SSW&C 01 Issue - Fall 2000

6 Fun & Easy Free Patterns Scrolling on the Internet
Issue No.1 Fall 2000 www.scrollsawyer.com
The How-ToMagazine for Scrollers
All-New Projects Intarsia

By Patrick Spielman
& Dirk Boelman Made Easy
Scrolling 101: By Judy Gale Roberts
The Basics
PRE MIER E
ISSUE !
SCROLLING THE DUKE

Intarsia
Puppy in
a Basket
The How-To Magazine for Scrollers
25
PATTERNS
Pattern Project: Segmented Totem Pole
Celebrate Indian folklore and traditions
7
with Patrick Spielman and Frank Droege
Pattern Project: The Little Dutch Windmill Clock

pays tribute to a scrollers heritage
14
Pattern Project: Intarsia Puppy in a Basket
Take home this highly huggable Jack Russell
25
Terrier puppy by Judy Gale Roberts
Pattern Project: The 3-D Mobile Bay Music Box

33
A delightful musical tale of scroll-sawn inspiration
Pattern Project: The Triangular Desktop Organizer

53
53 The Triangular
Scroll your way to total desktop clutter control
Desktop Organizer
in 13 easy steps!
Pattern Project: Scrolling the Duke

A picture perfect portrait of the unforgettable
58
John Wayne by Gary Browning
FEATURES
Nametag Contest
Heres your chance to scroll your name loud
19
and proud and win great prizes too!
Readers Survey
Your opinion could be worth $50! 32 The 3-D Mobile
Bay Music Box
Bringing Scrollers Together:
51
An inside look at the world of SAW
The Birth of the Scroll Saw Picnic

33
Pennsylvania claims another historic first 76
DEPARTMENTS
Scrollers Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Kerfing the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49
Wood Notebook . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Painting & Finishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68
On the Road with Scroll Saw Workshop . . . . . . . . . . . . . . .71
Kids Korner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78 Segmented
Totem Pole
7
Scrollscapes
The How-To Magazine for Scrollers
Welcome to Scroll FALL 2000
Saw Workshop Volume 1, Number 3 (Issue No. 1)

The How To Magazine for Scrollers
Internet: www.scrollsawyer.com
Magazine: Let the Scroll Saw Workshop Magazine
1970 Broad Street
journey begin East Petersburg, PA 17520
Phone: 717-560-4703 Fax: 717-560-4702
In the heart of Pennsylvania Dutch country
Hello, my name is Mike Our Mission:

To promote scrolling as an artform and enjoyable
Randazzo, and Id like to pastimefor all ages and all skill levels.
welcome you to the premier
Publisher . . . . . . . . . . . . . . . . . . . . . . . . . .Alan Giagnocavo
issue of Scroll Saw Workshop Magazine from Fox Chapel Editor-in-Chief . . . . . . . . . . . . . . . . . . . . . . .Mike Randazzo
Publishing Inc. On behalf of our publisher, Alan Giagnocavo, Production Manager . . . . . . . . . . . . . . . . . . . . .Cindi Moses
the staff and contributors, I hope that you thoroughly enjoy Circulation Manager . . . . . . . . . . . . . . . . . . .Andria Leschke
Sales Manager . . . . . . . . . . . . . . . . . . . . . . . .Kevin Bedgood
the first issue. Editorial Assistant . . . . . . . . . . . . . . . . . . . .Barbara Zercher
Graphic Design . . . . . . . . . . . . . . . . . . . . . .Lori Schlossman
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Linda Eberly
By and by, Scroll Saw Workshop Magazines mission is to pro- Technical Illustrator . . . . . . . . . . . . . . . . .Roxanne LeMoine
mote scrolling as an art form and enjoyable pastimefor Contributors . . . . . . . . . . . . . . . . . . . . . . . .Patrick Spielman
Judy Gale Roberts, Jerry Booher, Dirk Boelman, Gary
scrollers of all ages and skill levels. Each quarterly issue will be Browning, Diana Thompson, Joan West, Frank Droege,
packed with easy-to-read, how to features and regular Brian Smith, Jim Barringer, Mac Simmons, Rick Hutcheson,
departments including: Pat Lupori, John and Joyce Nelson
Domestic Newsstand Distribution

Step-by-step pattern projects from noted scrollers like Curtis Circulation Company
730 River Road, New Milford, NJ 07646
Patrick Spielman, Judy Gale Roberts, Dirk Boelman, and Tel: (201) 634-7400 Fax: (201) 634-7499
John Nelsonjust to name a few;
Copyright 2000
Basic tips and techniques articles like Rick Hutchesons story by Fox Chapel Publishing Co. Inc.
on how to put zip in your zags and verve in your V-cuts; All Rights Reserved. Printed in USA
Kids Korner where youll meet young scrollers like the Scroll Saw Workshop is published
four times a year.
incredible, 10-year old Ashleigh St. Pierre; ISSN#1088-4407.
Painting and finishing features like Mac Simmons story on
troubleshooting common finish troubles; Subscription rates in US dollars:
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Exploring the forested world in the pages of Brian Smiths Two years . . . . . . . . . . . . . . . . . . . . . . . .$39.90
Wood Notebook and Kerfing the Web with Jim Barringer. Canada
One year . . . . . . . . . . . . . . . . . . . . . . . .$22.50
But, folks, we wont be able to do this alone . . . Two years . . . . . . . . . . . . . . . . . . . . . . . .$45.00
Foreign
Have an idea for a story or project? Call or e-mail me. Like the One year . . . . . . . . . . . . . . . . . . . . . . . .$27.95
Two years . . . . . . . . . . . . . . . . . . . . . . . .$55.90
magazine? Please tell a friend. Also, please take a few minutes
fill out the survey form on page 32. I heartily welcome your Customer service for Subscribers
thoughts, story ideas, and suggestions. Your input will surely Please call toll free 1-888-506-6630,
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Advertisers
please call or e-mail Kevin Bedgood (ext. 28)
Over the coming months and years, Scroll Saw Workshop will for a media kit. kevin@carvingworld.com
be exploring the world of scrolling and creating vivid Scroll Saw Workshop Magazine
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Contact Shannon Flowers (ext. 11) for details.
to the Fox Publishing family, and let the journey begin!
Identification Statement: Scroll Saw Workshop vol.1, no.3 (Fall 2000)
Mike Randazzo (ISSN#1088-4407) is published four times a year in the months of February,
April, September and November by Fox Chapel Publishing Co. Inc., 1970 Broad
Street, East Petersburg, PA 17520. Periodical Postage paid at East Petersburg,
PA and additional mailing offices. POSTMASTER: Send address changes to
Scroll Saw Workshop, 1970 Broad Street, East Petersburg, PA 17520.
Editor-In-Chief
Mike@scrollsawyer.com
P A T T E R N
Segmented Scroll Saw P R O J E C T
Totem Pole:
Celebrating Indian Folklore,
Traditions and History in Wood
By Patrick Spielman and Frank Droege
Without the benefit of written language, the coastal Indian tribes

of the Pacific Northwest, British Columbia, and the lower Alaskan
regions carved their family histories and tribal myths into tall lengths
of cedar called totem poles.
While the inspiration for these artifacts is the cause of
speculation, totem poles did have deep historical, ritual-
istic, personal and religious significance for these peoples.
This piece of table top art is a clever scroll saw project that, at first glance,
appears to be hand carved (Photo 1). Actually, other than simply rounding over
the edges, very little carving or shaping is involved. Scrolling each segment as a
stand-alone piece, then adding the edges or corners to a rounded and polished
shape creates the individual relief elements of the project.
The pieces are individually painted and reinserted into their original cavities
and then glued in place. Some of the segments are glued so their face surfaces are
1/8-in. to 1/2-in. above the surrounding background, as shown in
Photo 2. Some segments, however, do not have rounded edges;
they are reduced in thickness and set below the surrounding
area. Setting segments at various levels creates a very multidi-
mensional project that, to the untrained eye, appears as a one-
piece, solid carving.
Preparing the material

This totem pole project is made from five sections of
clear pine measuring 3/4-in. thick by 1 1/2-in. wide in vari-
ous lengths; these are eventually glued to another
one-piece backer that is 3/4- in. thick, 1 1/2-in.
wide and 14-in. long, as shown in Photo 3. Photo
Two pieces of wood 3/8-in. thick, 1
2 /8-in. wide, and 2 1/2-in. long are
7
required for the wings of the white section.
The five colored sections are, from top to bottom, as
follows: orange, blue, white, green and red. This segmented
First, cut two lengths of 3/4-in. stock, 11/2-in. wide and Totem Pole, designed by Frank
rough lengths of 14 1/2-in. Use a router (optional) to Droege, stands about 15 inches high and appears to be
round over the vertical edges of the front piece to about a hand carved, although it is cleverly made with the aid of
the scroll saw.
S c r o l l S a w Wo r k s h o p F a l l 2 0 0 0 7
Photo
2
Close-up shows the project made in two layers of 3/4-in. thick clear pine. Five colorfully painted front sections are glued to a one-
piece vertical backer, also 3/4-in. thick. Note the sawn and shaped segmented details raised above the surrounding surfaces.
3/8-in. radius. Do the same to the vertical rear edges of Shaping the segments
the 3/4-in. thick backer. Hand abrasives, power sanders and burrs driven by
Next, cut the front section piece into the five lengths small rotary tools can be used to round over the segments.
as specified on the pattern. Trim the backer to a 14-in. The interior of the ears of the green section are
length as shown in Photo 3. Apply the pattern(s) with a reduced in thickness and are set below the background
suitable temporary bond spray adhesive. about 1/16-in. (please see Photo 6).
Cut the segments in each of the five front sections Stack cut both of the thunderbirds wings so they are
using a No. 2 or a 2/0 blade. Many of the segments can be identical. Round over the top edges at about a 3/16-in.
cut out by sawing directly inward from the outside edges. radius and glue them, one at a time, onto the appropriate
Some segments, however, require blade-threading holes side locations of the white section.
made with a small twist drill, 1/32-in. (No. 65), as shown After the segments have been shaped and sanded,
in Photo 4. The best drilling locations are at the lower paint all exposed surfaces using the photos as a guide.
inside corners or along the bottoms of curved segments. Some painted accents are added to the wings but other-
These locations will make the blade entry holes less notice- wise, each individual section is simply painted its very
able because of the shadows cast by projecting segments. own color.
Photo Photo
3 4
Pieces as prepared prior to applying the individual patterns with Drill blade entry holes at the lower edges of inside
spray adhesive. Notice the front, vertical edges and the rear segments, such as shown with these eyes and inside ear pieces.
edges of the backer are rounded over with the router bit shown.
8 S c r o l l S a w Wo r k s h o p F a l l 2 0 0 0
Photo Photo
5 6
Notice the
detail of the
ears; the interior
segments are
A small piece of thin plastic or plywood with a very small hole for not rounded
the blade supports small pieces, preventing them from dropping over, but
through the opening of the saw table. reduced in thick-
ness and set
Avoid painting surfaces that are to be glued. Prepare below the sur-
rounding wood.
small, thin shims for the segments to be elevated. Glue By comparison,
the painted segments in place, completing one section of the nose piece
the totem pole at a time. Finally, glue each completed sec- of the red sec-
tion, one above the other, to the vertical backer. Gaps at tion protrudes
the edges, as shown in Photo 7, can be filled with small almost 1/2-in.
pieces of wood cut to fit and painted to match.
The base detail is shown on the drawing. Note the use Photo
7 Elevating this
of a 1/4-inch-dowel to support and attach the totem pole. segment
First, however, the base is given a multicolored, sponge- creates a
applied, painted finish. Acrylic paints are applied with gap between
it and the
small pieces of moistened sponge. backer. Cut
Apply green as a base coat covering the entire surface. small pieces
Allow it to dry. Then, in separate applications, sponge on from scrap to
a little yellow followed by some rust after the yellow has fill in this
dried. Use the sponge with a light, vertical dabbing appli- space.
cation technique. For best results, do not use a wiping
action.
The teepee is cute, but optional. Use the full-size pat-
tern provided and cut the layout from heavy, brown wrap-
ping paper or a paper grocery bag. Shape into a cone, then
glue it together; apply a coat of varnish to stiffen the paper.
Decorate the teepee with hand painted designs using those
shown in Photo 8 and the pattern as a reference.
Scrollsawyers Table Tip:

Some of the sawn segments, such as eyepieces, are
extremely small. They will drop through the scroll saws
table opening when cut free and may get lost. To remedy
this problem, use an auxiliary work-supporting table with
a near-zero blade hole clearance opening taped to the
saw table. This set-up is shown in Photo 5.
Photo The teepee
8 (optional) is
made from
About the authors
brown paper
and varnished Patrick Spielman, who has
to create a written more than 60 books
hide-like finish.
on woodworking, lives in
Northeast Wisconsin. Pat
taught high school and voca-
tional woodworking for 27
years.
Patrick Speilman
Frank A. Droege of Voorhees,
New Jeresey, is an award-win-
ning artist who is known
internationally for his minia-
ture paintings. Frank is also a
Korean War veteran.
Frank Droege
About Totem Poles

By Mike Randazzo
Totem poles, some of which rose to heights of
more than 90 feet, were either free standing or
used to adorn the doorways and frameworks of
houses.
Totems distinguished a clan or related a fami-
lys story. Some, known as genealogy poles, were
usually displayed in front of the owners house.
Other poles recounted clan legends or were fash-
ioned as memorials in honor of a departed loved
one or chief. Furthermore, the birth of a child or a
hunters brave deed was often commemorated
with a totem pole.
The abstract, and sometimes ghoulish, ani-
mals and human forms communicated a close
affinity for, and a oneness with, nature.
The thunderbird, for example, was the protec-
tor of the Kwakiutl Indians: its huge beak, pene-
trating eyes, sharp claws, and sweeping wingspan
struck fear into an approaching enemy. The raven
was revered for its wisdom. Legend has it that the
bear, which was believed to assume a warriors
form, could vanquish an enemys entire tribe.
A totem pole door
Frogs, portrayed either sitting or climbing, warned
tribes of the dangers of deep water.
NOTE:
Five 1/8" dia. x 4 1/4" pointed dowels
glued to inside after forming
lap
lue
G
S c r o l l S a w Wo r k s h o p F a l l 2 0 0 0
Bottom
Dowel, 1/4" dia. x 2 1/4" 13/4"
TEEPEE LAYOUT
3/4" x 3 1/2" x 9"
11/2"
2"
21/2"
PHOTOCOPY AT 105%
1/8" plywood, 2 1/2" dia.
Roundover all edges (3/8" Radius)
BASE DETAILS
11
- 1/8"
12
A A
3/4" x 1 1/2" x 1 3/8"

3/4" x 1 1/2" x 2 1/2"
NOTES:
One-piece vertical backer
PHOTOCOPY AT 105%
required: 3/4" x 1 1/2" x 14".
3/4" x 1 1/2" x 2 5/8"
Roundover vertical rear edges
of backer and front edges of
segmented pieces (3/8" Radius)
(All pieces)
before applying patterns
Grain direction
3/4" x 1 1/2" x 4 7/8"
WINGS: Painted on details
3/4" x 1 1/2" x 2 5/8"
T OTEM POLE Wings, 3/8" thick,

( c Frank Droege and glued on
Patrick Spielman, 2000)
Base for totem pole and tepee
A A 3/4" x 3 1/2" x 9"
1/8"x 2 1/2" dia. plywood

(Rustic edge)
Little Dutch
Windmill Clock
P A T T E R N
P R O J E C T
Pays Tribute to a Scrollers Proud

Family Heritage
Ralph Waldo Emerson once wrote: Borrow
the strength of the elements. Hitch your wagon
to a star . . . A Hollanders wealth is estimated not
Story and
by his bonds or mortgages, but by his windmills. The
Photography By
Dutch windmill is the pinnacle of the Hollanders ability to
Dirk Boelman
harness the winds power to grind, cut, saw, and more important-
ly, prevent the land from being
swallowed up by the sea.
In 1909, my great grandfather Jurgen (Jerry) Boelman came
to America from Holland with his wife and six of his 13
children. He was a carpenter, which is probably why my
grandfather enjoyed working with wood, too, as well as
my Dad, and now me!
Part of the Boelman family remained in the
Netherlands, and it was only two years ago that
we were re-connected when a good friend from
South Dakota searched for Boelman family
members when he visited the country.
This delightful little windmill
mini-clock pays tribute to the
heritage and the perseverance of
the Dutch people. Im very proud
of my Dutch roots, and I hope you
enjoy scrolling this project
as much as Ive enjoyed
bringing it to you.
Materials &
Tools Awl
3/4-in. No. 18 nail or brad or a 3/4-in.
One piece of wood, 3/4-in. by 3 1/2-in. by 16-in. No. 17 brass escutcheon pin
One piece of wood, 1/4-in. by 5-in. by 12-in. Spray adhesive
Mini Clock Insert, 1 7/16-in. diameter Glue
1/16-in. and 1/32-in. drill bits 1 3/8-in. Forstner bit (optional)
No. 5 reverse tooth blade Felt pads or dots (optional)
Pattern Preparation and Drilling PHOTO
1
Use pine or plywood if you wish to paint or stain
your project, or select contrasting colors of solid woods
for their natural color and beauty. Cut the wood pieces
to approximate size, which makes them easier to manip-
ulate while sawing.
Photocopy the patterns at 100 percent, thus saving
the originals for future use. Temporarily adhere the pat-
terns to the wood using a suitable spray glue. The base
is bevel sawn, which means that the bottom will actual-
ly be larger than the top. When affixing the pattern for
the base piece, center it on the wood and allow about
1/2-in. of space all around the edges.
With a 1/16-inch-bit, drill pilot holes in the areas to
be cut out of the windmills blade sections, as shown in When drilling the windmill blade pilot holes, a board
placed under the work piece helps reduce tearout.
Photo 1. Placing a board under the piece will help to
reduce splintering on the backside where the bit exits.
As shown in Photo 2, use an awl to mark the point
on the building where the blade section attaches, as well
as the center point on the blades. Also, mark the center PHOTO
2
point on the building where the clock insert will be
installed. Drill a 1/16-inch-pilot hole all the way through
the center point on the blade. Then, drill a 1/32-inch-
hole (1/2-in. deep) into the blade attachment point on
the building.
Use a Forstner drill bit, if available, to bore the
mounting hole for the clock insert. This hole can be
made all the way through or just 5/16-in. deep if you
dont want the opening to show on the backside. If a
1 3/8-inch-Forstner bit is not available, carefully scroll
out the opening by keeping your blade on the inside
edge of the pattern line. Test fit the clock insert, and
sand or file to attain the proper fit.
Clamping a couple of support blocks to a backer Use an awl to mark the point on the windmill where the
blade section attaches.
board under your work piece, or building some other
kind of a supporting jig, will provide a much safer system
for using the Forstner drill bit (please see Photo 3). These
larger bits can sometimes grab and turn the wood piece
PHOTO
out of your hands, pinching your fingers or worse!
Sawing
3
Start with the blade section piece and make the

interior cutouts first, using a No. 5 reverse tooth
scrollsaw blade as shown in Photo 4. Saw the outside
contour lines last.
Next, stack the two pieces of 1/4-in. wood for the
tulip sections, and fasten securely together with masking
tape wrapped tightly around all four edges. Saw both
pieces simultaneously as illustrated in Photo 5.
Then, cut out the building piece as shown in Photo 6.
Saw out the small window and door openings first, and
clock mounting hole if not using Forstner bit, and final-
ly the outside contour lines. Clamping blocks to a backer board under the windmills
Photo 7 shows how to scroll the base by tilting your building will provide an added measure of safety and
support when using a Forstner bit to drill the clock
saw table 10 degrees to the right. Saw by following the insert opening.
pattern lines clockwise to create the bevel-sawn edge.
PHOTO After sawing all of the parts, touch up any imperfec-
4 tions with needle files, rasps, knife, and sandpaper.
Remove the paper patterns and attach the blades to the
building with a small nail, brad, or brass escutcheon pin
as shown in Figure 8.
Painting and Finishing
If you wish to paint your windmill, youll find it eas-
ier to do prior to assembly. For best results, begin by
applying a sealer coat of White Gesso, primer, or
thinned acrylic paint. We painted our project with
PRIMA Acrylic Paints from Martin F. Weber Co.
Refer to the photograph if you would like to paint
your windmill similar to ours, painted by my associate,
Theresa Bezdecny. She used Ultramarine Blue for the
When sawing the windmills blade section, make the interi-
or cutouts first using a No. 5 reverse tooth scrollsaw blade. roof and base, Titanium White for most of the building
(with a little Mars Black mixed in for shadows), and
Mars Black inside the window and door cutouts.
PHOTO PHOTO
5 7
To stack cut the tulip sections, fasten the edges tightly Scroll the base by tilting your scrollsaw table 10 degrees
together with masking tape. to the right. Follow the pattern lines in a clockwise direc-
tion to create a bevel-sawn edge.
PHOTO PHOTO
6 8
Cutting out the main section of the windmill. Attach the windmill blades with a 3/4-in. No. 18 nail or
brad, or a 3/4-in. No. 17 brass escutcheon pin.
The blades and lower dividing section are painted PHOTO
with a mixture of Yellow Oxide, Raw Sienna, and 9
Titanium White. Tulips are Cadmium Red, Cadmium
Yellow Light, Cadmium Orange, and Dioxazine Purple.
The grassy areas, stems and leaves are painted with
a mixture of Permanent Green Light, Pthalo Green,
Titanium White, and Yellow Oxide. After everything
was dry she applied a very thin line of red along the
straight edges of the blade cutout areas. Theresa also
applied a few thin strokes of white to create petals on
the tulips and a thin line of light green mixture along
the leaves and top of the grass (please see Photo 9).
Final Assembly
Stand the building upright on a flat surface. Center
The tulips were painted Cadmium Red, Cadmium Yellow
and glue the tulip sections to the front and back of the Light, Cadmium Orange and Dioxazine Purple. Thin lines
building as shown in Photo 10. We assemble with of white were added to create the petals.
Aleenes Tacky Glue, which will bond surfaces together
very well, even after surfaces have already been paint-
ed and finished. PHOTO
10
Glue the upright piece, with tulip sections
attached, to the top of the base on the location shown
on the pattern.
Insert the clock and proudly display your finished
project! As a final step, you may also want to attach
small felt pads or dots to the bottom of the base to pre-
vent marring of furniture.
Editors Note: The pattern used in the project was

reprinted with permission from "Decorative & Ornamental
Scroll Saw Patterns" by Patrick Spielman and Dirk Boelman,
2000 by Patrick Spielman and Dirk Boelman, Sterling
Publishers. For more projects by Dirk Boelman, you can order
his catalog by writing to: The Art Factory, PO Box 701, Stand the building upright on a flat surface. Then, center
Platteville, WI 53818; calling 800-566-6394; or visiting and glue the tulip sections to the front and back of the
www.the-art-factory.com. building.
Helpful Pattern Gluing Tips From You can make a spray booth from a cardboard box, but
Dirk Boelman make sure to take it outside whenever possible to avoid fumes.
Stand the box upright, and place the pattern face down in the bot-
People always ask me, How do you know how to get the tom of box. Hold the spray can approximately 6-in. to 8-in. from
right amount of glue on the pattern? The following method has the paper, and apply the glue in a fast circular motion, covering
always worked great for me. all parts of the paper.
While spraying count one-thousand-one, one-thousand-two,
one-thousand-three, and-so-on, up to one-thousand-six. Stop
spraying, but continue counting up to one-thousand-twenty.
Then, lift the pattern and adhere it to the top of the wood. Rub
the surface and edges down firmly with your hands.
The additional counting time between spraying and affixing
the pattern to the wood allows the glue to become a little tacky,
causing it to bond better. Counting times will differ with brands
of glue, size of area of coverage, and how fast or slow you count.
But, after you do it this way a couple of times, you'll be able to
get a perfect bond. In my experience 3Ms Repositionable 75
and Duros All Purpose Spray Adhesive work very well.
1/16 " hole
1/4" stock
WINDMILL
TULIPS
TULIPS
1/32" hole
1/2" deep
13/8" hole
11/4" stock
3/4" stock
Make two from 1/4" stock
Be Sure to Enter the
Scrollers Name Tag Contest!
The winners will receive:
1st Prize: $100
2nd Prize: $ 50 plus a one-year subscription to Scroll Saw Workshop
3rd Prize: $ 25 and a one-year subscription to Scroll Saw Workshop
Honorable Mention(s): a one-year subscription to Scroll Saw
Workshop and a highly coveted Fox Chapel Publishing coffee mug.
Whether your last name is Frankfurter or Crabtree, take a stroll

around any scroll saw picnic or craft show and its obvious that
scrollers have elevated name tag design to an art form. These scroll-
sawn creations range from the functional to the fanciful and
everywhere in between.
The editors at Scroll Saw

Workshop magazine invite you to have fun, wax
whimsical, and strain the limits of name tag fastening
technology in Scroll Saw Workshops first Annual Name Tag contest!
The submission deadline is

Nov. 5, 2000:
Final decisions will be based on originality, grin factor and
the quality of workmanship and photography. The staffs of
Scroll Saw Workshop and Fox Chapel Publishing will conduct
the judging. Contest winners will be featured in Scroll Saw
Workshops Spring 2001 issue. All contestants will be notified
by mail or e-mail confirming receipt of the entry.
Please send us your best slides or high quality color prints,

TO ENTER along with a short description about your nametag to:
Only one entry per person, please. Scroll Saw Workshops Name Tag Contest
Also, please include your phone Fox Chapel Publishing Co. Inc.
number or e-mail address with the 1970 Broad Street
submission, so we can contact you East Petersburg, PA 17520
if needed. Attn: Mike Randazzo, Editor-in-Chief
Cutting Basics 101
Here are some helpful tips and hints that arent
in the scroll saw owners manuals to keep your
curved kerfs curvy, add verve to your Vs and put some starch in your straight lines.
By Rick Hutcheson
We all know how to fire up the new scroll saw

we just bought: take it out of the box; set it on the
bench; tune the blade to a Be sharp; turn the
motor on and start making saw dust. Right?
But, do you remember those gas grill and book-
shelf instructions that you grappled with over the
Fourth of July weekend? You know, the ones that
always seem to have a few extra parts left over.
Well, the saws users manual was made for the
scrolling novice, and like those assembly instruc-
tions, we dont need it.
Well, thats partially correct.The manuals arent
written to tell us how to actually cut on the saw.
They, for the most part, tell us all about the saw.
While theres nothing you can do about those left
over screws, bolts, and washers from the grill, the
following are a few cutting tips that you wont find
in an owners manualones that will be sure to get
you through your learning curve.
Veering Off to the Right

So, what did we learn from trying to just take off
cutting after we set up that new saw? Perhaps the
first thing we found out is that the blades dont cut in
line with the arm: most of them seem to cut off to the
right.
Cut a piece of wood by feeding it straight into
the blade, aligned with the center of the top arm.
Scroll about 1/2-in. to 3/4-in. into the wood. Notice
how the blade cut off to the right. Leave the wood
in place on the saw table.
The blade manufacturing process causes this
phenomenon. If you very lightly run your finger up
the left and right side of the blade (without the saw
running, of course), you will notice that the blade
has a burr on the right side.
Normally the burr is on the right, however,
there are exceptions: crown tooth blades can be
used to cut from either end, and the precision
ground tooth (PGT) blades dont have this burr.This
The white paper in the photo is aligned with the saws arm. As we
burr can be problematic because it makes the right feed the wood straight down the arm, notice how the cut veers off
side of the blade cut better. to the right.
With a ruler
lying on the
line, we really
see how far off
the blade is
cutting.
Good hand
position is
shown here.
Now, lay a ruler along the cut line that the blade know youre dialing 911.
just made. Notice that it points off to the left side of For making straight line cuts, both hands will be
the rear of the saw. Move yourself around the saw feeding the wood straight at the blade. Since you are
until you are looking straight down the ruler. You positioned in line with the cutting path of the blade,
should be about 3-in. to 4-in. to the right of the center youll end up with a straight cut on that line.
of the saw. Remember this position.
Now, from your new position, take that same piece Curvy Kerfs & Cutting Corners
of wood and try cutting into it in a straight line by Curve and curve corner cutting requires different
pushing it straight into the blade. Notice how much techniques than the methods described for cutting
easier it is to follow the line. From this position we straight lines.
can actually feed the wood straight at the blade, and it CURVES: For making smooth curves, youll need to
really follows the line. have a pivot point for your wood.When making
curves and turns, one hand will be the stationary pivot
Good Hand Position Is Key and the other hand will do the turning.
Next, lets take a look at how you are holding onto
the wood.
Most scrollers have repositioned the saws hold-
down device so that they have easier access to and a
better view of the blades cutting area.The scroller
must apply sufficient downward pressure to the wood.
Please dont apply a white-knuckled death grip as some
beginners are often inclined to do; moderate pressure
will suffice.
Your hand position must allow you to move the
wood around the blade freely. Remember you are feed-
ing the wood at the blade, not vice versa. Place one
hand on each side of the wood. I find the best way is
to hook the tip of the thumb and a couple of fingers
over the edges of the wood, and use the rest of the
remaining fingers to apply the hold-down pressure.
Folks, always keep your fingers off to the sides of
the blade path, so that if your finger slides it does not
slide into the blade. On some cuts, like those where
you are trying to shave off a narrow strip, the blade
could jump out of the cut allowing the wood to jump
forward.And, if your finger was in that path, it goes
forward right into the blade and the next thing you This photo shows how to scroll a curve using the left hand as a pivot.
This seems to make it easier for the blade to naturally
follow the line.
CORNERS: Corners are generally created by using
the following procedure: cutting to one side; spinning
the wood until the blade is in line with the new direc-
tion; and feeding again. But, how do we hold the
blade in place while the spin is taking place?
The sides and back of the blade do not cut, so we
can actually use them to hold the blades position.
As you approach the corner, stop feeding the
wood at the blade.Then, apply slight pressure to the
This curve is being cut with the right hand used as the pivot.
Place the index fingertip from either hand on the

wood, and apply enough pressure so that the wood
will pivot around that finger. Use the thumb and
remaining fingers of that hand to hold the wood down
on the table.You will then turn the wood with your
other hand.The direction of the curve will dictate
which hand is the pivot and which hand is doing the
turning. It is easier to switch pivot hands to pivot
guide the wood through the curves that flow in the
opposite direction.
I find it easier to cut curves by picking an imagi-
nary point about 1/16-in. in front of the cutting path of The burn mark shown in the top corner is caused by turning too
the blades cutting path. The curved line being cut slow. Notice how smooth and clean the bottom corner is when the
should always be in line with that imaginary point. turn is made with a quick spin.
side of the blade at the outside of the cornerjust

enough to help maintain the blades position. As you
turn the wood to the new direction, keep applying the
pressure to the side, then the back, of the blade until
the new direction line to be cut is aligned with the
blade. By keeping the sides or the back of the blade in
contact with the wood, its easier to keep the blade in
the correct position for the new cutting direction.
If this turn is not executed in a fast and smooth
manner, without hesitation, the sides and back of the
blade will leave a burn mark.When I make these turns,
I spin the wood as fast as I can.The blade will follow
or break, and 98% of the time it follows, making a nice
corner.
Tight Vs
A slightly different approach is also used to scroll
those tight V type notches.
Cut down to the bottom of the V, then back up a
little into the kerf you just cut. Using the side then the
For corner cutting, the wood is in position to travel in a new direction. back of the blade against the save piece, which is the
part of the project you are saving, to maintain blade posi-
tion, flip the wood around 180 degrees, so the blade is
now cutting in the opposite direction.The teeth will
have to cut into the scrap part of the wood as you
flipped the wood around to reverse the blades direction.
Now, back the blade down into the end of the cut,
at the bottom of the V.Turn the wood to the new
direction, and cut out following the new line.You
should have just created a nice tight V that does not
show those tell-tale marks of cutting in from both
directions.
Every time you start a cut and finish at the same
place, there is a chance to leave a small nib of wood at
that point, which will need to be sanded off later. For
those small nibs, try sanding them off with the burr on
the right side of the blade.You may need to slightly
angle the blade as if you were trying to just shave a lit-
tle wood off the edge, but you will pick up this trick
easily after doing it a few times. Its amazing how easy
it is to remove the nib this way.
To make a tighter V cut, back out of the kerf and turn the blade
around. Let the teeth cut into the waste area.
Play it Safe!
By using these cutting techniques, you should have
a little better luck at getting the blade to travel where
you want it to go. Remember that for straight lines,
both hands feed the wood at the blade. For curved
lines, one hand pivots while the other hand moves the
wood.With corners and Vs, use the sides and back of
the blade to your advantage. Most importantly, regard-
less which line or shape you cut, keep the your fingers
out of the blades path!
About the Author

Rick Hutcheson owes much of his drive, determi-
nation, and carpentry skills to his grandfather. Now a
full-time woodsmith, Rick has been scrolling for the last
10 years. Most of the Ricks cutting is done on a Delta
Q3 saw with a 5R Olson blade.When hes not adding
to his collection of vintage scroll saws, which currently
numbers 75, Rick told SSW that his biggest problem is
Knowing when Im pleasure cutting and when Im
work cutting.
Editors Note: Sometimes you need the right tool to
perform a certain job.Scrollers Toolbox will be a reg-
ularly featured department in Scroll Saw Workshop
Magazine, providing a back-to-basics, how-to
approach to a wide range of subject matter. Please
e-mail your thoughts, comments, and suggestions for
Notice in the waste area (top) where the teeth cut during the turn
around. But, our save piece shows no sign of a turn.
future topics to mike@scrollsawyer.com. M.R.
Intarsia Puppy P A T T E R N
P R O J E C T
in a Basket
Please help this
adorable, yet
easily scrollable,
Jack Russell
terrier puppy
find a home on
your living room
or den wall.
By Judy Gale Roberts and Jerry Booher Woods:

Four shades of Red Western Cedar, 3/4-in. thick:
Dark: 6-in. by 4-in.
Medium: 7-in. by 4-in.
Medium-Light: 10-in. by 6-in.
You dont have to be a dog lover to fall 9-in. by 4-in. piece of Aspen or any white colored wood
in love with this highly huggable and cute Two 3/8-in. Walnut dowels, approximately 3/4-in. long
1/8-in. and 1/4-in. plywood backing
Jack Russell terrier puppy, nestled snugly in Tools:
his Red Western Cedar basket. 1-in. brush, foam or bristle
Hobbyists knife with rounded blade
Jack Russell terriers originated in No. 5 reverse tooth blade
England and are characterized mostly by Hot glue gun
80- and 120-grit sandpaper
white with black, tan and black, and tan Mechanical pencil
markings. Originally bred for hunting fox, Flex drum sander, deburring tool, flexible shaft
grinder, wood rasp or 1-in. belt sander (optional)
small game, and rodents, this lively breed is Wonder Wheel (optional)
Wood Burner (optional)
a loyal stable mate for horses and great
Materials:
around children. Double-sided tape
The Jack in this pattern is indeed Clear finishing material or spray acrylic
Wiping gel
looking for a good home and a loving fam- Steel wool
ily. Whats more, youll find him a cheerful Spray adhesive (removable) or
glue stick
and devoted companion to your many Yellow woodworkers glue
scrolled collectibles. Mirror hanger
Materials & Tools

Step 1Selecting the Wood; Pattern Preparation: STEP
The Jack Russell puppy and basket needs four dif- 1
ferent shades of wood to achieve a rich multidimension-
al effect. As shown in photo Step 1, 3/4-in. Western
Red Cedar was used for the different shades and Aspen
for the white areas. Youll need two 3/8-in. dowels
approximately 3/4-in. long for the eyes: we used Walnut
dowels in this project.
Most any type of wood will work, but the main
guidelines for this project are color and grain direction.
The following are alternative woods that will work nice-
ly: Walnut for the dark sections; Cherry, Mahogany, or
Pecan for the medium shades; Oak or Maple for the
medium-light sections; and Aspen, Holly, Poplar, or Pine
When selecting the wood for the Intarsia Jack Russell ter-
for the white shades. rier puppy in a basket, varying shades or Western Cedar
Make at least five copies of the pattern at 100 per- work best. But feel free to experiment with different color
cent to make one project, because you will be cutting up variations of Walnut, Cherry, Mahogany, Pecan, Oak,
Maple, Aspen, Holly, or Pine.
the pattern parts and gluing them to the wood faces.
Keep one pattern as your Master, and number all the STEP
2
parts on this pattern. Write the same number from your
master onto each of the individual paper pattern pieces. Place the cen-
ter of the
Step 2Blade Selection & Sawing: blade in the
center of the
We used a No. 5 skip reverse tooth blade for this proj- layout line to
ect. The reverse teeth on the blade cut on the up stroke, remove all of
which in most cases helps to decrease the tear out on the the pattern
line.
bottom side of the piece.
If you use the same color board to lay out many parts,
start by rough cutting them into smaller, more manage-
able sections.
Cut up each piece of the pattern that has a different
color or grain direction. On the ML parts of the basket,
the W portions of the dogs face, and the M parts of the
baskets interior, the pattern parts can be cut in one sec-
tion. As long as the color and grain direction are the same,
you can leave these sections together. When cutting a part
its best to position the center of the blade in the center of STEP
the layout line, thus removing all of the line (please see 4
Photo Step 2),
Leave about 1/4-in. around the patterns exterior
when cutting. We generally scroll all the white sections
first, then the dark, and so on. Cutting hand-sized pieces
with several parts laid out on them is much easier to man-
age than one large board.
Start by sawing the easiest parts first. While sawing,
stop often after making a cut and remove the tear-out.
Always try to have a plan in mind when starting to cut a
part so you dont end up with a very small part you are
trying to hold onto. Try to make your cuts so the last piece
will drop off the larger block.
Sanding shims for the puppys face neck and body sections
The speed we use depends on the material(s) being make for more consistent contours.
cut. The main thing to remember is control. Intarsia
requires accurate cutting, so you might want to experi-
STEP ment with your saws speed to achieve the best control.
5.1 We usually run about 60 to 70% of the speed range on
By lowering our variable-speed saw.
parts farthest Lastly, after cutting the pieces turn them over and de-
from the view- burr the bottom sides to remove any residual tearout. This
er, like the
interior por- procedure ensures that the wood sits flat on the table.
tion of the
basket for Step 3Checking for fit:
example, the When all the parts are cut and de-burred, print the
project
assumes a same number on the bottom as you have on top. Do not
more dimen- remove the pattern at this point. After you have num-
sional appear- bered the back of your project, assemble the parts and
ance. The
thickness of check to see how they fit. Its a good idea to leave the
this section is paper on to spot fitting problems resulting from cutting
reduced in outside of the pattern line.
half through
sanding.
Step 4Making shims for sanding & raised portions:
The main pattern shows the raised sections marked
STEP
with an R and provides drawings for these pieces. Cut
5.2 these pieces out of 1/4-in. plywood and slide them
under the raised parts.
While cutting out shims we also make sanding
shims, which helps sand areas in sections rather than
individually. This practice makes for a more consistent
contour of all the parts. On this dog, we make a sanding
shim for the face, neck, and body portions (as shown in
Photo Step 4).
Step 5Lowering the background parts:
Its best to rough in the entire project first, then
come back and fine tune each part. We start with the
parts that would be the farthest from the viewer. By low-
While flex drum sanders make smoother contours, sec- ering some parts and raising others, the project will start
tions can be shaped with a deburring tool, flexible shaft to look more dimensional. On this pattern, the backside
grinder, wood rasp or 1-in. belt sander. Or, the project can (or interior portion) of the basket would be the farthest
be left flat with softened edges.
from the viewer, as illustrated in Photo Step 5.1. Sand
STEP
this part first, at least half the thickness of your wood.
6 We use a flex drum sander, one drum with 80 grit
and the other equipped with 120 grit. This tool, shown
After each
part is sand- in Figure Step 5.2, makes it easier to achieve softer
ed, mark the contours. But, other tools and methods can be used to
piece with a create the same finish. Regardless, remove most of the
mechanical
pencil where material with the 80 grit sandpaper, and then smooth it
it joins other out with the 120 grit.
parts.
Step 6Marking adjoining pieces:
After you sand each part, mark the piece with a
mechanical pencil where it joins other parts, as shown in
Photo Step 6. These lines will be your guides. As you
work your way up to the thicker areas the parts will have
lines all the way around them. Try not to sand below the
pencil line. But, if you do accidentally sand below the
line, sand the rear of the basket lower.
Step 7Keep marking: STEP
Sand the back portion of the dog. Mark the chest 8
area, and sand it just above your pencil lines. Use dou-
ble-sided tape to tape the chest areas together. Put the
tape on the backside of the parts, then peel off the
paper, and stick the plywood to the back. This way you
can sand the entire section together. Take the sanding
shim off, and mark around the dogs paw (please refer to
Photo Step 7). Stay above your pencil line as you sand.
Step 8Carving the details:
After the paw has been rounded, we like to go back
and carve between the toes to give them more defini-
tion, as shown in Photo Step 8. We use a rounded
blade, but use whatever tools you have to carve between After rounding the paw, carve between the toes with a
the toes. rounded hobbyists blade to give them a more lifelike
appearance. The nostrils can be carved in this manner too.
Step 9Use double-sided tape:
Use your sanding shim for the face section as shown
in Photo Step 9. Take the eyes and the nose out before STEP
applying the double-sided tape because youll sand 9
these parts later. When taping the face to the shim, be
sure to add the raising shim to the back of the nose.
Then, tape the shim along with the other face pieces to
the sanding shim.
Step 10Blend the nose and head:
With all the parts together, blend the upper nose
area with the forehead. You can also round the upper
portion of the head toward the outer edge at this time.
Remove the nose section and sand the lower portion of
the face. Insert the nose, and mark where the face meets
the nose Please see Photo Step 10 for reference. Sand
the outer edges of the nose and make sure to stay above Using double-sided tape and the sanding shim for the
your pencil line. puppys face.
STEP STEP
7 10
Mark around
the dogs paw,
and stay above
your pencil line
when you sand.
Assembling the nose and head sections prior to blending.
STEP Step 11Sanding the ears and pillow:
11 After blending the face section, remove it from the
sanding shim. Next, mark where the face joins the ears
After removing
the blended as shown in Photo Step 11. Sand the inner ear por-
face section tion down to your pencil line; then mark where it joins
from the sand- the ears outer flap portion. Sand the outer flap portion,
ing shim, use leaving the point on the end the thickest and taper it
a pencil to
mark where down toward the top of the ear. Sand the pillow por-
the face joins tion. Watch your pencil lines to keep from sanding the
the ears. pillow thinner than the back of the basket.
Step 12Weaving the basket:
Use the pattern to mark the dips that give the bas-
ket a weave-like affect, as shown in Photo Step 12.
Sand the basket by rounding the outer edges and taper-
ing down toward the bottom edge. Then, mark along
the bottom edge and on the face of the wood, using the
dashed lines on the pattern as a guide. Marking the
bottom edge will enable you to see where the dip
STEP should be after sanding the face of the wood. You will
12
need to make sure the dips alternate.
Step 13Sand the dips:
Place the drum directly across the line to create the
dip. Photo Step 13 shows a 2 1/2-in. drum, which is
about the largest diameter you can use to sand the dips.
A larger width does not achieve the same affect. You
also can carve these sections or perhaps turn the piece
on its side and scroll the dips with your saw.
Step 14Marking the rims weave lines:
Mark the weave lines using the same technique
as above for marking the dips. We used a graphite-
The dashed dips in the basket section of the pattern cre-
impregnated Wonder Wheel to make the grooves:
ate an alternating weave effect. it carves and burnishes the wood all in one stroke.
These details can also be carved, gouged or burned.
STEP STEP
13 14
The baskets dips can be contoured using a 2 1/2-in., or Marking the weave lines on the baskets rim.
smaller, drum on a flexible drum sander. However, the
dips can be carved or scrolled.
Step 15Finishing the eyes and nose: STEP
When shaping the eyes, sand them slightly below 15
the pencil line because the eyes will be a little thinner
than the area around them. Whats more, we go the
extra mile by adding a highlight to the eye with a small
dowel-like piece of Aspen, which is inserted in a small
hole drilled into the eye. Cut a short section of the
Aspen and glue it in the hole. When the glue dries,
sand it flush with the rest of the eye.
Mark around the outside edges of the nose and
round the nose over to the point where the edge is
sanded down to your pencil marks. The nose will be
the thickest part on this project. If its not thicker, raise
it up using either a 1/8-in. or 1/4-in. shim. For added Sand the eyes slightly below the pencil line because the
detail, you can carve the nostrils by using the dashed eyes will be a little thinner than the area around them.
lines on the pattern as a guide.
Step 16Apply the finish: STEP
Described below is the finish technique that we 17
use. However, there are many finishes and techniques Before and
that can be used, so feel free to use your favorite after finish-
method. ing: the
final, fin-
We like to apply the finish to each part before glu- ished mount-
ing the project down. For our finish, we use a Wiping ed project
Gel applied with a 1-in. disposable foam brush. Apply (foreground)
with the
a heavy first coat and let it set for less than one minute. unfinished
Then, wipe off the excess with a paper towel and buff it piece in the
completely dry using a clean paper towel. After all parts background.
have the first coat, allow the pieces to dry for at least six
to eight hours. Apply the second coat in the same man-
ner, and let it set for another six to eight hours.
Before the third and final coat, the white wood
sections will need to be lightly dressed with steel wool.
The gel will raise the grain slightly on white woods but
not on the cedar, so your cedar parts will not have to be
steel wooled. Apply and wipe the third and final coat of aligned correctly. Then glue a few outer pieces to lock
gel, letting these coats dry for at least four hours before in the entire project.
going to the final step. On this project, we recommend using the hot melt
glue on the lower basket ring and on the two ears. This
Step 17Make the backing: is enough adhesive to prevent shifting as you glue the
Trace around the finished project to make the back- project down. Keep in mind that a little glue goes
ing, rather than using the pattern. We like to trace the along way; there is no need to flood the glue on the
project on white paper using a light dusting of spray back of the parts. Just a few dots across the back of
adhesive to keep the parts from moving during tracing. each part will suffice.
Then apply the tracing onto a piece of 1/4-in. or 1/8-in. Last but not least, find a center point on the
plywood with a spray adhesive. Cut a little to the inside back and place your hanger. We use a mirror hang-
of the line. We stain the edges dark, and spray the back-
er. Please see Photo Step 17 for an example of the
side with a clear acrylic to help seal the entire project.
project in its mounted form.
I use yellow woodworkers glue and a little hot melt
glue to affix the piece to the backing. We use hot melt
glue only as a clamp until the wood glue dries. Place
the project onto the backing, making sure the pieces are
See Page 45 for More Great Intarsia Projects!
This project was designed with 3/4 - in. thick wood D D You will need two 3/8 - in. dowels
in mind, however any thickness will work.
W cut 3/4 - in. long for the eyes. Walnut
These are recommendations used D dowels work best, however, you can
for this project. Feel free to try D
M use birch and stain them dark.
different variations of colors
and grain directions. 3/8"
3/8" W D
R W
LEGEND W nose area
Grain Direction D front paw
D......... Dark Shade of Wood R
M......... Medium Dark Shade of Wood M R
ML...... Medium Shade of Wood
You can use the patterns above for
W.........White Wood M W
making the shims to raise portions
R......... Raise these areas 1/4" of this pattern. You can raise areas
in sections rather than one piece at
D a time.
W
M
M W W
M
R
M
ML ML
ML
ML
ML ML
ML
M ML
ML ML
ML
31
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The 3-D Mobile
Bay Music
P A T T E R N
P R O J E C T
Box
Take a musical trip
to Mobile Bay with
this inspirational
scrollers tale about
Boo, a fishing
trip, white pine,
red cedar, cattails,
ducks, and a talking egret. The 3-D
Mobile
By Diana Thompson Bay Music Box
Illustrations and photography by Bob Thompson
Were all creatively moved, and motivated, by differ- comes in a variety of shades and is easy to cut. Zebra
ent muses. This project was inspired by a photo, which wood is beautiful, but very dense and difficult to cut.
was taken by my son, Steve, during a fishing trip to Yellow pine was chosen for the platforms because of
Mobile Bay. the flowing grain lines, which offered a pleasant contrast
I borrowed my sons camera, finished up the roll he with the other types of wood used in this project.
Cutting the 3-D Figures

left in it, and developed the film as a thank-you gesture.
When the pictures came back, there was a beautiful pho-
tograph of a graceful egret poised at the waters edge. Taping, or clamping, a plexiglass sheet to the saw
The more I looked at it, the more the bird spoke to table makes for a perfectly even surface to work on,
me. I designed a piece dubbed Boos Egret (Boo is my which is very important in compound scrolling. Drill a
sons nickname) and thought, Well, thats the end of 1/4-in. to 3/8-in. hole in the center of the plexiglass sheet.
that. However, I scanned the photograph on my comput- This measure prevents uneven cutting while lending sup-
er as wallpaper and the more I gazed at it, the more I port for sawing the small pieces that would normally fall
thought, I can do more with this inspiration. That was down into the larger slot of most saw tables. Taping the
the birth of the Mobile Bay Music Box and its cast of sheet works better because clamps may get in the way.
compound winged, billed, and beaked marsh characters. Clamping blocks to each side of the figure pattern
White Pine was used for the egrets, Spanish Cedar for gives it stability, especially on the narrow side, and will
the grasses, Red Cedar for the cattails, and for the ducks, keep it from wobbling. Clamps also give the scroller a little
assorted scraps of whichever wood added a different color: more to hold onto and promote better blade maneuvering.
A piece of 3/4-in. by 21/2-in. by 21/2-in. stock is sufficient Snug the claps just enough to hold, but not tight
to scroll a duck family of five. Zebra wood, Cypress, enough to hamper, the blade moving through the kerf.
Philippine Mahogany, also know as Luan, are all good can- This is tremendously helpful when cutting the smaller
didates for the ducks. Luan is an excellent choice, as it pieces, like the ducks. It may seem a little awkward at
Boos Egret
inspired the
Mobile Bay
Music Box.
first, but you soon get used to it. www.cherrytree-online.com). There are commercially
Start with the figures first. Arrange and adhere the available kits that are glued on, but its a matter of prefer-
platform and the music box patterns to the yellow pine ence as to which one you use. The kit I used doesnt
with a suitable spray adhesive as shown in the accompa- have the attaching screwsit requires five No. 2 x 1/2-in.
nying photograph. Cut to the waste side of the patterns, round head screws. Flat head screws wont work with the
in one continuous line for the best results. turntable, because they protrude too far.
The No. 5 scroll saw blade makes a smoother cut, Lastly, turn the large platform clockwise to wind the
with less sanding for cutting the platforms and box parts; music box.
whereas, the No. 5R will slow down the saw action when I hope my fellow kindred scrolling spirits will enjoy
cutting the thicker 3-D figures. making this pattern as much as I have enjoyed bringing it
Sanding and
to life.
Assembly
If the box is
unbalanced and
rocks slightly, sand in
a circular motion on
a sheet of 150-grit
paper until the legs
sit level. Adhering a
sheet of sandpaper to
a scrap piece of ply-
wood is helpful for
this procedure.
The music box
used for this project
was purchased at
Cherry Tree,
(1-800- 848-4363) Other 3-D scroll sawn creations and characters by Diana Thompson.
34 Wo o d C a r v i n g I l l u s t r a t e d F a l l 2 0 0 0
The 3-D
STEP
1
Mobile
Bay
Music
Box
Materials:
Yellow pine 1/4-in. by 11/8-in. by 21-in.
White pine 3/4-in. by 11/8-in. by 18-in.
Plexiglass taped to saw table makes for a smooth cut- Various small scraps of different colored woods of
ting surface for compound scrolling. Drill a 1/4-in. to choice.
3/8-inch-hole in the middle of the sheet to insert the
Music box mechanism
blade. No. 2 x 1/s-in. round head wood screws (5 each)
Spray adhesive
Scotch tape
STEP
2 Wood glue
White glue
Wood sealer
Sandpaper, 150 and 220 and grit
Clear, spray finish of choice
Tools:
No. 5 and No. 5R blades
Electric sander or sanding block
Drill and bits, sizes 1/16-in., 1/4-in., 3/8-in.
Small screwdriver
Band clamp and Quick Grips
Larger blade for cutting stock to size
(Optional)
Belt sander (Optional)
This photo shows all the 3-D Mobil Bay figures ready
to cut.
Materials & Tools
STEP STEP
3 4
For each figure, adhere the pattern to the stock with a Clamping blocks to each side of the pattern provides
suitable spray adhesive. Pinch the figure pattern stability, prevents wobbling, especially on the narrow
together and firmly tape the edges together for added sides, and promotes better blade maneuvering. Cut the
protection. left side of the figures first.
Wo o d C a r v i n g I l l u s t r a t e d F a l l 2 0 0 0 35
STEP STEP
5 6
Cut the right side of the figures next. The right side is When you open the block, theres a surprise inside.
usually a more delicate cut, and theres less chance of They usually come out very easy, but to be on the safe
breaking when the least intricate side is cut first. side, gently remove the figure to avoid breakage.
STEP STEP Drill a 1/16-

7 8 inch-hole in
the center of
large platform.
Cut the large and small platforms at a 40-degree angle.
STEP
9
STEP
10
Center the revolving platform and mark three holes for

the mounting screws. Then, drill the platform mount-
ing holes with 1/16-inch-drill bit. Sand the small and Center the smaller platform in the larger one as
large platforms using 220 grit paper, an electric palm shown.
sander, or a sanding block.
STEP STEP
11 12
Glue and clamp the small platform in place and allow Cut out sides and the top of the box.
to dry for about 30 minutes. Attach the revolving plat-
form to the underside of the large platform with the
three mounting screws.
STEP STEP
13 14
Use a belt sander to make 45-degree angles on the Glue the sides together and clamp.
sides, or cut them on a 45-degree angle with your saw.
STEP STEP Drill a

15 16 1/4-inch-hole
in center of
box top.
Sand the side assembly smooth, making sure to remove

any excess glue.
STEP STEP
17 18
Remove the plastic cover from the music box and posi- Pre-drill the mounting holes with 1/16-inch-drill bit;
tion the mechanism as shown. Trace around the base, drill through both layers.
which is attached to the box, to mark the position.
Then, mark two holes for the mounting screws.
STEP
20
STEP
19
Glue and clamp the top and side

portions and allow to dry for about
Attach the music mechanism and replace the cover. 30 minutes. Note the paper stuffed
in the top hole to protect the mech-
anism from dust and paint (inset). After the glue sets,
sand the entire assembly with 220 grit.
STEP STEP
21 22
Mask the music mechanism as shown for painting Coat all pieces with a sealer of choice and allow to dry
later. completely. Sealer also gives the small figures extra
strength.
STEP
23 About the Author
Diana Thompson calls Theodore, Alabama, her home.
When shes not scrolling a kerf, Diana can often be found
hitting a golf ball, well, at least two days a week. She and
her husband, Bob, a merchant captain, enjoy camping,
motorcycles, art museums, zoos and have often been spotted
at their local craft fairs.
Project 2000 by Diana Thompson
Lightly sand all the figures with 220-grit sandpaper.
STEP Cutting line, cut on
24 40 degree angle.
Cut on 40 degree angle
center.
"Dia. hole at
Drill or cut 1/4
Arrange the figures according to the picture or as
desired. Glue in place with the white glue.
Cut edges on 45
degree angle.
STEP
25
degree angle.
Cut edges on 45
Cut edges on 45
degree angle.
degree angle.
Cut edges on 45
Spray the top and base with several coats of clear spray
finish of choice.
Diagram indicates the layout of the pattern

pieces on the wood.
Photocopy all patterns at 100%
Cutting line, cut on

40 degree angle.
Large platform
Drill or cut 1/4
"Dia.
Drill hole at1/4
or cut
center.
"Dia. hole at
center.
Cutting line, cut

on 40 degree
angle.
Small platform Base Top

Base Top
Cut edges on 45
degree angle.
Base Sides
Cut four
Cut three of each pattern.
Using three different shades
of wood, cut one from each
shade.
Cut one from each shade.
Cut three from first shade.

Cut two from second shade.
Cut one from third shade.
Wood block
Pattern
Cut direction
Tip for cutting tiny patterns. Cut

both sides in the same manner.
Wo o d C a r v i n g I l l u s t r a t e d F a l l 2 0 0 0
1 Cut one 3 Cut one 7 Cut one
5 Cut one
2 Cut three 4 Cut one 6 Cut one 8 Cut one
9 Cut three
43
Kerfing The Web
Kindred scroll saw spirits

connect on the web
Scroll saw chat rooms are a on some of these sites. I like to refer to these as my
resource worth exploring.

future projects. The ideas alone make this worth a visit.
MESSAGE POSTINGS: Message postings are common
And best of all, theyre free!

on most chat rooms. These usually appeal to people who
cant, or dont want to, participate in open chat forums
to ask their questions. All users are welcome to post
by Jim Barringer questions and/or responses. They can have the daily
updates e-mailed once a day, rather then logging in each
Experience is the greatest teacher, so the saying goes. day to see whats new. The wealth of information posted
In one way or another we all stand to benefit from the here is voluminous.
lessons learned by those who have already scrolled the MEMBER LISTINGS: Member listings make it easy to
project were working on or are planning to start. find others in your area and to form local clubs. Also,
According to recent statistics, Internet traffic doubles the members who are currently on line are displayed for
every 100 days. Thats a wealth of information and expe- easy access. This feature allows you to start an instant
rience available for those willing to harvest it. Chat chat, one on one, or send a message for a follow-up
rooms on the world wide web offer a vast resource for response as an alternative.
scrollers to connect with their peers, share ideas, CALENDARS: Perhaps you work the afternoon shift
exchange information, or just say hello. and attending the evening chat is not convenient. One of
the most useful chat room options is the ability to sched-
MAKING THE CHAT CONNECTION ule a chat with others when its convenient for you.
Chat room chatter happens in real time, with real Open calendars are easily displayed, and you can attend
people. These on-line activities include voice options, those of interest.
photo galleries, message boards, member listings, open LINKS: If youre really serious about learning from oth-
calendars, and member listings. ers, the links section will provide hours of fun-filled
VOICE OPTION: Voice options are fast and great for exploration. Here you will find personal home pages put
the poor spellers and slow typists of the world. The up by members, business sites offering supplies and
hardware requirements are rather basic to all of todays books, and even a few links to other chat rooms.
computersa sound card, a modem, and a microphone. It doesnt get any better that this!
These items are considered standard equipment on mod-
ern computers. With Windows 95, 98, and 2000, the SITES WORTH CHECKING OUT
operation and setup is completely automatic and seam- The following are some chat rooms Ive visited during
less. Whats more, the clarity is amazing! my web-browsing activities. Membership, which is free, is
ALBUMS: Members can post pictures of their latest proj- often required. Regardless, just fill in a name you want
ect individually or in small groups called albums. Its not others to see or address you by (called a screen name or
uncommon to find 100 pictures available at any one time handle), and press the enter key to join in the fun.
Sundays & Tuesdays, 8pm EST: Thursdays, 8pm EST:
http://wooders.com/chatroom.htm AOL://2719:2-2-THEWORKSHOP
Hosted by Billie Holmes (screen name: BJ) This is a private chat room for AOL members only.This
This is the only chat listed in this article that does not chat room has a large and very active group, but offers
require membership to participate. BJs group is well text chat only. Please note the unusual URL listed, which
established and very active; attendance varies. Both voice is available only on AOL.There have been rumors that this
and text chat options are available. Galleries and photo restriction will be changed in the not-too-distant future.
contests are also available on this site.The classified However, sources contacted at the provider would nei-
section enables users to buy or sell used equipment with ther confirm nor deny any changes in the works.
Fridays, 8pm EST:

the added benefit of being able to ask questions directly,
often in real time.
Mondays & Wednesdays, 8pm EST:

None that Im aware of that are specific to scrollsawing
or Intarsia.
Saturdays, 8pm EST:

http://clubs.yahoo.com/clubs/scrollsawing
Hosted by Dave & Rhonda Sloan
(screen name: Scrollwood) http://clubs.yahoo.com/clubs/scrolling2
This chat room requires membership to participate. In Hosted by Kenneth Hider (screen name: knscroll)
the upper right hand corner youll find the Join option; Membership is free, and Kens photo gallery is very
just fill out the form and submit to become a member. At impressive. Both voice and text-based chat options are
the time of this writing, more than 1000 members are on available. Photo galleries, message postings, calendars, a
the rolls of this chat room, and its very active. Both member listing and links are all available on this site. On
voice- and text-based chat options are available. Photo this site anyone may start a chat schedule by just posting
galleries, message postings, calendars, member listings, the start time.
and links are all available on this site.
Tuesdays, 6:30 Central:

SEE YOU ON THE NET
The volume of traffic in the various chat rooms is sea-
http://anexa.com/woodcutterschat/index.lhtml sonal. During the summer, traffic slows because of out-
This site offers text-based chat for woodcutters, scroll- door activities and/or vacations. However, the colder
sawers and Intarsia artists. This chat room has been months bring a tremendous increase in traffic.
open for several years and participation varies. Currently, While great effort has been made to ensure the accu-
membership is very low. You must become a member racy of web sites listed here, one true constant on the
(free) to attend activities. Member lists and links are
Internet is change. More chat rooms are being added
available on this site.
Wednesdays, 7:30pm PST:

every month and over time, some may be discontinued,
so keep surfing.
In closing, the ever increasing number of scrollsaw
http://clubs.yahoo.com/clubs/westcoastscrollers
picnics and special events allows one to meet and finally
Hosted by Joan Lockwood (screen name: jolockwood).
Joan is a well-known and widely respected West Coast put a face to the names you chat with each week. This
scroll saw author, scroller, and picnic event host. This is a reward comes long after the chat session is complete and
new chat room, but its sure to grow rapidly. Both voice truly allows the chat activity to become something spe-
and text-based chat options are available. Photo galleries, cial. Ive made many wonderful new friends on the net,
message postings, calendars, a member listing, and links are and you could well be my next.
all available on this site.
Thursdays, 9pm EST:

About the Author:
Jim recently retired from the Ford Motor Company, where
http://clubs.yahoo.com/clubs/scrollsawing he worked as a training program developer. When hes not
Hosted by Lou Seig (screen name: Gluie008). scrolling, Jim enjoys golf, fishing in bass tournaments, and
This chat room is biweekly. Membership is required but teaching others about computers. Scroll through samples of
is free.The site boasts a large membership. Both voice Jims work by clicking on
and text-based chat options are available. Photo galleries, http://www.members.home.net/jigg6037/album1.html.
message postings, calendars, member listing, and links are
all available on this site.
Spanning the Globe to Bring
Scrollers
Together
Born of humble origins,
the Scrollsaw Association
of the World (SAW) promotes
education and fosters a sense of
community and belonging among
scroll sawyers.
By Pat Lupori,
SAW Membership Chairperson
When Dale Whisler started his first Scrollsaw World is a very important part of our name. From
Picnic in 1994, scrollers from around the country the beginning, SAW has worked hard to be a truly inter-
gathered for the very first time. They chatted about national association. Even though it started in the United
their favorite scroll sawn projects; they extolled the States, SAW has encouraged scrollers from around the
addictive qualities of making sawdust; they lamented
about how each of them were hopeless pattern fanat-
ics. Moreover, they discussed the need for an associ-
ation for people interested in using a scroll saw.
In 1996, a small group of scrollers decided to see
if this wish could be fulfilled. As a result of their
efforts, a founding group of volunteers was formed
and immediately took steps to launch the Scrollsaw
Association of the World (SAW).
SAW was incorporated in the State of Illinois as a
not-for-profit group in late 1997; a set of by laws was
written in early 1998. In June of 2000, the organiza-
tion attained a non-profit status with the Federal gov-
ernment. We have high hopes that this status will help
SAW grow and further our fundamental purpose: to
provide education, information, and an organization
for those interested in the art of scrollsawing.
SAW encourages all forms of scrollingfretwork,
marquetry, intarsia and inlay. We also promote the use
of new materials as well as the traditional woods.
Since the first memberships were accepted in April
of 1998, the Association has continued to grow. What
started out as a group of nine volunteers and several One of the many antique scroll saws on display at SAW Conference 2000 in Cedar Rapids, IA.
advisors has grown to a membership of about 800. Rick Hutcheson of Grimes, IA, provided the display.
John Nelson points out some fine points of scrolling at the SAW Conference 2000 in Cedar Pat Spielman explains some basic blade information during his seminar at the SAW
Rapids, IA. Conference 2000 in Cedar Rapids, IA.
world to join and share their experiences. As a result, we

have members from Sweden, England, and Canada.
Inquiries have come in from all corners of the globe
including Australia, South Africa, Germany, and South
America.
In April of 2000, SAW held its first annual
Conference in Cedar Rapids, Iowa. This two-day event
was filled with free seminars and demonstrations to help
scrollers learn more about scroll sawing and the tech-
niques that are needed to produce their art. John Nelson
taught a basic scrollsaw class; Barry Gross demonstrated
scrolling with Corian; and Sheila Bergner gave several
classes on painting.
The Conference also featured an antique scroll saw
display courtesy of Rick Hutcheson of Grimes, Iowa. Rick
brought about a dozen antique saws that were eagerly
perused, poked and prodded throughout the conference.
SAW also sponsored the first woodworking contest dedi- Scroll sawyer John Gillitzer stands proudly by his winning entry, which won the Best in Show
cated to scrollsaw work. ribbon and The Scrollers Choice Award at SAW 2000.
Local chapters are also a very important benefit of this
association. These groups provide a means of communi-
How to Contact SAW
cating with other scrollers, allow members to make new
friends, and offer a place to share the scrolling experience For information on a Local SAW Chapter near you, or
with others. information on how to start one, please contact:
Local Chapters have been formed in Alaska, Bob DeCuir
California, South Dakota, Michigan and Idaho. Mike 720 W. Elder St. Fallbrook, CA 92028
Moorlach started SAWs first chapter, the Sioux Scrollers, Phone: (760) 728-5093
in Brandon, South Dakota. Others are currently working e-mail: redecuir@tfb.com
to attain Local Chapter status in Illinois, New York, For an application, please write to:
Oklahoma, Pennsylvania, Indiana, Missouri and Utah. Scrollsaw Association of the World
SAWs annual dues are $20 for U.S. residents, $25 for 610 Daisy Lane Round Lake Beach, IL 60073-2219
Canada and Mexico residents, and $30 for overseas Phone: (847) 546-1319
scrollers. Membership includes a subscription to the quar- e-mail: saworld@usa.net
terly newsletter SAW Dust, a copy of SAWs Annual A online membership application is available at the SAW web site,
Directory and any specialty publications. http://members.spree.com/saw-online/Join/Application.htm.
P A T T E R N
Triangular P R O J E C T
Desktop Organizer
Scroll a clear path to complete
desktop clutter control
with 13 easy steps.
By Joan L. West
ike most scrollers, in order to justify the time and
L money spent on supporting my own woodworking

habit, I strive to create works that will ultimately
be put to good use around the home or office. Whats
more, I ask myself two basic questions before designing
any project: first, What is there a need for? and sec- Materials:
ond, How can the piece be designed for the average Cedar: 8 pieces, 3/8-in. thick by 6 1/2-in. by 4-in.
scroller ? Mahogany: 2 pieces, 5/8-in. thick by 6 1/2-in. by 4-in.
This handsome, triangular desk organizer not only Walnut: 2 pieces, 1/4-in. thick by 7-in. by 4 1/2-in.
captures the natural beauty of wood and wood grains, is Pine: 5 pieces, 5/8-in. thick by 6 1/2-in. by 4-in.
Pine dowel, 7/8-in. wide by 1 3/16-in. long
easy to make, but it also keeps office supplies at ones
Brass knob from local hardware store or Klockit mail
fingertips. order catalogue (1-800-KLOCKIT, www. KLOCKIT.com)
5/32-in. x 2 1/4-in. bolt (with the head cut off)
ASSEMBLY, GLUING AND SANDING
Tools:
The woods shown here are only recommendations. 100-, 150-, 220- and 320-grit sand paper
For uniform sanding results when using alternative Danish Oil
wood species, make sure that theyre the same hardness. Glue
When scrolling the Cedar sections, set the scraps off No. 7 PGT reverse tooth blade
to the side these will be used to cut out the two stamp Quick-Clamps or a suitable bar style
clamp
washers and the stamp loop. 3/16-in. drill bit
Wood cuts, sands, and accepts finish very differently Rubber bands
according to the grain direction. For the sake of consis-
tent sanding and finishing, its best to keep the grain Materials & Tools
direction the same. Arrange the patterns on the wood
according to the grain direction lines indicated.
Here are a few gluing and clamping tips that I found Never rush the glue drying process because you dont
very useful when assembling this project: want to risk stressing the joints. Gaps in a stressed area
may not show up for a few months. Please allow for at
Apply a thin, but thorough, coat of glue to both surfaces. least six to eight hours per section
Use at least four clamps, and tighten the clamps as
Lastly, thorough sanding is key to this projects suc-
necessary.
Clamp until there is an even seepage of glue all around cess. For the exposed surfaces, start with 100 grit, go to
the joints. 150, then 220, and finish with 320. The surfaces that will
Check for hairline gaps around the seams. be glued to each other need only be worked with 100 or
Thoroughly wipe away excess glue with a damp towel 150 grit. A belt sander is a good tool to use for the outside
before it sets. areas; a finishing sander can be used on the other surfaces.
54
D I A G R A M
5/16 " Cedar 1/4"

Walnut
5/8" Pine
1/16 " round-overs
5/16 " Cedar
7/8"Pine dowel
5/16 " Cedar
1 3/16 " long 5/16 " Cedar
3/16 " holes 5/16 " Cedar
Stamp
loop
2 8 7 1
5/8" brass 2
knob 2 7
6
5 2
4
3
2 Stamp 5/8" Pine
washers
A B C 5/8" Mahogany
(Cedar)
1/8" x 2" 2
1 5/8" Pine
bolt with head
cut of f 5/8" Pine
5/8" Mahogany
5/16 " Cedar DESK ORGANIZER
COLOR KEY
1/4"
Walnut Walnut
Mahogany
Cedar
Pine
STEP Step 1: Cut out the pieces according to the patterns,
4
keeping the grain orientation in mind.
Step 2: Glue together the three pieces that make up

the area for the stampspart No. 3, sections
A, B, and C. When glue is dry, sand the top
sections until the edges are flat and smooth.
Step 3: Sand all the exposed areas.
Step 4: Glue the rest of the pieces together one section

at a time, excluding the leg stands (please see
photo Step 4)
Tighten the clamps until an even seepage of glue appears all
around the joints. Step 5: Align the central edge of the leg stands with
STEP bottom of the outside most triangles, then
12 glue in place.
Step 6: Drill a 3/16-inch-hole through the leg stand

and the wall on the stamp end.
Step 7: Drill a 3/16-inch-hole through each stamp wash-

er and cut them out as shown. Round over the
tops just enough to soften the edges, and sand
the stamp washers to a 1/4-inch- thickness.
Step 8: Glue the stamp washer to the wall of the

stamp-roll section, where the bolt slides
Wrap two or three stiff rubber bands around the triangle through. Insert the bolt to mark location of
and stamp loop section to clamp in place while the second washer, and glue in place.
glue is drying.
Step 9: Cut off the bolt head. If the prescribed length
is not available, use a longer bolt and cut it
About the Author: the proper length.
Scrolling has been Step 10: Thread the uncut end of the bolt to knob
and gently sand the cut end of the bolt.
Joans passion for the
past eight years, and Step 11: Drill a 3/16-inch-hole in the center of the dowel,
sources contacted by then slightly round over the dowels edges.
SSW Magazine claim
Step 12: Scroll out the stamp loop from the Cedar
that she never tires of
scrap. Gently round edges and glue in place.
the sights and aromas Use a number of thick rubber bands
of her creations as wrapped around the end to clamp and
they take shape. Her zeal is shared with secure the stamp loop, as shown in photo
Step 12.
her husband, Jim, who builds bookshelves
and carves caricatures. Her 8-year-old son, Step 13: Finish the piece with six or eight coats of
Joel, designs his own scroll saw patterns. Danish Oil and fill with your favorite sta-
tionary and letter opener (not included).
P A T T E R N
3/16 " hole in

one end only
Part 1 (2 Walnut)
G
ra
i n
di
re
c
tio
n
Parts 3 cut line

(1 Pine, 1Cedar , 1 Mahogany)
Part 4 cut line (1 Pine)
Part 5 cut line (1 Pine)

Part 6 cut line ( 1 Mahogany)
Parts 2 (6 Cedar)
P A T T E R N
G
ra
in
di
re
ct i
on
Parts 7
(2 Pine)
3/
16 " hole
Stamp Washer
(3/ "-thick,3/ "-dia.)
16 4
(2 Cedar)
Stamp Loop
(3/8"- thick)
(1 Cedar)
G
ra
in
di
re
c tio
n
Parts 8
(1 Cedar)
P A T T E R N
P R O J E C T
Scrolling
Gary Brownings Picture Perfect Portrait of
the Unforgettable John Wayne
"It was because of what John Wayne said about what we are and what we can be
that his great and deep love of America can be returned in full measure .... "
Jimmy Carter
By Mike Randazzo, Editor-in-Chief
In this pattern project, Gary Brownings childhood memories of John Wayne are
rekindled with equal, loving measure by a photo quality portrait of this revered film
legend, patriot, and All-American icon.
Whether its scrolling the Duke, Marilyn Monroe, Dorothy, or Geronimo,
Browning has a keen eye and passion for discerning shadows, prominent expressions,
subtle facial features and curves. His scrollwork, furthermore, aptly captures its sub-
jects with flowing lines that cannot be rendered via the cameras lens alone.
When you think back on your life, there are certain faces and images that stand
out in your mind. John Wayne was one of those faces, Browning asserts. I learned
to use the scroll saw to create works of art that are lifelike and not easily told apart
from pictures and paintings.
A relative latecomer to scrolling, Browning rescued his $400 Jeta 1980s vintage,
350-pound industrial-strength machine that requires frequent lubricationfrom a life
of obscurity and rust in someones basement. An alarm system technician and
About the Scroll installer by day, Browning and his Jet have been scrolling part time in his home work-
shop since 1995.
Sawyer: Gary, who admits to having some artistic ability, got into scroll sawing primari-
Gary Browning, his ly because photographs of his immediate family members were scarce. There were
wife, Jennifer, along very few pictures of my family and some of them were taken only with friends, the
scroller recalls.
with their two-year- After the loss of his mother during high school and the death of his younger
old son, Robert, call brother, which occurred just a year later during his tour in Operation Desert Storm,
Hagerstown, Md. Gary felt a more heightened need to preserve these memories.
their home. Today, thanks to his Marine Corps-bred determination to follow through, adapt,
and overcome, as well as unconditional support from his family and a little imagina-
tion, Gary has converted adversity into artistic entrepreneurship: his pattern presenta-
tion removes the uncertainty of pilot hole placement and blade movement.
The patterns color-coding, technical break outs, and directional arrowing prom-
ise to make this project a rewarding personal experience for scrollers of all skill levels.
Materials & Tools hobbyists knife

An 11-in. by 14-in. piece of black felt
An 8.5-in. by 11-in., 1/4-in. thick piece of Baltic An 11-in. by 14-in. section of black picture
Birch or Oak plywood frame matting material
No. 5 spiral blade of choice A glue gun
1/16-in. drill bit An aerosol can of polyurethane spray finish
150-grit sandpaper or any suitable clear coat
Electric or cordless rotary deburring tool or An 11-in. by 14-in. light wood frame of choice
The Duke
Getting StartedWhat Youll Need
While the pattern should be photo
copied at 100 percent, beginners can
enlarge it with a copier or scanner to whatev-
er dimension or frame size that suits them.
Furthermore, there are freeware ver-
sions of poster programs on the Internet
that will enable scrollers to print out four
pages and tape them together to make a
larger pattern, if desired. However, the ideal
size for this pattern is the standard note-
book page, because it fits the matting well.
Grace Under Pressure

When executing this pattern, scrollers
need to have a deep appreciation of how Photo 1: A relatively challenging spot on the lower right hand portion of the pattern.
the strength of the wood can be channeled to
their benefit. If the larger, sturdier sections are cut out
first, they can leave the smaller, more fragile areas vulnera-
ble to vibration and breakage.
After transferring the pattern, position the image on
the saw table as you would look at it hanging on a wall.
When scrolling with a spiral blade, the craftsperson need
not move the wood around as much to achieve the perfect
cut angle that is required with a straight blade.
The spiral [blade] cuts in any direction so you can
just float it in and out of tight spots without turning the
wood clockwise or counterclockwise, Browning notes.
The yellow dots in the pattern show recommended
placement for the 1/16-inch-pilot holes. The yellow arrows
indicate which direction to move the blade for making the
optimum cut after the pilot holes are drilled.
When scrolling The Duke, start with the blue shaded
sections first, the green second and cut the black shaded
sections last.
Photo 1 and the accompanying enlarged section show
a relatively challenging spot on the lower left-hand portion
of the pattern. Starting from the right side of the page and
moving to the left, follow the blue line directing the path
Photo 2: For a more accurate cut, especially in tighter areas,
for the first piece to be cut. Once the cut is made, move maintain downward pressure while holding the sides of the piece
left again to the next hole and follow that recommended steady at the corners.
path. Repeat the procedure for the remaining holes.
When cutting out a single pattern, scrollers may apply
more pressure to the blade. Because a spiral blade is inher- steady with your fingers at the corners while moving
ently weaker than a straight device, dont apply too much the piece, as shown in Photo 2.
extra pressure by feeding the wood too hard. When scroll- For stack cutting, Browning advises, avoid stress-
ing this project, maintain sufficient downward force on the ing the blade because it may break or deliver untrue
top surface of the wood and hold the sides of the piece cuts on the bottom of the stack.
Inexpensive oak
frames, such as
this one, are
used in many of
Garys projects.
Photo 3: Remove exit debris with a utility knife or electric deburring tool.
Finishing Up
Once the picture is cut out and ready for finishing,
lightly dress the face of it with 150-grit-sandpaper, and
remove the dust thoroughly. Electric deburring
Exit debris should be removed prior to mounting by tools come in many shapes
and sizes. If the tear out is not removed prior to
using a utility knife or electric deburring tool, because mounting, it will show up on the matting or felt surface.
it will show up on the felt matting or on the mounting
surface. Its a good idea to maintain pressure on the more
delicate areas during this process, as shown in Photo 3. ed, as it provides a more dramatic 3-D effect. Whats
Then, with a spray can of clear finish held about 6 to more, he prefers using black matting trimmed to fit the
10 inches from the piece, seal the wood by lightly spray- frames dimensions.
ing up and down in a gentle left to right sweeping motion.
Then, spray in the opposite direction to completely cover A Great Release
the piece. Lastly, gently spray up and down again. The Marine Corps taught Gary to camouflage his
Remember folks, the first full coat is lightly sprayed on. weapon and body and to break up the outline of straight
Sanding before sealing allows the sealer to soak into lines, because few things in nature are perfectly straight.
the wood. The two additional coats fill in any remaining For me, scrolling is a great stress relief outlet, espe-
spots to completely seal the face of the portrait. cially when you have a little guy running around upstairs
Hold the finished piece inside the matting and make making tornadoes, to just relax for an hour or so in front
sure its properly centered, then flip it upside down and of a piece of wood, Browning muses.
glue the corners with the glue gun. While the piece is If you are looking for a perfectly straight cut line
upside down, glue the black felt to the back and align the when scrolling thats fine, but I feel that curves and such
picture in the frame on top of the glass. add a hand-crafted and more realistic feeling that is more
Replace the cardboard on the back of the frame and common in nature.
bend the little picture frame tabs back down to hold Garys final advice to the Scroll Saw Workshop reader
everything in place. If the frame has no hanger on it, per- on scrolling the Dukes portrait?
form this task before placing the piece in the wood, so the Just let the blade float through the wood and make
hammering doesnt create vibrations. its own path. Start as close to the center of a section and
Gary picks up his 11-in. by 14-in. wooden frames on work to the outside portion. Take your time; take a cof-
sale for about five dollars apiece. They are usually solid fee break when you need to; and just enjoy the creative
oak or light in color. A light frame is highly recommend- outlet and release that scrolling offers, he concludes.
P A T T E R N
Photocopy at 100%
P A T T E R N
Drilling: The yellow dots in the pattern show

recommended placement for the 1/16-inch
pilot holes. The yellow arrows indicate which
direction to move the blade for making the
optimum cut.
Cutting Tip: This

relatively challenging
spot, also shown in
Photo 1, is located
on the lower left-hand
portion of the pattern.
Starting from the right side Cutting Order: When scrolling The Duke,
of the page and moving to start with the blue-shaded sections first, the green
the left, follow the blue line second, and cut the black-shaded sections last.
directing the path for the first
piece to be cut. Once the cut
is made, move left again to the
next hole. Repeat the procedure
for the remaining pilot holes.
Gallery
Garys work can be viewed on the web at www.angelfire.com/md2/creative wood/browning.htm.

Also, look for his book of portraits and patterns from Fox Chapel Publishing Co. Inc. available Spring 2001.
Baltic Birch Plywood:
From Fretwork to Popsicle Sticks
Pick up some tongue-in-cheek tidbits and fun factoids to wow fellow
scrollers at your next local scroll saw club meeting!
By Brian Smith
I magine if half of the United States were a large,

wooded grove. Well, truth is stranger than fiction.
The more experienced plywood scrollers
among you might pick up on the fact that
To find such a place you have to look no further Finland, long known for its Finnply, a similar
than the Baltic states. product to Baltic Birch, is situated coincidentally
In my long and enjoyable career as a furniture adjacent to the Baltics.
maker and a woodworker, Ive uttered the words
Baltic Birch at least several thousand times, maybe
more. Admittedly, not even on one of those occa-
sions did I really know what I was talking about. Baltic Birch plywood is primarily
Im guilty of being more critical of my own found in the Western European
countries of Estonia, Latvia and
ignorance than is probably healthy, so I have under- Lithuania.
taken to provide insights into the origins, character-
istics, and workability of this marvelous and popu- FINLAND
lar scroll-saw friendly product. Baltic

Helsinki
Gulf of Finland St. Petersburg
Sea
Tallinn
Baltic Geography: Hiiumaa
ESTONIA
Lake
Peipus
A Whole Lot of Toothpicks Saaremaa

Parnu Tartu
RUSSIA
First, where does Baltic Birch come from? GOTLAND

(Sweden)
Ventspils
Gulf
of
ICELAND Pskov
Norwegian
Sea
Riga
And better yet, where are they keeping the

SWEDEN
LATVIA
Baltics nowadays? Jelgava
Riga
Rezekne
FINLAND
Gulf
Generally, we are talking about a collection Baltic

Sea
North
Atlantic
Siauliai
Ocean Daugavpils
NORWAY of
Bothnia
of countries in Western Europe surrounding the Klaipeda
LITHUANIA ESTONIA
RUSSIA
Baltic Sea: Sweden, Finland, a small slice of Kaliningrad

Kaunas
BELARUS
North
Sea
LATVIA
Russia, Estonia, Latvia, Lithuania, and Poland. R.S.F.S.R. Vilnius

IRELAND
DENMARKOF
COMMONWEALTH
INDEPENDENT STATES
Baltic
Sea LITHUANIA
More specifically, current day references to the POLAND

U. K.
Mensk
0 50
NETH.
100 Kilometers
BYELARUS
Baltics pertain to the former Soviet-Bloc nations of English Channel

0
BELGIUM
50
GERMANY
100 Miles
POLAND
UKRAINE
Estonia, Latvia, and Lithuania. LUX.
CZECH
SLOVAKIA
Approximately one third of Lithuania is carpet- FRANCE

SWITZERLAND
AUSTRIA
HUNGARY
MOLDOVA
ed in wooded reserves, while the numbers for Bay of Biscay SLOVENIA

CROATIA
BOSNIA
ROMANIA
Black
Sea
Estonia and Latvia hover around fifty percent. The ANDORRA

ITALY
SERBIA
MONTENEGRO
BULGARIA
PORTUGAL
area of the Baltics covered in nothing but trees, SPAIN
Tyrrhenian
Adriatic
MACEDONIA
ALBANIA
bugs, and small furry animals is roughly 68,000 Sea
Ionian
GREECE Aegean
TURKEY
square kilometers, or 42,000 square miles! Folks, Mediterranean Sea Sea
CYPRUS
thats a whole lot of toothpicks.
The A, BB & CPs of Baltic Birch
Baltic Birch thickness originates as metric sizes:
3 mm ----- 1/8-in. 6 mm ----- 1/4-in.
12 mm ---- 1/2-in. 18 mm --- 3/4-in.
(undersized, varies) (usually 11/16-in. ,varies)
My experience is that the 1/8-in. stock is ideal

for detailed, composed scrollsawing like fretwork,
decorative ornaments, etc.
All of the Baltic Birch layers, or plies, enjoy relatively uniform thickness, which creates a
The 1/4-in. material is perfect when a little more rather pleasing appearance.
strength is required, like ubiquitous painted outdoor
whirlygigs. For those of you who might dabble in
cabinetry, it divides nicely in half for 30-in. cabinet Baltic Birch is theoretically void-free, which
backs or drawer bottoms. means that each layer, or ply, is continuous, with-
The 1/2-in. thickness scrolls well, and will actu- out defect or interruption. This characteristic
ally provide significant strength where needed. allows the scroller the freedom to leave the edge
Again, for you cabinet makers, it is also faultless as exposed, as in decorative scroll sawing, or cabinet
5-in. or 6-in. drawer sides. box side making. I go through a stack and select
If you are the kind of craftsperson who needs to the best edge of each to turn upward for scrolling
scroll 3/4-in. stock, well, the Baltic should work projects, as I would when stack cutting drawer box
wonderfully for you. I reserve the 3/4-in. mainly for sides.
shop devices, or where spans greater than 48-in. are Whats more, Baltic Birch is sold in three grades:
required.
The number of plies, or layers, is measured as follows: B -- whole, or one-piece face; defect free; generally even color;
some mineral streaking, pin knots, no patches.
3 mm ----- 3 6 mm ----- 5
BB -- whole, or one-piece face; defect free; generally even color;
12 mm ---- 9 18 mm --- 13 some mineral streaking; a few small defects have been cut out and
patched with color-matched footballs.
CP -- whole, or one-piece face; some hairline splits; more defects
have been cut out and patched with non-color-matched footballs.
You will see the BB/CP grade almost exclusive-
ly; it offers excellent value, high performance, and
will work well for virtually any scroll saw project.
Driveability
I have sold countless sheets of Baltic Birch to
many an unsuspecting and intrepid scroller over
the years, and the first question that I asked them
was: Whatre ya driving?
The 5-ft. by 5-ft. sheets dont fit in just any vehi-
cle. So, when youre done reading this article and you
head off to your local lumber yard to pick some up
Baltic Birch plywood offers excellent scrollability and is ideal for those projects that for your next scroll saw project, bring an open pick-
require a little more strength and heartiness, like this portrait of John Wayne.
up truck, or you will have to cut down full sheets.
Many vendors offer simple cuts at no charge, so
call ahead and ask first. Furthermore, many vendors
offer Baltic Birch cut into more convenient sizes,
such as 12-in. by 12-in. squares, catering to the
scrolling enthusiast. I have seen Internet offerings
should probably seal the surface first to avoid
of standard 4-ft. by 8-ft. sheets of Baltic Birch, but
possible blotches from uneven penetration.
nothing on my grocers shelf yet.
Clear finishes are a breeze. Solvent-based fin-
Domestically produced Appleply has a similar
ishes raise the grain of Baltic Birch only slightly,
appearance to Baltic Birch, is made from alder, and
and with one or two quick swipes with some fine
is available in the 4-ft. by 8-ft. format.
sandpaper, your project will be as smooth as a
babys posterior. Water-based finishes will raise
Workability the grain appreciably, but still work just fine.
One of the major differences between Baltic
Painting quality is very good, partly due to
Birch and most other furniture-grade plywoods is
the smoothness on all sides and edges. Gluing
the thickness of the face veneer. Its a real piece of
quality and screw holding are excellent.
wood, not a wispy membrane with the composure
The dust produced by Baltic Birch is very
of tissue paper.
fine, and can be irritating: please wear the proper
You can sand this wood, without the usual dan-
face and eye protection.
ger of sanding through to the next layer. You will
also get less splintering than other plywoods, in
A Good Thing
most operations, because of the thicker face.
The taste and smell of Baltic Birch may seem
As with all wood products, maximum protec-
oddly familiar to you. Think back to tongue
tion against splintering can be achieved by taping
depressors or popsicle sticks. Its the same stuff.
cut lines prior to cutting. I find that regular masking
The Baltic forests are healthy and substan-
tape works great. Self-adhesive scroll saw templates
tialmore plentiful than the average woodworker
also perform that same service.
can comprehend. As a matter of fact, this is one
Contemporary designs, or industrial projects,
of the few salable forests on the planet that actu-
seem to marry themselves to the look of multi-
ally gets bigger each year. Thats right, no defor-
layered plywood. All of the layers, or plies, are the
estation!
same relative thickness,
It is my humble opinion that using this mate-
giving the material a
rial in scrollsaw projects is a good thing to do.
pleasing appearance.
Stay tuned; stay safe; and as always, happy
I frequently exploit
scrolling!
the edge patterns for
dramatic effect. About the Author:
The finishing Brian Smith has been enthusiastically working with
process also bene- wood since the days of Lincoln Logs and Tinker
fits from the thick- Toys. Hes been building furniture professionally for
about twenty years and enjoys making original, con-
er face veneer. temporary designs with unusual materials. Brian has
Staining can be traveled throughout much of the forested world in an
achieved with attempt to gather information intended to help him
good results, better understand his place as a user of the forest.
although you
SSW RATING: BALTIC BIRCH = POOR = FAIR
= GOOD = EXCELLENT
Wood samples courtesy of Wood workers Source
How To Be a Savvy Painting& Finishing
Surface Finish Sleuth
A Quick and Easy Guide to Troubleshooting Troubles in Your Finish
By Mac Simmons
The cause and effect technique can be readily adapted to troubleshoot finishing problems.
This methodology, which is also used in scientific analysis, will help you determine what created
(caused) the problem by observing the results (effects) that are left behind.
When you round up all the usual suspects, blushing, fisheyes, pinholes, orange peels, water bub-
bles, oil bubbles, and incompatibility are common problems that may lurk in the finishing steps of your
scrolling project. The effects, in fact, are clues to the causes. However, in some cases, it takes a
process of elimination to track down the cause or causes, as there may be more than one factor creat-
ing your finishing troubles.
As you read through some of these commonly found problems, youll see how the cause and
effect system can help you solve some of your own finishing dilemmas, even if all your problems
are not listed here.
Blushing:
Moisture trapped in the coating creates blushing, similar to whats
shown in Photo 1. Blushing manifests itself in the finish as whiteness.
Excessive moisture and condensation in your spray equipment or your
stains, glazes, solvents, and coatings are major contributors to the blushing
phenomenon. Shop temperature variations can negatively affect flow out,
which is a measure of a coatings smoothness. Fluctuating shop tempera-
tures also create blushing, especially in hot weather, when the coatings lac-
quer evaporates more quickly.
Thin coats dry faster than heavy coats, and will greatly reduce the
chances of blushing. Scrollers should allocate ample drying time for the
wood, stains, paste wood fillers, glazes and coatings.
Photo 1: Blushing, which shows up as whiteness on the Retarders, chemical additives that can slow down the drying process,
woods surface, can be caused by moisture. are sold both in quart and gallon sizes for spraying. Manufacturers add
retarders to aerosols, which removes most blushing problems. Lastly, if so
equipped, always remember to drain your compressor, air lines, and sepa-
rator to prevent condensation and moisture.
Fisheyes:
Fisheyes are aptly named because the effects look like the eyes of a fish.
A fisheyed finish is populated with deep valleys and hills that look like the
craters shown in Photo 2.
Fisheyes are the after effects caused by contamination from the silicone
spray lubricants that are used in the shop for machinery, tools, and saws.
Silicone oil particles, which are easily atomized, can also be found in most
polishes, waxes, and in polishing and rubbing compounds. Like a virus is
transferred between two people, silicone can be transferred from a ledge,
apron, or cloth to your hands and from your hands to the woods surface.
Photo 2: Fisheyes appear as deep valleys and hills. Fisheye additives are sold to flow out the fisheyes, but most aerosols
contain a fisheye additive to correct this finishing problem.
Orange Peels:
Orange peeling is a roughness that resembles the peel of an orange (Photo 3).
Poor flow out in the coatings is a common cause of this finish malady. If a coating
has a high viscosity, for example, then it will not flow out to a smooth finish, which
will increase the likelihood of orange peels.
If youre using a spray gun, it may need to be adjusted according to the mater-
ials flow characteristics. The nozzle, or air vent, may be clogged, or the gun is being
held too far away from the work. If you are using aerosols to spray your coatings,
hold the aerosol can about 6 inches from the work to view the coatings flow out for
better leveling and a smoother finish. This technique will not only prevent orange
Photo 3: Orange peeling is caused by poor coating flow. peeling, but will also cut down on overspray, runs, sags, and bridging.
Pinholes:
Small holes in the coating called pinholes are the effects of slow-drying sol-
vents in stains, paste wood fillers, or bleaching acid that were not completely neu-
tralized or washed off the wood (please see Photo 4). Damp woods can also cause
pinholes. Another cause of pinholes is solvents that do not completely exit the
coating because the coatings are being applied too fast or too heavy.
To prevent pinholes, remember that thin coats are better then heavy coats.
Allow each coat to set up for a few extra minutes so the more volatile solvents
can flash out; then apply the next coat.
Water and Oil Bubbles:
Photo 4: Pinholes are caused by slow-drying solvents, damp Water bubbles, like those depicted in Photo 5, are the effects of moisture and
woods, and incomplete solvent evaporation. condensation passing through the separator from the compressor, into the airlines,
through the spray gun, and onto the work. Oil bubbles (Photo 6) also come from
the compressor and follow the same flow path. Oil bubbles will always remain
soft, whereas, water bubbles will harden if left alone.
If you own or are thinking about purchasing a sprayer, proper equipment
maintenance is the key to avoiding oil and water bubbles. Schedule regular
draining of your compressor, air lines, and separator and furthermore, always
clear the gun away from your work.
Incompatibility:
Incompatibility, shown in photo 7, appears as wrinkling, scalding, separa-
tions, or bubbling in the coating. This problem is caused when dissimilar coat-
Photo 5: Water bubble contamination. ings are combined or when different coatings are sandwiched into one finish.
Make sure that your finishing materials are compatible, especially when pur-
chasing materials from different suppliers. Unless youre certain that the finishing
compounds are compatible, dont be afraid to ask your finishing supplier. If
youre unsure about coating compatibility, test the materials on scrap woods,
allowing enough time for complete drying to evaluate the final finish.
Prevention is the Key:

Most finishing problems are preventable if youre vigilant about the main-
tenance and integrity of your equipment and finishing materials. Here are a few
Photo 6: Oil bubbles, which come from the compressor, will other tips and tidbits to help you maintain a savvy, scrolled surface finish:
always remain soft.
Use thinner coats where appropriate.
Always write the opening dates on your finishes.
Strain all your finishing materials.
Always close the covers on your finishing material, and try to store your
coatings in a metal cabinet.
Try not to perform your finishing work in extreme temperature conditions.
About the Author: Mac Simmons is a 40-year veteran of the finishing, refinishing
Photo 7: Incompatibility results when dissimilar coatings are com- and restoration trades. Mac is the author of The Refinishing Commandments,
bined or when different coatings are sandwiched into one finish. and lives in Long Island, New York.
Scrollin
Sawdust & Shavings
On the Road with
in the Smokies By Mike Randazzo

Editor-In-Chief
Just south of Jukebox Junction and within earshot of the Southern

Gospel Music Hall of Fame, Scroll Saw Workshop sits a spell with
Mike and Vicky Lewis, proprietors of the Sawdust and Shavings shop
at Dollywoods Mountain Craft Marketplace.
PIGEON FORGE, TN Mike and

Vicky Lewis are warm and down-to-
earth people persons. From authentic
Tennessee Red Cedar Critters to
beautiful butterfly-bottomed baskets
and intricate, yet bold, military
insignias, the duo create scroll sawn
works that continually coax mile-
wide grins from the vacationing
faithful who journey to the
Dollywood Theme Park each year.
Their work has even struck the fancy
of Dolly Parton herself. Where the
muses of amusement and family fun
frolic in the foothills of the Great
Smoky Mountains, Mike and Vicky
are scrolling their way to happiness.
wildlife, and religious items . . . and the always popular
Tennessee Red Cedar Critters, of course.
SSW: What are Tennessee Red Cedar Critters?

Mike: The items in our shop range from one dollar all the
way up to $2,500 for a large, scrolled dome clock.
However, a lot of people get a kick out of these little ani-
SSW: How long have you been at
mals that we call authentic Tennessee Red Cedar critters.
Sawdust and Shavings?
We sell them at three for $1.00.
Mike: Weve been running the shop full
time for about six years now. SSW: I understand that one of your butterfly baskets has
a rather unique signature.
SSW: How did you folks get started in
Vicky: When we first came out with wooden-bottom baskets
scrolling?
with the scrolled Dollywood butterfly, we gave Dolly Parton
Mike: About 13 years ago, I saw a scroll the first one we made. Ironically, it turns out that she wanted
saw demonstration, and being an ex- to buy a basket anyway, and we found out it was the same
machinist, I was immediately awestruck one. She autographed the second basket we made.
by the simplicity of the machine. So, I
bought a saw and have been cutting SSW: How did you get started scrolling military emblems?
ever since. I still have that saw and use Mike: We made the first one for my brother-in-laws
it regularly. brother, a soldier who is still missing in action from
Vicky: Ive been cutting country wood Vietnam. Next we made a Marine Corps insignia, then an
crafts for over 10 years. I moved to
Tennessee about five years ago to work at
the Dollywood Theme Park, where I met
Mike. Two years ago, I started helping him
cut scrollwork at the shop.
Mike: Now, she can do anything that I can.
SSW: What are the most popular items

at the shop?
Vicky: All the country folk arts and
crafts, even the earrings, are cut on the
scroll saw. Our most widely purchased
pieces are the military emblems, custom
designed emblems, butterfly baskets,
Mike Lewis has been scrolling for about 13 years.

His wife, Vicky has been working in wood crafts for
about a decade.
people. One day a couple came in, and
they had a mentally challenged girl.
And she just looked around and
looked around and looked around at
all the pieces. Then she came back over
to Mike. Mike was talking to the parents
and he asked the child, What do you think?
And she looked up at the wall and exclaimed, Oh,
wow! She couldnt really speak or say what she was
feeling except, Oh, wow! And thats all it
takessomebody to walk by and see what were
Vicky and Mike Lewis started scrolling these beautiful
Dollywood butterfly basket bottoms in 1998. The Lewis
doingto make it all worth while.
gave the first one they made to Dolly Parton as a gift. Mike: I have tried many different things in my life. I
Dolly autographed the second, which is not for sale.
was a machinist for a lot of years, and I really loved it.
With everything I have ever done, I have always
worked with my hands. But, once I sat down and start-
Army crest. And before we knew it we start-
ed cutting on my first saw it just felt natural. It is
ed branching off into emblems for active
something I just picked up on very quickly, and it
duty, retired, reserves, and veterans for all
the services.
SSW: How did the customized work get

its start?
Mike: A gentleman bought a Marine Corps
emblem and had just gotten re-elected as
the sheriff of the Johnson County Sheriff
Department in Indiana. He called me and
wanted to know if we could do a badge for
him. He ordered five for himself and ten
others as gifts. Thats when how the cus-
tom work started.
SSW: Could you envision yourselves

doing anything else right now?
Vicky: Absolutely not! The whole point
of being here is to have fun and be with
Religious items, like this stained Baltic Birch cross, are a

staple at Dollywoods Mountain Craft Marketplace. This
design is Mike Lewis favorite and is a source of inspira-
tional scrolling for both him and his wife.
just seemed the right thing to do.
And it is what I have done ever since.
No, I cant imagine doing anything else.
Vicky: We might not be making any money
on a given day, but the emotional memories we
take home with us every night are far greater.
SSW: Is it a challenge to keep coming up with new ideas

and keep the shelves full?
Mike: No matter where you go, if you take a scroll saw,
turn it on, and start cutting, you will draw a crowd. But,
Customized and personal emblems and military
you always have to keep coming up with fresh ideas and insignias like this one are very popular at
new products. We are always gauging customer reaction Dollywoods Sawdust and Shavings craft shop.
to find out their likes and dislikes.

Vicky: To get this point, it took years and years of accumu-
lated hours of effort and design work. And it takes every SSW: What advice can you offer to first-
minute of our day just to keep up with it. We dont have time scrollers?
anybody else to help us, so the workload is unbelievable Vicky: Dont stay on the lines all the time,
when you are doing it 7 days a week, 12 hours a day. We try and learn to use your imagination.
to put out new ideas constantly throughout the year. Mike: Lots of beginners tend to focus
on speed. I tell people to be concerned
more about accuracy, because speed will
come naturally with time. Start with the
simple projects, and work your way up
to the more difficult patterns. Lastly:
practice, practice, practice!
SSW: It must be very rewarding to touch

the lives of so many people with your
craft.
Mike: You see a grown man, who had
been in Vietnam, walk in here and look
at the military insignia wall. As hes
holding an emblem in his hands, hes
Always the teacher and mentor, Mike Lewis looks

on as his wife, partner, and soul mate, Vicky,
scrolls a personalized crest for a retired United
States Naval officer.
Personalized emblems are just some of the crafts youll find at the Sawdust & Mike and Vickys first book
Shavings craft pavillion at the Dollywood Theme Park. containing 64 pages of military
patterns will
be available
choking back the tears. Youve got to take that memory home with late-October
you. Thats not something you can just put out of your mind, 2000.
because you touched that individual. $9.95

ISBN#
Vicky: People from all over the United States have bought crafts 1-56523-146-5
from us, and there are bits and pieces of us all around the world. 64 pages, 8.5x11,
soft cover
It really makes us feel good when somebody purchases something
Scroll Saw Military Patterns
from our shop, because it is usually a gift for a specific individual By Mike Lewis
that really means a lot to them. So, there are bits and pieces of our Capture the honor and the glory of our countrys servicemen
and women with a scroll sawed plaque. All branches of the
hearts scattered in a lot of different homes as well. military are included.
More than 30 military insignia designs
Alphabet patterns for personalized designs
Helpful cutting hints
Mike Lewis teaches two-day scroll saw workshops at Army, Navy, Air Force and Marines designs
Dollywood each weekend from May through October. Plus designs for recruiters, National Guard, Seabees,
POWs, police and more
For more information on these classes contact Mike at: Available from Fox Chapel Publishing
1970 Broad St. East Petersburg, PA 17520
mlewis58@bellsouth.net or call Dollywood at: 1-865-428-9401. ORDER TOLL FREE AT 1-800-457-9112
Editors Note: On the Road will be a regular department in SSW.

If you know a scroller, or scrollers, who should be featured, please
e-mail your story idea to: mike@scrollsawyer.com.
The Grandfather of
Scroll Saw Picnics
Dale Whisler has firmly established Lancaster County, PA,
as the birthplace of the Scroll Saw Picnic phenomenon.
By Barbara Zercher, SSW editorial assistant
Where can you enjoy walking in the great outdoors, see

wonderful displays of scrollwork, watch demonstrations of the
latest scrolling equipment, meet pattern designers and fellow
scrolling enthusiasts, and sample tasty food? At a scroll saw
picnic, of course!
Dale Whisler, a scroll saw hobbyist, created the concept of a
picnic get-together for scrollers near his home in Stevens,
Pennsylvania, which is nestled amongst the rolling farmlands of
Lancaster County.
In the early 90s, Whisler taught himself how to scroll and
opened a small market stand to sell some of his work. There,
people who were interested in
learning more about the
Dale Whisler is considered the Grandfather of the
craft approached him
scroll saw picnic. often.
In 1994, he
decided to host a small gathering of interested
people at his farm to share ideas and learn
more about scrolling. On September 22 of that
year, Whisler and fifteen other people cele-
brated the first official Scroll Saw Picnic.
Everyone brought a covered dish to share.
They also brought a piece of their scrollwork
as a ticket for admission.
I really wanted the picnic to be a social
event for scrollers, not just another craft show,
said Whisler. People were looking for infor-
mation and advice.
events in the Midwest (Pontiac, Illinois; Hustler,
Wisconsin) the South (Lebanon, Tennessee), the West
Coast (Citrus Heights, California), and in Switzerland
and Australia.
In addition to new picnics, the informal gathering
of scrollers has also evolved into a dedicated associa-
tion: the Scrollsaw Association of the World (SAW)
was born at the Stevens Picnic.
David and Rhonda Sloan of Sloans Woodshop,
Lebanon, Tennessee, hosted the First Annual
Tennessee Scroll Saw Picnic on April 29 of this year.
In its inaugural year, the event brought in more than
600 people from 29 states. Its a lot of work to organ-
ize, but David and I really had a great time, com-
mented Rhonda Sloan. We had a couple of hundred
Scroll saw picnics give young scrollers a chance to hone their skills. more people than we expected, but we really enjoyed
providing the picnic-like atmosphere that Dale creat-
ed, David Sloan elaborated.
The following year, word-of-
Echoing Sloans thoughts, Whisler emphasized that
mouth invitations were spread, and
the picnic is meant to be a learning experience for
Whisler watched the crowd grow to
those new to the hobby and for those already addicted
sixty people. John Nelson, pattern
to it. People who come to a scroll saw picnic get to
designer, attended the picnic that
meet new folks and circle back with those theyve
year and was very impressed with
talked to and scrolled with for years.
the fun, informal atmosphere. John
was kind enough to mention the
event in his newsletter, and our
third year brought more than 300
participants from 30 states, Whisler
recalled.
To make the 1996 event even
more informative, Whisler invited
equipment manufacturers to come
and display their latest offerings.
Patrick Spielman was a featured
guest speaker that year.
The Pennsylvania picnic has con-
tinued to grow through the years
under Whislers capable direction,
and its success has sprouted similar
Dale Whislers distinctive sign welcomes scrollers to the

Stevens PA, scroll saw picnic.
You should see what she Saws!
Meet the exceptional Ashleigh St. Pierre, one of a growing number of
young folks who are learning the art of scrolling, both for fun and profit.
By Barb Zercher, Scroll Saw Workshop Editorial Assistant
Photography by Troy R. Bennett STATS
Ashleigh St. Pierre is a happy, energetic ten-year old
living on Great Island off Maines rocky and jagged coast.
She enjoys a wide variety of hobbies and activities: run-
ning cross country, playing the fiddle, knitting, shooting
hoops with her friends and . . . using her scroll saw.
Learning the ABCs of Scrolling

Ashleighs dad, Bob St. Pierre, has enjoyed his own Name: Age:
woodworking hobby for many years. When he purchased Ashleigh St. Pierre Ten
his first scroll saw, a DeWalt, two years ago, Ashleigh asked Hometown:
if she could learn how to use it. Harpswell, Maine
Bob has always encouraged both Ashleigh and her Hobbies:
older sister, Danielle, in whatever endeavor they chose, and running cross country, playing a blue grass
he was supportive of Ashleighs interest in the saw. In fact, fiddle, knitting and cross-stitch, making
he built a platform for her to stand on because she was too scroll saw objects
small to reach the table. Favorite Designs:
The first thing I made was a little heart, Ashleigh ornaments, wall hangings
said. When I got better at it, Dad let me try a shelf. That
shelf, a Victorian design by Patrick Spielman, still hangs on
Favorite Woods:
Walnut, Mahogany,Aromatic Cedar
her bedroom wall.
While Ashleigh was learning the finer points of scroll-
ing, her father was making his own mark with the saw. He
shared some of his projects with his co-workers, and many
of them were interested in buying his work. When Bobs Ashleigh Takes Her Show on the Road
order list got longer, he asked for Ashleighs help. Her first As her interest in scrolling grew, Ashleigh expanded
paying project was a magnificent leopard head mounted on her marketing efforts to include craft shows, the school
black velvet and framed in a shadowbox effect. Christmas fair, blue grass festivals (her dad plays man-
At first, the guy who ordered it wasnt too sure about dolin in a blue grass band), and private orders.
letting Ashleigh do it, said Bob. But I told him she was Her mother, Sherri, has been her major craft show
as good as I was and he was really impressed with the fin- supporterhandling transportation, set-up, and helping
ished piece. This was a watershed event in Ashleighs with sales. Im really proud of her determination, said
scrolling career. Whats more, it gave her the seed funds to Sherri. There were times when Im sure she would
begin saving for her hearts desire: a kayak. rather have been playing, but she had orders to fill and
One of Ashleighs cedar
creations: a collapsible
bowl.
had to spend time at the saw. Ashleigh agreed to deposit half

of her earnings in the bank and was allowed to spend the
other half. It only took her about six months to earn
enough money to buy the kayak she wanted.
During the summers of 1998 and 1999,
Ashleighs scrolling horizons broadened considerably
when she and her father attended several scroll saw
events, including The Ultimate Woodcrafting Festival
in Augusta, N.J. They met many well-known scroll saw
experts including John Nelson, Garnett Hall, Dirk
Boelman, Patrick Spielman, and Bill Guimond.
Bob was very impressed with the support that Ashleigh
received from some of the best in the business. All the
professionals have been very supportive of Ashleigh,
he commented. Theyve given her advice, free
patterns, and a lot of encouragement. They
dont run into many scroll sawyers her age,
and especially not girls.
Ashleigh was very excited by John
Nelsons demonstration of his old-fashioned,
treadle-operated scroll saws. All the way
home, she pestered her dad to buy a treadle
saw. He finally agreed, and the 1880s vin-
tage Goodell has been a great addition to
Ashleighs craft show circuit ever since. The
treadle saw has been a terrific crowd pleaser,
noted Sherri. It really brings people over to
watch Ashleigh at work.
John Nelson was one of the first well-known
scrollers to recognize Ashleighs talent. When I first met her, I Ashleighs first commissioned piece has a stunning
leopard head mounted on black velvet.
Ashleigh exhibits her cutting form on this antique Ashleigh is very comfortable using her DeWalt saw.
Goodell treadle saw, which was built in the late Dont ask her how many hours she has spent with it
1800s in Antrim, New Hampshire. - she has lost count!
was amazed at how animated she was about this hobby, Bob and Sherri are understandably proud of their
he said. She has a very lively personality anyway, and daughters accomplishments. They also are firm believers
when we started talking about scroll saw projects, her that scrolling is a wonderful family hobby. Ashleighs
eyes just lit up. woodworking builds her self esteem, noted Bob.
At the 1999 New Jersey festival, Nelson took Although parental supervision is important, she handles
Ashleigh around and introduced her to other scrollers
and product vendors. They were all very generous with
their time and their supplies, Nelson mentioned. She
went home with lots of new patterns, blades, and advice.
Scrollings a Family Affair

Like many other coastal children, Ashleigh is a
descendent of boat-building artisans. Her father works at
a shipyard, insulating destroyer hulls for the U.S. Navy.
Bobs most recent woodworking project was a
mahogany kayak, so that he can join Ashleigh in her
adventures on the water. Moreover, Ashleighs woodwork-
ing skills have been invaluable in her schoolwork.
Recently, her fifth grade class built an eleven-foot skiff as
a team project. Like many of her pattern projects,
Ashleigh was able to use practical math skills, such as
measuring angles and interpreting dimensions. For the St. PierresAshleigh, Sherri, Danielle, and Bob (left
to right)scrolling is all in the family.
A sampling of Ashleighs
clocks, which are very
popular items at craft
shows.
the inventory records, the order records, and the buying

decisions. And the whole family gets involved with her
sales efforts.
When asked about advice for other parents, Bob said,
It is very important for parents to let the young scroller
set the pace. We have let Ashleigh make the decisions
about how far she wants to go with this.
Sherri also mentions the positive reactions of Ashleighs
friends and classmates: Her friends, especially the boys,
are very impressed when they see her work. It really
makes her feel good.
Finally, both Bob and Sherri are very grateful for the
support from the scrolling professionals theyve met who
have provided so much encouragement. We would like
to thank each person who has shown an interest in
Ashleighs work, and helped her improve her skills, said
Sherri sincerely. Its great that these people have taken the
time to help the younger generation learn. Without them,
woodworking would be a lost art.
Although she is soft-spoken, Ashleigh likes to talk
about her hobby. Her advice for other young people inter-
ested in scrolling: Make sure you take it slow. If you
hurry too much, youll ruin your projects, she says. And
pick things you like .. it makes scrolling more fun.
When asked about her favorite part of the hobby,
Ashleigh answers, I really like scrolling because its fun,
Ashleigh (left), Bob and Sherri (middle) and Danielle (right) and its a good way to earn money. Ask her about her least
enjoy kayaking as a family activity. Notice Bobs fine favorite part, and Ashleigh groans, Cleaning up the base-
workmanship on the larger boat. ment when Im done.

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6 Fun & Easy Free Patterns Scrolling on the Internet

Issue No.1 Fall 2000 www.scrollsawyer.com

The How-ToMagazine for Scrollers

All-New Projects Intarsia

SCROLLING THE DUKE

Pattern Project: The Little Dutch Windmill Clock

Pattern Project: The 3-D Mobile Bay Music Box

Pattern Project: The Triangular Desktop Organizer

Pattern Project: Scrolling the Duke

The Birth of the Scroll Saw Picnic

Welcome to Scroll FALL 2000

Saw Workshop Volume 1, Number 3 (Issue No. 1)

Hello, my name is Mike Our Mission:

Domestic Newsstand Distribution

Without the benefit of written language, the coastal Indian tribes

Preparing the material

Scrollsawyers Table Tip:

About Totem Poles

Dowel, 1/4" dia. x 2 1/4" 13/4"

Roundover all edges (3/8" Radius)

3/4" x 1 1/2" x 1 3/8"

WINGS: Painted on details

3/4" x 1 1/2" x 2 5/8"

T OTEM POLE Wings, 3/8" thick,

1/8"x 2 1/2" dia. plywood

Pays Tribute to a Scrollers Proud

Start with the blade section piece and make the

Editors Note: The pattern used in the project was

Make two from 1/4" stock

Whether your last name is Frankfurter or Crabtree, take a stroll

The editors at Scroll Saw

The submission deadline is

Please send us your best slides or high quality color prints,

We all know how to fire up the new scroll saw

Veering Off to the Right

Place the index fingertip from either hand on the

side of the blade at the outside of the cornerjust

About the Author

By Judy Gale Roberts and Jerry Booher Woods:

Materials & Tools

Assembling the nose and head sections prior to blending.

Cutting the 3-D Figures

STEP STEP Drill a 1/16-

Cut the large and small platforms at a 40-degree angle.

Center the revolving platform and mark three holes for

STEP STEP Drill a

Sand the side assembly smooth, making sure to remove

Glue and clamp the top and side

Project 2000 by Diana Thompson

Lightly sand all the figures with 220-grit sandpaper.

STEP Cutting line, cut on

Cut on 40 degree angle

Diagram indicates the layout of the pattern

Cutting line, cut on

Cutting line, cut

Small platform Base Top

Cut three of each pattern.

Cut one from each shade.

Cut three from first shade.

Tip for cutting tiny patterns. Cut

2 Cut three 4 Cut one 6 Cut one 8 Cut one

Kindred scroll saw spirits

resource worth exploring.

And best of all, theyre free!

SSW&C 01 Issue - Fall 2000

SSW&C 01 Issue - Fall 2000