi s jewel-like colour·s L11H.i
pr~'p.:ircd
stunning designs (see leit).
to be in awe of the windows
thcmsdvcs. having already seen some oi his work, but ! was iakl'll by surprise ro find such an oasis L'f c,1!111 jL1st a shc1n dist.rnce from
.:i
roaring mown,va\'·
For anyone who is not fomiliar with th~'
n,111w L>i H.:irry Cki rkc. hl' \Vas
undoubt edly
one
L>f
the
twentieth
As a s m,111 tribute to H.Jny Clarke. I
have induckd .~ rainted glJss panel in this uplightN. The u plighter is dl'sig1K'd to hang L\11 a wall and gives off a soit light which rn"1kcs the panel gk.1-..v like:- ,1 stained gl,1ss window. The fro11t ls removabk to allow
C<.'ntury·s greatest stained glass .Jrtists.
fitting and it hns a carved zoomorphic
w ith a skill and vision rarely encountert•d
design
a1
rlw
b.1sc.
1\RRY
HORN
CLARKE
IN
WAS
DLJ~LIN.
,\!though he suffered ill hc.:ilth for most of his short
life. he prodLICed
.1
THI~
vast ,1mount of wo1·k ior churdws not
SON OF /\N ENGLISH
only in Ireland . but also in Engkrnd.
IREU\ND lf\.I 1889. fathL'r and an Irish mother.
His work Wcl~ strongly i11flt1cncc-d
hy the work of 1\L1brey f>eardslcy. as
Scotland, \Vales. AustraliiJ and ~cw
Jersey. USA. gl,1ss
1lis c:irly wo1·k in stained
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
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 .1rtist w.:is firmly csrablfshed through
his high stJndards. I l;.1rry C/<1rkc
died in Switzerl.rnd in
his first llliljor commission, to design
19JJ,
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.
at
th.:
agl'
L•i
41 , 11.Jving
SI Os1v11/d's C/111rdi, 1\s/1fo11-i11 -M11kaf1dd
Matcri.1ls PhLltocopics of templates
a nd 191\. on pages
J
11 B-19. bolh enfarged
by
113'~1'. and of J
rage
J 20
1\IDF mC'as u rlng: JOO x 355 .-: 9mm I 11 "1,. x ! 4 x ' . ·:i nJ - milin front scc1iL)n 28 ~
x 70 x Ymm
( 11 '/ x
2'1. x
' k in) - small front section IJO
x 2i2 x 9mm (5 ·;. x
10 '/ 1, x ' ! · ·i nl - ~ pieces.
for sides 40.'i
x 300
x (imm ( 15 ;,,.
x
11 " ! x '/tin) - b.Kk I :2 ·1
x
2~2
x
I 2mm (·r/. x
11 / x ,:.in) - h,1,;e
Continued rwr/m/
Sn1m.11 1,11\oS UPLIC.11111<
77
Materials
contlnu~d
DMk b lue J nd
Timb1:.'r measuring 210 x
:;o
1urguo 1sr m i.wd
x lOmm (8 1, x 2 x '.!,In)
fur carving
Do ts of s1h'cr or gokt 1m1l;itil'n l<'Jd o utlincr
ClcJr Jcrylic slK•et mt.<.:isuri ng 290 x 200mm (ll·/,x8inl 3mm self-adhesive le,1d strip llf .,1115'' ,rnd -
Tube of silver i111ira1ic.111
T 1ryu0i sc•
-14·· - i -
ydkiw rn l>:cd
...._ Pu rpi<' (d,,rk blue , r1d red mixed>
lead liutlin er
C r~i.'11 (bl!Jt'
Glass p.1ints in d.:irk blue.
a nd l'e llow
m1xcdJ
turquoise, red. orange. yl'lkiw/gold. green Wood
Or..1ng~
~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
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' using the type of lead that comes in a double srrip. cut ii .1long the middle iirst. LI sing uclirniry household scissors.
All-purpose glue
(8 1. .inl. 30w light IUOI..',
mains iining
so thl' design shL1ws thmL1gh from
Acrylic primer
bt.>low. Cut round tht> outside llf the design u~ing a scrolls<1W at slo1N
White paint
spcc..•d. or use
Metalli.: blue Cl1 .lmc:I p.~int
(or
~(,Jlour
of your
~-hoke)
J
frC'tsaw. A slow
frt-t:'aw Drill
Router (option a I) Carving tuuls
the
manufacturer· ·s
cutting speed is llt'CCss.iry to avoid
instruc tions, use the tool supplied
melting the plastic .1s it is being cul.
with the lead strip to press it down on th e sheet il nd sea l the edge . m.::ik ing sure no gap~ .:ire left for the paint to scc'p through .
whi ch might jam tht• bbde.
Tools Scrulls..'!w. jigs.mi or
3 rollovving
4 The sm.:ill lines of the face. scrolls. the
diamond shapes at the ror. etc .•1re
drawn on using the imita tion I 'ad outliner directly from the tube. 5 When the o utlin er is
dry.
fill in rhe
design with the gl.:iss paints. using this colour chart as a guide.
71!
C1-1·11c W1' t>DCRA 1 1
arch !' hapc by mar king off points
60111111 t2 'I.in) away irom the dr,1wn
line all the way round to where it meets the sidt'S. Join up the various points. w for-rn the ,irch and cut around this shape. 10 Drill a pilot hole insidL' tht' previous line yLiu drew. k)r the ~c:rolls.:1w (or fret. .1 w) blade to pass through, then cut out the remplate shape. Offer up the p.~intcd panel to rhe fr.:ime. to check rh,1t t ht' opening is ihe correct
6 To m.:ikc the hills look moonlit, paint
sizC'
bi.:•fon.,
proceeding. Make
in a lint' ufciark blrn." .ii che bottom
rebate in the back oi th<' frame - the
whilst the turquoise is still wet Allow
s.:irne depth as the acrylic sheet - for
it to blend in.
tht stained glass panl'I to fit in. Draw round thl' panel to gt't the right shape
7 When th~- s~:.:i
h<1s been painted. buc
for the rcbJc e.
before ii is completely dry. etch out the lint's of I he 1.vaws using a wooden
II Cut
toothpick. or round end of a small paintbrush . The
linl'S
will
tlw two side
rempl,1tr.:> I CJ[) (on
p,1n~ls
using
pag~' 11 9).
show
through ,1s a silvery light when lit up.
I 2 Cut the sm.:1ller lower front panel to
Do the s.;ime ior the st.1 rs in the sky.
the size indicated in the materials list. and tht-n angle the top cdgt::
8 Once thli' glass rain! i. completely
d(Will
tow,1rliS the b;ick to march the anglr.:>
dry. usli' scissors to cut .a\vay the
creared by the notch on the
twl">
surplus ,1rl'a around !he outer edge of
sidepieces. This can bt' done using .1
the template. beyond tl1c outside edge
plane or sander.
oi the le.id. Dc1n ·1 worTy if the panel outline changed when the lead strip was
lJ
i
lark thl' b,1ck piece to the size givt.>n
in thc rna1crials list. use> the front as a
template to create the s,1me arch shape .1t the top, thrn cu1 it ut.
with a wry .Kcurate template to ust'
in the nex1 stage.
14 Drill two holes in the back near the top.
which will be used lu hang the light on 9 Cut the rim I er ior the main front
the 19,~ll. Use a drill bit l.1 rgl' enough for
ize i11dic<1lt'd in the
a sci-cw hl',]() to pass thr1.x1gh. and then
piece
(L1
the
matc-ri.1ls list. Placc- the rem plate you
drill a srnaller hole above it lo create an
have just re-sizl'd on 1he timber,
upside down keyhole sh.:ipe th,1t the
pattern side up, positioning it about
screw will rest on .
60111111 (2 lk.in) irom c.~ch side and
tor . and zibout JOmm ("1,in) irom bottL rn . Draw round thc:-
the
ternrl.:itc, and then nrnke the top
I 5 Cut the base 10 size and cut out a
small squJre at the back to allow the light c.1bk to pass do1v11 .
I
m
phot..)gr.~ph
5how. al l the the light box. except for the hack. which is longer than lhe
16 T his
19 Screw
rhe
metal
plate
ior
rhc
compL)ne nt s of
n1 agnetic cMch to the inside oi e,1ch
front and without the ho le.
dow n from the top. Screw the other
side, approximJtely 70mm ( 2 'i,in)
part of the ..:.1tch to the inside of th~
,: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
I i Paint th e i11 side
L)f
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.
the
pa rticul
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.:
screw· the s1rip light i itting o nlL1 base. placing it centrally
fn)J1 1 pit'Cl'
to the fro nt of 1h e b.:isc.
Glue .111d screw the sides
10
the
base a nd shlirt front piece. Gluc a nd screw the back to the base and
sides. ensuring that the light c.1bl1:' iits down the h le be.tween the b.?isc and the b.:ick.
difficu lt y wi th thi s, you can glue
any light t•scaping. after It h.as .111 been p,1i ntl:.'d . 21 Paint the box <15 desired . I used four
coats give
19
. I \
oil
strip o( fell behind the join to stop
ci
o( m etallic
blue enamel paint to
deep richnC'ss to the bo x.
22 \Vhen the paint i - dry, glL1e the
painted p.rnel inro pla.cc in thl' tcbott'. If the re
any gaps
are
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.
ii S ore the lines oi the deslgn and
then
reduce the wuod where the dl'sign appears to weave under another band.
,,
m
iii Round over the sides of the bodies
cind legs. and shape the cl,1ws as for the eagle plaque <1 n d zoomoi-phk' lovcspoon (see pages 26 and 61 ). iv Shape the heads by reducing
.1round
the forehead and cheeks. and then
rounding off the edges. Re luct' the teeth
by .:ibout I mm below thC' jmv
and round them over. v Gluc the dog motif onto the front panl'i. vi Finally. hook the upllghtcr over two
wall screws .
T/1r ,-m1111/cwl dos: 1110/if
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
15'!.
x 43 x -'A in)
11::\mm (pine)
Timber measuring
x 240 x 18mm ( 11 ··;., x 9 h x '/. in) (pine) ]CJO
TimbC'r measuring 800 x 50 x 4mm (JI '·" x 2 x 'kin) (1\111crican h<1rd m.ipld
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)
Sprung toilet- roll holder Cl.lss or plcis1ic
\U mbler.
approx. 56m m ( 2 '/1in)
di.1meter at base
ring and toilet roll holder which
Emulsion or gloss p.;iint in 1wo contrasting sh~des
Clear varnish
with
fish
.1nd
inC'rm aid morifs. Fish apptM on Celtic metalwork
s uch as coins .rnd cauldrons . and on many
Wood primer
are decorated
Pictish
stone
~·.1rvings.
panicularly in the form of a salm on . In Celt ic mythology the s<1lrm1n represents knowkdge and wisdL1m . In Irish mythology. •1 p.ir!icular Boyne l~iw r
salmon
wa:;
said
tll
be
empowered with great wisLfom and whoever \Vas first to cat !ts fl e.· h would
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·
(the k)othbrnsh
tL1
fc..)relell future evt>nts. Whrn
holder) L)n!o lh e
Finnegas the bc1rd caught ii, he gave it
l'L'l1Bining
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
I 45mm
(S '/dnl
wide
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
hims elf. Ht• instinctiv~ ly put th' thumb
edge on the face
into his mouth ,;rnd unwittingl y became
pl.:ites and the arms of the tollet roll
L>f
the three back
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 ('.
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
1m'dium (I 20) grade s.~ndp..1rer.
In Celtic mythology. km,,Je dl'ities were .:issoci.11ed with fresh Weller, and
natural springs and wdls were often
3 MJrk !he position of the rebates on the iace of the three back plate~ and
believed to h
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'
Kells. ak111~ with
outside guidelines of templates 20G.
,1
niermc1 n. ThL' 111errn,1id carving on
20H and 201. or by culling the shape
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.
in this project is b.3sed on
.:i
Rout the rebates to a depth of 4 mm
She .-ippt>ars on a small fragment of architE'l'lur.:il
frieze.
betvWL'll
(··1.. Jn). If you do not h,we a router.
two
Tools Sa0llsaw. or jigs..1\V .ind fretsaw Ori II and sncwdriwr Router (optional) or
SJndpclpt:'r
SCOf'L' around the outlinL' with a sharp
..1nimal s.
knife .:md remow the inside waste
With the coming of Christianity. the
Carving tools
using a chisel. See the three photos of
iish became a symbol of Christ.
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 R ·'
111 uth 1t\1
S ~r
SJ
4 Cut pil'Cl'S 20C and 2DD in h,1lf down
B Cu1 1he lw.1d and point off the nail to
the ccntrt2 line. wherl' m.1rkL'd on the
leave it 77m m Din) long. This can be
template s.
dune usi ng
.1
cut- off disc in a rot ..iry
tool, or a hacks,m'_ 5 O n the n:m aini11g pie1.·c of
('/,inl
timber.
dr.:iw
J
l 8rnm L'irdc
9 Drill a llL1k Jt the centre of ecich
in
inside face of the towel ring arn1
diamc.'tcr. rhen d1·J1<\ ,111uth N l"in.:I~
pieces. t~·111plate 20D . to a ciepth of
I 8mm ('1
6mm (',,
222111 111
approximately
(8"1iin)
1
20F to give tlw top ·h,1pc.:'
l.lf
the ring
where inciic"1tcci by the lcmp l.:irc. (If necessary. erase the do!!l'd line
tL1
avoid confusion whe n ('Ulting out.)
Cut the piece
l)Li!.
could use it to get an accur·atc sh-1p(' the
mug .111c1 toothb rushes, w here shown L)l1
fe l1l f'l.1te !OE.
using .1 S(Toll s,1w
or fretsa1,v. II' you h,w<;,> .1 r·l1ut~'I'. yuu
for
10 Cut out the five ho les. for the tooth
pdrt-circlc.
follo1vin~
the
11 Using a countersink bit in the drill. 111.-ike a depression on the inside t'ild1
Lli
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
not. the corners can be s,,ndcd o(f. le;,iving the ring in ;:i more.' squared-off
allow th em !o bc screwed lo rhe
of
the
toiler
roll
holder.
toothbrush holder and towel ring. to finis hed. Position
the
shape. Keep the two ends Llf the tof1
wall
whC'11
extrmsion square. where It will Sil
hL1lcs
nc
between the
lh c rebate.
t\VO
arms.
the
1.1 TcJ make the;• decorative inserts, nit
top of th e piece as shown. m ..1ki11g
the
7 Drill a lrnle length wisl:'.' throLigh
i t slig htly l.irger· in di ..1rnct<.'r th ..1n
to the
the n ail_
need
length of the nwtifs; you 1vill 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
Tr ..rnsfcr Lhe lines onto c..:i<.:h
as described for the Celric l
th en
Border 011 pag~'
CMVC in
f
the usual way.
JJ.
19 i'vlakc thrl'c CLipies oi templa te 201. in
14 Pl
011
top of
r1ifot holes 10 make the intcrn<1J rnts. Cut out the
the
s.:i m~-
wny.
each stack .rnd drill
i ntl' rna l waste .:ircas J11d tht'n cut rl1u nd the ou tside
li f
20 Seal the Cill'V~ d decor,~tivc pieces with
..:i cle ..1r v ..1rrfr;;h.
the m otif. 21 Prime ..111d paint the
15 To make the two fi sh (template
b.1ck platL'S oi the remaining pieces - toilet roll
20G I. carcftil ly SL' parat e the pieces
holde r. !001 hbru sh holder .~ nd rowe l
a11d transk1- the lin es of the de sign
ring - ,)11d the arm s and !OWl'I ring
onto opposite faces of th e timber,
itsdf.
5Ll
th<.H ea (h
fish
facl's
i11
the
orposite dircctk n. 16 S ore
along the lines and rl'dtKe
usin1~
,, darker con tr as tin g
colour in th e reb ..~tc d JrcJs. Parnt th e
face L'f the six screw-head covers to
match the back plates. Ii YL'LI prefer th e natural IOL)k oi th e wood, the 5€ l
either side of the cmssing band s.
can be v..unished instt'ad, in which
!~educe the dept h
case us~· a L~ L ntra sting dark VJ rni sh
L'f the iins on the
body and t.:iil. Hound over the sidt>s of
for the rdJ a tes.
thc bands and he..:id . and m.'.lrk in the eye. Us€ a sma ll chisel to Sl'ore linr:s
on thl" iins.
22 To a. srn1hk the set. screw llw arnis
of the tL1ilt?t roll hol de r· on tL1 the back
plate I 7 ·1<_1 make the four mermaids , first make the intt•rn..:il cuts. and us~ a
make the hoks in tlw tight c:urls oi th e lt>gs.
small 2mrri ('ld nl drill hit to
from
behind.
lea v ing
a
dist.inn' of I 2Jmm (-t 'A in l bL' t\Ve en them. Place the sprung holder in bct\\l('en. IL)cating it in lhe COL.lllf('!'St!l1k
holi;s_
m,~~------
~< ,~ ¥ -~ _J,
T
Tire nsscm!i/cd com/'(111e11/s fw c.nrl• 1mrt a{ llu: sci
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
and the four· merm,1ids ,1t
the top of the towel ring bdorc
b<1ck plate,
placing an arm
ecich side of tooth mug holder ,, nd
011
each end of the
nail. then screw the arms in pl,1cc on the 1·cmaining back pl<1te. Th~' towel ring shou ld then swing llllt freely on its nlL)lllll. Glu e all the decorative ~'i 'ccs in place. positioning the two fi5h motifs
towel ring.
23 Screw each piece to the b.:irhmom w.1 11 through the pre-drilled holes, using the cross-siot screws. l~re · a painted screw cover LWer each screw hea d.
The PROJeCT Oes1GNS ht.> designs needed tl' make .1/1 the proje1.:ts in this book .ire induded here, and they ·hould be phot<.1coplcd or traced off. Llnlcss otherwise st.:i1ed. the designs are drawn to the corrC'Ct size to
Areas that Me to be cut out inside the designs ure shown In diagonal sh.1ding on the designs. (Noc all the st~p
by-stcp phOLographs show this shading.) Arens that need cl.:iriiying ior .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.
Celtic knotwork border
s ee page
12
Bi
------ -~---------~-----------
Knot\vork overlays
see pngc 1;-;
28
2C
20
In it i a I 'm em 0
h 0 Ider
t:;ce pogc I 8
Tiil~ 1•RPll LT
l'l.S .C." .I~
SQ
Initial memo holder
See page 18
38
Initia l memo holder
sec pagl'
l
1s
3(
- --~~-"~~ ---
-- --~-~-
Initial memo holder
see page 1s
30
In it i a I m em o ho) de r 1
3E
see po,(jc 1s
Claddagh lovespoon
s.:q111gc 2L1
Dou blc photo frame
sei: 11 aw 2J
T 1-11- PRop: CT \;'[SIG~S
95
Eagle wall plaque
see r11 rgt· 26
.. .~
. ~:
:~
;~ -: -
....
\
.
~
..
·'
-
:
- page 31 Message board See
.
i
J
1 lhh- t'J ' b e er J ' np I,lt~ nee d<... 1L ··---·::---·· 1 ,1rged by :".t<·~ <
--·-~------~~·~ ..
Message boa rd
s ee po.gr
.
......
JI
7B
7C
7D
L·-·-· - - - - - - - - -~- ·~~·
... .....
-~~-~-
'Tree of _Life ' se ed keeper
SA
sec page _H
'Tree
Of Life' Seed keeper
See page YI
This 1.-mpl.He llL'eds 10 be enlMged by 125 %
100
Cr1.nc WooncRArr
'Tree of Life' seed keeper
s.:c page .H
SC
-~~~- ~---·-----·- --··
.
. .
Ha nd m i r r 0 r
Sec pa.15e J 7
no nol
9A
lj
l
L
l'lll Olll ~h.Hli!d ML'.JS
---·· .
--~-=---------------------~---------------------:
Dragon trinket box
s ec page
-n
JOB
L
· ------~----------- -- -----···-----·-------------------------------··
Knotwork jigsaw boxes
sec pngc 44
llA
·------- -·· ~-- ·
······---·---.......,.---:---
--
-- - - -
Knotwork jigsa\v boxes
see pr1gc
+1
Knotwork jigsaw boxes
I Ob
CHT!c W u0 D ~ "Af ~
sc"' page 44
Celtic cros s sec paf!e -·18
i L~
Tll !
l '
T 111 \ IGN$
107
Fun photo frame
sec pnw s2
13/\
1J C
•
::::;J 13B
.----'~-::... ~
... :.......
_
......... ~ ~-- -~-
l\!lirrored candle sconce
......::..,_~----··
sec page s1
---··-~~-
14A
Bad
148
I Ill
CELTIC \\I DODCR.-\1·[
Sides
Zoomorphic lovespoon
""c pngl' 61
'I
'
\
L l 11 r
HPI~<. t l'!:~ll·'I'
11 1
Coasters in holder
see page 64
J6A
Rmpl.:ite for holder
16B
ThL'Sc tl'rnplatcs need h> be en larged by 12.'. %
Coasters in holder
sec page 6-J
160
!6[
\ 16G
T11 1 1·ll~'l£cl llCSIG~'~
11
J
~~-----~---'"'
............
17A
17B Tc1npl.1 ll' f•'r hon k~-1
11 4
C11r1c WL'wDc1;.ur
Claddagh m I rror
see pnge 11
T~mp l ,1 t c~
1~ 1\ . ll Jnd ( ro
b~'
(oined
JSA
This l
lll'l'd s
robe enlarged by 142 ~.
TH · 1 - f~:~ JL L
T
QEs:c ~.1 :-.
I l5
Claddagh mirror
This 1er11 p.11e I ned '· to bo:' ml
------~ ;irp:d bl'l42 %
~- --~-.: -::
1 16
c unl
W o l i [lC- It •\. f ·1
Claddagh mjrror
see pngc: 11
Uplighter
Sre pnge 76
T••mrl.it~
19(
for <.:,1rvi11g on fronc L'I upllghtcr
Bathroom set Secpn,~c8 2
r -
I
L_ -
-
-
-
-
-
-
-
-
-
-
-
-
- J
,---
t_ - - -
---·---·---~ -----------·----~------- ..,-·=..,..-----
Tiir.
PIW1h" l
1.'I~ . l[,IJ~
121
Bathroom set
St'
20B
---·---~~-
Ba th room set
]
I
si:c 11 ngi: s2
20C
I l
l'
I
200
I
I
20E
Bathroom set
sc:c 11n.s.:c s2
- -- -
\ J
I I I
20 F
·-··. ------.,----~124
Cr1.11c W 00D-.: 1;.-'.FT
. ....................
·-··-~-~~------~--~-~~~-·
r
Bathroo1n set
s\·c page s2
20H
20G
201
Glossary Ancl'Sfor stones
i\'1cg.1 Ii I h ic
Fl.1t ptbbles. i11cis
,\ il.:ick ~1f or marked by th e use oi hi~
a c,we in the Fr('nch Pyrenees. which
stones.
\Vl're believed to CL1ntain th~ spirits of the
de.id.
Phylloinorphic
1\nthropomorph k
and plants .
Design based upon th{' form of lea\'C'S
lksigns based upon the ior1111.1f hum,1n s Recto Book sh1foc
The front of a folio .
f\ box made of mL'lal. or wood ,1nd JTIL'Lll, in w hich a !101-c•d for
1?.epoussc
pl"lltcction.
Relid design on metalwork r1 roduced
by
hamrn(.'['lng from behind.
c.1rpet page
p.1ge in .1 gospel boL1k that consists rurcly oi decor,11io11, with
1\n ornamental
11Ll
Triskdt' Thrcc-lcggL'd spira l motif.
text. Verso
Folio
The bilck of a folio.
Ont' page of s m,1nuscript book. Votive Insular
Civcn in fuliil ment of a
VL)W.
Produce l in Britain or Ireland
Zoomorphic Design based upon th<' forms oi ,1nim.1ls.
La Tcne Prehistory periL1(.l, naJTIL'd after a S\viss archaeo logical site.
bird s
,111d reptiles.
$17.95 Can. $27.95
Uplighter
seepagc76
Tc•mpl.:ue for st,1incd gl.iss pand
l 9A
LI plighter
St'c p11ge 7t•
198
Th is lt' l11J'l.1tc nt' t'd s to bt> t'nl.ug.:d by 133•.,
Tr&t-
r~L"'ll"" 1 tH !>l\jN S
l
I CJ
