Best selling wood projects - Creating a Set of 5 Art Deco style Small Tables

Best selling wood projects

A project I have just completed was to make some small occasional tables, a set of 5, using jarrah removed from a roof during a current renovation. This beautiful house, built around 1930, has the most wonderful Art-Deco ceilings - which tragically were very seriously damaged during the recent storms in Perth... but thats another story. A second storey is being added to the house, and the old roof timbers were thoughtfully saved to be re-cycled. My client is a lover of all things Art-Deco, so my mission was to design and make 5 tables using this timber.

After some research, I submitted the following design and concept drawings which were agreed to by my client:

About the timber.
The timbers saved during the renovation are the classic stuff of jarrah western australian roofing which was pretty standard for over 100 years until the re-structure of the WA native hardwood timber industry which commenced in March 2001. Since that time jarrah stick roofing has been replaced by pine and steel. The old roofs and houses are now a wonderful source of dry jarrah, as well as karri, wandoo, marri and blackbutt. Tragically too much of this timber goes off into land fill as old houses are knocked down in the path of "urban infill" or the spread of McMansions. How did I get myself onto this soapbox again??

This stack of timber pictured here on sawstools on my front lawn was the pile of timber saved from the renovation by my client. It is predominantly 4"x2" timber (rafters) but also includes a few 5"x2" and 4"x3" sticks. There is also a number of 6"x1" and 8"x1" boards (ridge pieces) which are of particular use for the tops of the tables and the legs/ends.
All of this timber in the stack shown was denailed first. A dirty and slow process, but a good opportunity to examine each stick and get a sense of what was available for the project. There is much more timber here than we need - but I am a great recycler of this wonderful stuff!

This picture shows the 6"x1" and 8x1" sticks from that pile, which I have here denailed, scrubbed down with a wire brush, and scanned with a metal detector to ensure there are no nails remaining. Nails are not kind to machinery and cutting tools!
Shown here parked out side my workshop on another pair of sawstools, they are waiting to be cut up ready for dressing.

None of the boards are flat, so one face must be flattened first. These roofs were all built with green (unseasoned)timber, so the timber has dried (seasoned) in the roof. These timbers spent 80 years in the roof, so they are very dry. I find that the heat and dryness of old roofing timbers creates jarrah which is almost "case hardened" sometimes, but the timbers from this roof do not appear to be over-cooked.
Theres some nice stuff in there, though some damage was acquired from the demolition process. Thats not unusual.

Preparing the timber.
Much of the 6"x1" and 8"x1" sticks were cut into shorter lengths ready for making the table tops and the legs/ends. This was done before any dressing of the timber, due to the fact that the timber needed to be flattened. The aim was to try and obtain stock 22mm thick (7/8") which is a wonderful dimension commonly used in the past but no longer commonly available. Hence the need to ensure we lost as little thickness as possible from the timber. The pic here shows the timber after it has been docked into the two different lengths needed.
The flat faces were obtained using two methods. My buzzer only has a 6 inch cutter, so I was able to create the flat face on the 6"x1"s over the buzzer easily enough. The wider boards I had to flatten by hand in the old fashioned method, using my trusty No5 1/2 jack plane and a pair of winding sticks. The pic here shows the plane on a piece I was working on at the time.

Once the flat face is created, the pieces are put through the thicknesser to make the opposite face parallel. The boards are flipped over several times as the thickness is reduced, thus creating two flat dressed wide faces.

Theres a picture which shows the same stack of timber
after it has been dressed to 22mm thick. There is some very nice timber in this pile.

The plan was to leave the nail holes in the wood, as this tells the story of the timbers former life in the house.


Making the Tops.The process for making the tops starts with matching up the machined pieces for colour and grain, and shooting their edges on the buzzer, to create the tops. Some of the boards had splits, so these were sawn down the split lines and the new edges shot.

Therefore some tops were made out of two pieces, and others were made of up to 4 pieces. The picture here shows a couple of the tops set out and prepared ready for preparation of the edges and then gluing up. The visible ones here are both 2-board tops.

The plan is the rip a piece off each side to use to create the under side build-up, and to dock a piece of each end to create the under end build-up.

One of the most effective ways to create good edge joints is to create a "lightning joint" profile. This works like a tongue and groove, and has the advantage of doubling the surface area of glue.

This creates a superior joint. I used a router cutter to cut the profiles on the edges, but back in the Art Deco era, these were cut with spindle moulding machines in the bigger workshops. So the use of this jointing method remains consistent with the period as a technique. It is far superior to a butt joint, and I like it!
There is a photo here which shows the joints cramped up.
Once the edge profiles were prepared, the tops were glued up. There is a pic here showing a pair of tops glued up simultaneously, to save on cramps.

After the glue dried overnight, the tops were put back through the thicknesser to clean them up. The finished thickness was 20mm, giving a doubled up edge of 40mm. That was the plan.

There is a pic here showing the stack of tops after they have been cleaned up through the thicknesser. Now it is time to make the rips off the side and dock the ends. Where we were unable to get the side rips wide enough, some of the leftover timber was used, matching the grain and colour as best possible. We needed 30mm wide side rips, and 42mm end rips. The end rips were docked to length in such a way that the lightning joints lined up, top and bottom, making sure that the correct ends were always matched to the correct part and orientation of the top.
There is a pic here showing one of the tops covered in cramps as these underside pieces are all glued to the tops. they will be left overnight to dry before the tops are cleaned up again and the final machining is done to create the final dimensions for the tops - 400 x 240 x 40mm.
Although we only needed 5 tops, I did a 6th one to ensure I had a spare. There are some unknowns with the nail hole positions, though I had been very careful to try and place them off the edges.

Making the Leg Ends.
These were going to be more challenging than the tops, as each one has an inlaid design on the outside face, plus tenons cut on the bottom ends.

First the selected boards were docked to length, and then the taper cut on each side. This was achieved by the use of a purpose made jig on the table saw, as pictured. (The overhead saw blade guard was moved out of the way for the photo). Use of a jig like this enables consistent repetition, so that each component would be exactly identical.

Once these were cut, another jig was used with a router trimmer with a 6mm cutter, to create the grooves to house the WA Blackbutt inlay. While these jigs are time-consuming to create, they end up both saving time and ensuring consistency and accuracy. A fair bit if planning goes into it...

There is a pic here which shows the stack of leg ends part way through the routing process.

The blackbutt strips were machined up, such that they would be a snug fit in the grooves. The corners were all cleaned to make the crisp corners of the grooves, using a sharp chisel.

The tricky part now was to cut the pieces to length accurately. This was done by hand, using a small gents saw with 24teeth to the inch - very fine indeed. Another jig was made to ensure the cuts were always made at the required 7.5 degree angle on each end. Once all of the components were cut to length, the pieces were glued into place and left overnight to dry. The pics here tell the story.

The following day, when the surplus glue and veneer was sanded off, The resulting panel was very pleasing indeed! This pic here shows the cleaned panel. Looks like a winner!

Making the Base.
The bases are made from 4"x2" rafter material.

The rafter material was docked over length and then dressed.

 Once dressed, the pieces were matched up and arranged, 3 pieces selected for each base.

These were glued up, using a double tongue technique in each joint. Once dry, the bases were put back through the thicknesser and then docked and ripped to their final dimensions. Then the edge profiles were cut on the ends and the sides, as shown in the pic with the stack of bases. The mortises were chopped in the bases, all at the required 7.5 degree angle.

 Where did this 7.5 degree angle come from? The best method is to transfer the ideas from the concept drawing to a full sized drawing, on a "set-out board". The angles and dimensions of components can be measured from the full scale drawing on the set-out board. The picture here shows the set-out board, which is a piece of plywood. Being a great recycler, I obtained this piece of ply from an industrial airconditioning crate - good quality ply, too!
Anyway, the waste was removed from the mortises first, using a forstner bit in the drill press at the correct angle. Chisels were used to clean out the holes. The leg/ends would have tenons cut on the bottom ends, two stub tenons with a haunch inbetween, to be inserted snugly into the base mortises.

These pics show the dry fitting of one of the joints in action. The final clean-up and finish sanding of the components will only take place after the joints have been fitted correctly. The trusty Stanley No.140 block plane shown in the pic was made specifically for the trimming of tenons. A little beauty of a tool, long since out of manufacture.

After the finish sanding of the components, the leg/ends joints were glued up. This pic shows the glued up base. The top here is not yet attached, only sitting on top. The next stage was to attach the tops to the leg/ends and make and attach the feet.

The project comes to completion.

The tables were assembled and the polishing process has commenced. This would take several days before they would be ready for the final waxing. The finish used was Cabots Danish Oil, which is a kind of oil/varnish mix. It has the wonderful look of a hand rubbed oil finish with the added benefit of a high solids build, providing an excellent platform for the wax finish. The oil and wax finishes gets better with age, unlike those nasty spray-on polyurethanes which I refuse to use these days.

The completed tables are pictured here during the polishing phase.

I was very pleased with the way they have come together, and am sure they will fit beautifully into the art deco surroundings of my clientss home.

For me the aim to achieve a high level of authenticity in their construction, such that a casual observer would not be aware that they were not made in the 1920s or 30s. The construction techniques are true to the era as are the fixings - no philips head screws, only slotted head wood screws and small bullet head nails were used.

 

This pic shows one of the tables after the polishing was completed.

I am very pleased to have contributed to sustainable timber usage by recycling and giving new life to beautiful timber which had previously spent 80 years supporting a roof. A credit to my client, for not wanting to see the old roofing timbers thrown in the skip bin bound for landfill. After these tables have been passed down the line many times as family heirlooms, there is no reason why this same timber cant again be used and re-used for centuries to come.  

I love this stuff... It is such a priveledge to be making family heirlooms.

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Best selling wood projects - Building a Ukulele Part 1 Timber Selection Layout

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My first Ukulele - here goes ..................

Ive been ruminating on this for weeks now, and its time to make a start.  After much research, and not a little searching for appropriate timber, Im actually in the starting blocks and ready to go.

Since this is my first Uke, I am going to treat the whole build as a learning experience.  Join with me and watch the progress and the mistakes as we travel this luthiered road together.


Timber Selection

I have acquired some very nice timber for the project(s) but have decided to keep the better pieces for later builds, in case I stuff up badly on the first attempt. 
Some tonewoods that I have acquired for the tops and the body includes:

• Huon Pine
• King Billy Pine
• Tasmanian Myrtle
• Tasmanian Blackwood
• Black Heart Sassafras

Heres what Im going to be using this time around:

The soundboard will be western red cedar.  These pieces have been ripped down from some ship-lap boards from my brother in laws kitchen - left over after his recent renovation.  They are very old and nicely quarter sawn.

The fretboard, headstock and bridge will be made of Australian rosewood.  As this is my first ukulele, I am bound to make some mistakes in the build.  Better to do that with less exotic timbers, and save the good stuff for later ukeuleles.

Just to refresh your memory on uke nomenclature here is a quick revision:

The back and sides will be ripped from some figured sassafras, and the neck will be made up of some laminated straight grained sassafras as well.

The linings will be made from paulonia - because I found a piece in the woodpile - and it is light and should prove quite satisfactory.

Making The Linings

Linings are the curved strips that adhere to the sides and assist the gluing of the soundboard and the back of the ukulele.  These can be purchased from music suppliers, but I decided to make my own.

Ill use the table saw, and this is what I will end up with before cutting into strips:

To get to this point, I made up a little jig which is screwed to the mitre gauge.  It is simply a pin hammered into the face of the mitre gauge - 5mm from the cut line.

The cuts are made in the surface of the piece of paulonia so that they leave about 1/8 of the thickness remaining.  These multiple kerfs allow the linings to be bent, to follow the curves of the sides of the ukulele.

After each cut, the kerf that has just been made is placed over the pin, and the cut repeated 5mm away.  This continues until the board is mostly kerfed.  There will be a small amount at the end that wont be done, as it is too small to be supported by the mitre gauge - and too dangerous to attempt without it.

Once the kerfing is complete, I cut this kerfed board into thin strips on my bandsaw.

Here are the finished linings:

The linings are easy to bend, and will be put aside until the body assembly stage of construction.

Next step will be to rip the pieces of sassafras for the sides and back.  That will have to wait until next time.

This is going to be fun ...... cant wait ........

...... and happy woodworking to all ....................
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Best selling wood projects - New Life for a Beautiful Old Table

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The job I have just complete was to re-build an old table. This beautiful oval extending table is a family heirloom - but has had a hard life too. The owner approached me, keen to have the table repaired and the missing extension leaf replaced. So I picked up the table from their home and have begun the rebuilding task.

The two halves of the top are removed here, showing the damaged frame.

The damage was extensive - more than I realised when I put the table in the back of my ute. It was when I started to investigate the table closely in the workshop that the true situation became evident. See the pic above! A jarrah table with cabriole legs, the extending mechanism is of the winding type with a crank handle. The end rail which houses the winding "socket" was smashed into 4 pieces. Of the 8 primary joints in the frame, 7 of these were broken. In most of these, the tenons were broken off inside the legs.

Rebuilding the Table Frame.

The table had been repaired before, long ago. However these repairs had failed too, so I pulled these joints apart as well, removing the metal brackets used in that old repair. These tenons had been broken also.

This pic shows the top of a leg, showing a typical broken tenon. The other broken tenon I have removed already from the mortise which has been cleaned out.

I have made two new ends for the table frame - as one was smashed into 4 pieces and the other was split through the middle and with the tenons missing on each end.

This pic shows one of the side rails with the tenon smashed off it. Rather than replace this whole side rail, I cut out a piece of it and housed in a new piece which would include the missing tenon. The next pic shows the result...

This side rail had a new section added which included a new tenon. Here the screws are being added to reinforce the glued lap joint. Note the slotted countersunk screws being used, in keeping with the original table. How long since you saw Nettlefords 9 gauge screws, Woodies?

Pulling apart the table gives away the secrets of how it was made. It was obviously made in a workshop environment, a combination of machine work and hand work. It is clear dado blades in a table saw were used to cut the table button grooves and the sliding mechanism grooves in the long side rails. A table saw was used for cutting one cheek of the tenons, and hand sawing cut their shoulder. The back face of each tenon was the back face of the rail. A mortising borer (probably on the end of a table saw spindle I reckon) was used to cut the mortises in the legs, as evidenced by the round ends in the mortises. Hide glue was used to assemble the table - most of which had held despite the abuse - hence the mortises had snapped off rather than the glue giving way. The table buttons were fashioned by hand, and yellow pine angle blocks were used to shore up the inside corners of the frame. Glued and nailed. The glue on these blocks had failed on many of the joints - it was the nails which mostly held these in place. The jarrah had been stained to a dark walnut colour on the visible faces. The curved corner wings of the cabriole legs were glued and nailed in place, with a dowel also used with each of these on the far end of the table. Very simple construction and mechanism. I will add new corner blocks to the 7 joints that I rebuild, as well as replacing the two ends of the frame.

One of the re-built corners around the leg. With the top corners of the cabriole "wings" broken off and missing, you can see here how I am gluing in small blocks which I will then shape to complete the curves at the transition point.

This pic shows one of those missing top corners of the cabriole "wings" now in the process of being shaped to complete the nice flowing transition to the leg.

The table frame here is rebuilt and prepared ready for staining and finishing. I moved the frame out of the workshop into the patio, where there would be better light for the staining and finishing. To get the new jarrah to match the old finish, after some trials I used a walnut flavoured wiping stain to get the colour up and then applied several coats of shellac over the lot. This was followed by a dark furniture wax -with a hint of walnut flavour in it as well.

Here the frame is being re-attached to the two halves of the top. As I was using only slotted traditional wood screws, the good old "Yankee" spiral ratchet screwdriver came in very handy for fixing the table buttons. They still can outclass the cordless drill/driver for screwing in slotted screws. When repairing the frame, I often used a slotted bit in a brace, for much more purchase. Wonderful!
The extension mechanisms threaded rod needed straightening, so I did that as best I could using a metal vice and an anvil. Much better. The threaded nut is cast brass or bronze, with the manufacturers inscription: J & A, Fcray, V. I did a bit of googling for info about "J&A" in Footscray Victoria, but I have not found any info at all. Does anyone out there know anything about this foundry or manufacturer? It might help to date the table... At this stage I am guessing that the table was made in Perth sometime between 1900 and the 1920s.

Making the new Extension Leaves.
Now that the rebuilding of the table has been completed, it was time to get onto making the missing extension leaves. The table extends about 18 inches to the limit. Instead of making one wide leaf (which are a pest to store) I made two narrower leaves, as these are easier to store, not too heavy, and more versatile.

The challenge with these jobs is obtaining the right material to match the old. Lots of old furniture was made from timber finished to 7/8ths of an inch in the old language (22mm). Somewhere along the way, someone out there in the timber industry decided that 1" rough sawn timber would be dressed to 3/4" (19mm). The standard dressed sizes for jarrah in Western Australia for decades has been ex- 1" to 19mm and ex-1 1/2" to 30mm. Its a lot of wastage when you think about it, but I guess that reflects one of the down sides of high volume mechanisation. The only way to get 22mm thick dressed timber is to dress it yourself - either from 25mm rough sawn stock or to boil down 30mm dressed sticks - even more wastage and very expensive!

However there is one more alternative. Salvaged timber. I frequent my local salvage yard where I often buy timber which I recycle, and keep an eye out for those rare goodies which come in from time to time. Some months ago, I came across some old shelving which had come out of an old house which had been demolished. At the time I had snapped it up, as these were jarrah boards 2.7m long and 250mm wide. I bought 2 sticks at 22mm thick and 2 at 33mm. So one of these 22mm sticks gave me the timber I needed to make the two leaves. Lucky I hadnt used it already! Fancy that - 7/8" thick nice wide boards and about the same vintage as the table! Just perfect.

Sorry, there are no photos of the making of the leaves - I was too focused on what I was doing to remember to take any pics!

Making the new leaves was easy. Trying to match the colour was a real challenge... but then, it almost always is with restoring old furniture. I had several goes with a range of different stains but just couldnt get a perfect match. Three times I got the finished polish on and decided it wasnt good enough - so had to take it all off and start again! What I have settled with is a bit reddish in tinge, but actually it looks really nice in the centre of the table. I will never guarantee to be able to do a perfect colour match - for good reason!

We had a very nasty storm the other day in Perth. At least $100 million in damages across the city. At the time we had moved the table into our house from the workshop area, to make sure it would be safe. The pic above shows the table where I left it in our living area - completed and waiting to be returned to the customer. The rags under the feet are to protect the jarrah floor from drag marks and to reduce friction when the table is extended and wound back in again.

This next picture shows the table with the leaves removed and sitting on top.

What a delightful privilege has been to give new life to a wonderful old piece of furniture. In many ways, furniture and people have a lot in common...

Job done - and the tables story continues to unfold...

The story of the table is echoed in the way that it has been made, the battle scars and stains in the top and the frame, the marks of the earlier repairs which were made to it long ago, the old-looking new extension leaves, the memories embedded in it of the family which have passed it down the line, and the new structural repairs which I have just undertaken. This and more all adds up to create the story of the table - which gives it its character and identity.

I am told that the family are looking forward to gathering around the table to have morning tea on the morning I will be delivering it back to its proud owners. A new chapter of the tables story begins...

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Best selling wood projects - Holiday Travels and Family Fun Christmas in Australia

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It doesnt get much better than having all the family together to celebrate.  This year our youngest hosted the Sheppard Clan gathering, and it meant lots of travel for everyone else.  Flights from Western Australia and Far North Queensland as well as long road trips from Brisbane, and of course from the village.
Destination - Young NSW!

The South West Slopes of NSW in summer time can be a delight for the senses, and afternoon storms simply add spice to the experience.

The air is so clear and the colours sharper somehow, out in the countryside.  And after the storm we are treated to the occasional rainbow.

Xmouse Eve was HOT!
What better way to cool down than under the garden sprinkler.

Aphrodite and her helpers (my daughter and grand-daughters) ........................... and a bunch of Adonises (my boys and grandson) ................................. guns are us!

Xmouse Day - and breakfast on the front verandah.

Santa called in ................(really took a shine to my other daughter)

The 2012 Cherry Festival Charity Queen graced us with her presence ........................... (special thanks to Edwina)

Presents were handed out........................

The cousins called in to say hello to Gran..............................

Lunch was at Uncle Johns and Aunty Vals.
Getting everyone together for a photo was something of a chore:

But it all worked out in the end:

Boxing Day was Picnic Day - a long standing Australian Christmas Tradition.

A game of bocce.............................

Throw a frisbee anywhere near water and ..................

And while the boys got wet, three generations of the familys girls went for a stroll:

Make that four generations ................

It was a fabulous recognition of family ....................... and a fitting way to celebrate the season of peace.

Here is some  John Williamson - Christmas in Australia -

Special thanks to the LOML for the use of many of her photos in this BLOG post.
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