Scroll Saw Wooden Bowls, Revised & Expanded Edition E-Book

Carole Rothman

• Herausgeber: Fox Chapel Publishing
• Kategorie: Lebensstil
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Seitenzahl: 222

Beschreibung

While wood bowls are commonly made on a lathe, this updated and expanded guided resource offers 30 projects for crafting beautiful bowls with the more accessible scroll saw. Each project is organized in a progressive learning format; beginning crafters can start with the most basic starter bowl and gradually work their way toward more elaborate bowls—such as laminated swag bowls; a flared lobed bowl made with varied angles; a thin, eight-segmented bowl; and an inward curving bowl. Original patterns for other types of vessels include a vase, a ginger jar, and a candy dish. For advanced wood crafters, an appendix expands upon the earlier material and pushes wood artists to create new patterns or adapt the existing ones to create art of their very own.

Leseprobe

Acknowledgments

Many people have helped and inspired me over the years—especially the staff at Fox Chapel, the members of its scroll saw forum, and my books’ readers, whose advice, support, and feedback have been immensely helpful. I’m grateful to my best friend and partner, Joe Ilardo, for his continued and invaluable support, and for the many hours he’s spent editing my work; my family, whose confidence has always been a comfort; and Dave van Ess, for his wonderful design apps and utilities. Sadly, shortly before this revision was begun, the scroll saw community lost one of its most ardent enthusiasts and mentors: Hanns Derke was a long-time friend and supporter, who convinced me early on that it takes a quality saw to do quality work.

Notice about photocopying patterns

Some photocopiers and home printers may not reproduce patterns accurately. To be sure your patterns are sized correctly, a test bar like the one at the right is given with each pattern. It will measure exactly 1" when the page is printed at the percentage designated for the pattern.

© 2009, 2019 by Carole Rothman and Fox Chapel Publishing Company, Inc., 903 Square Street, Mount Joy, PA 17552.

Scroll Saw Wooden Bowls, Revised & Expanded Edition (ISBN 978-1-56523-961-6) is a revised edition of Wooden Bowls from the Scroll Saw (ISBN 978-1-56523-433-8), published by Fox Chapel Publishing Company, Inc. This revised edition includes nine new projects. The patterns contained herein are copyrighted by the author. Readers may make copies of these patterns for personal use. The patterns themselves, however, are not to be duplicated for resale or distribution under any circumstances. Any such copying is a violation of copyright law.

All photos have been provided by the author except for the ones pages 64, 95, and 124 (which were also used on pages 6 and 7), as well as the images used on pages 187 and 190, which are by Mike Mihalo Photography.

Print ISBN 978-1-56523-961-6eISBN 978-1-60765-649-4

Library of Congress Cataloging-in-Publication Data

Names: Rothman, Carole, 1945- author.

Title: Scroll saw wooden bowls / Carole Rothman.

Other titles: Wooden bowls from the scroll saw

Description: Revised & expanded edition. | Mount Joy, PA : Fox Chapel Publishing Company, Inc., [2019] | Revised edition of: Wooden bowls from the scroll saw. 2009. | Includes index.

Identifiers: LCCN 2018059794 (print) | LCCN 2019000463 (ebook) | ISBN 9781607656494 (ebook) | ISBN 9781565239616 (softcover)

Subjects: LCSH: Scrollwork. | Jig saws. | Woodwork--Patterns. | Bowls (Tableware)

Classification: LCC TT190.6 (ebook) | LCC TT190.6 .R683 2019 (print) | DDC 684/.08--dc23

LC record available at https://lccn.loc.gov/2018059794

To learn more about the other great books from Fox Chapel Publishing, or to find a retailer near you, call toll-free 800-457-9112 or visit us at www.FoxChapelPublishing.com.

We are always looking for talented authors. To submit an idea, please send a brief inquiry to [email protected].

For a printable PDF of the patterns used in this book, please contact Fox Chapel Publishing at [email protected], stating the 9781565239616 and Scroll Saw Wooden Bowls, Revised & Expanded Edition of the book in the subject line.

Contents

INTRODUCTION: About This Edition

CHAPTER 1: Bowl Basics

CHAPTER 2: Basic Stacked Bowls

Basic Bowl: A Step-by-Step Guide

Eight-Petal Bowl

Rounded-Square Bowl

Scrolled-Top Bowl

CHAPTER 3: Laminated Wood Bowls

Double-Swag Bowl: A Step-by-Step Guide

Embellish a Bowl with Plywood: A Step-by-Step Guide

Spalted Sycamore Flared-Rim Bowl: A Step-by-Step Guide

Basket Duo: A Step-by-Step Guide

Basket Weave Bowl

Plaid Bowl

Gingham Bowl

CHAPTER 4: Multiple-Angle Bowls

Crisscross Bowl: A Step-by-Step Guide

Scrolled Yarn Bowl: A Step-by-Step Guide

Oval Scalloped Cypress Bowl: A Step-by-Step Guide

Ripple-Edged Round Bowl

Four-Petal Curved Bowl

Heart-Shaped Bowl

CHAPTER 5: Thin Wood Bowls

Eight-Segment Bowl: A Step-by-Step Guide

Dizzy Bowl: A Step-by-Step Guide

Open-Segmented Oval Bowl: A Step-by-Step Guide

Multi-Colored Twenty-Segment Bowl

Seven-Lobe Ripple-Edged Bowl

Center Lamination Bowl

CHAPTER 6: Thinking Outside the Bowl

Double-Swirl Vase: A Step-by-Step Guide

Walnut Vase: A Step-by-Step Guide

Blooming Petal Bowl: A Step-by-Step Guide

Ginger Jar

Footed Candy Dish

Rounded Vase with Laminated Rings

Ripple-Edged Vase

APPENDIX: Creating Patterns

ABOUT THE AUTHOR

Introduction: About This Edition

It’s been almost ten years since the publication of Wooden Bowls from the Scroll Saw. Since that time, I’ve tried many new designs, profiles, and laminations, without ever losing my fascination with scrolled bowls. The variety and beauty of the objects that can be made from small pieces of wood is nothing short of astounding.

I’ve discovered tools, both virtual and actual, that open doors to new types of projects and to a greater level of precision. I’ve fine-tuned my skills and increased my appreciation of the importance of seemingly small details. The overriding goal for this revision is to share what I’ve learned with my readers by incorporating it, wherever relevant, into project instructions.

The publication of a new edition of this book has made it possible to add updated material in an organized and systematic manner. Chapter One, originally titled “Getting Started,” has been completely revised. It now includes both basics essential for new bowl makers and material of interest to those with advanced skills.

The book retains 21 of the projects that appeared in the first edition, and has been expanded to include 9 additional ones. Some of the new projects have never been published; others have appeared in Scroll Saw Woodworking & Crafts. They all reflect growth and innovation that were still on the horizon when the first edition was published.

Whether you’re new to making scrolled bowls or have many under your belt, you’re sure to find projects you’ll enjoy and challenges that will help move your work to the next level.

My ongoing love affair with scrolled bowls lies somewhere between a passion and an addiction, and I wouldn’t have it any other way!

- Carole

Round Bowls

Basic Bowl and alternate, see here

Scrolled-Top Bowl, see here

Double-Swag Bowl, see here

Embellish a Bowl with Plywood, see here

Spalted Sycamore Flared-Rim Bowl, see here

Basket Duo, see here

Basket-Weave Bowl and alternate, see here

Plaid Bowl, see here

Gingham Bowl and alternate, see here

Eight-Segment Bowl and alternate, see here

Dizzy Bowl, see here

Multi-Colored Twenty-Segment Bowl, see here

Petal Bowls

Footed Candy Dish, see here

Eight-Petal Bowl, see here

Oval Scalloped Cypress Bowl, see here

Four-Petal Curved Bowl, see here

Blooming Petal Bowl, see here

Wavy-Edged Bowls

Ripple-Edged Round Bowl, see here

Seven-Lobe Ripple-Edged Bowl, see here

Rectangular Bowls

Rounded-Square Bowl, see here

Crisscross Bowl, see here

Center Lamination Bowl, see here

Other Bowls

Scrolled Yarn Bowl, see here

Heart-Shaped Bowl, see here

Open-Segmented Oval Bowl, see here

Ginger Jar, see here

Vases

Double-Swirl Vase, see here

Walnut Vase, see here

Rounded Vase with Laminated Rings, see here

Ripple-Edged Vase, see here

CHAPTER 1

Cutting the bowls in this book requires tilting your scroll saw table. The angle is determined by width of the rings and the thickness of the stock used.

Bowl Basics

Scrolled bowls are created from concentric rings cut at an angle, then stacked, glued, and sanded to the desired shape. Making a functional and attractive three- dimensional object from a flat piece of wood is quite amazing, not to mention economical. It’s also a perfect way to use up wood you have on hand. This chapter introduces the steps involved in making a scrolled bowl. Although the focus is on bowl basics—the materials, tools, and techniques you’ll need to get started—I’ve included information that will be useful for bowl makers of any skill level who are seeking to improve the quality and variety of their work.

Attention to grain and color helps ensure an attractive bowl.

Choose wood carefully

Examine boards before you buy them. Wood that is cupped, twisted, or otherwise defective is usually no less expensive than perfect pieces with attractive grain.

Choosing the Wood

The first step in making a bowl is choosing the wood. The stock used for scrolled bowls typically varies in thickness from ½” (13mm) to 1” (25mm), depending on wood type and project design. Most of the projects in this book are cut from ¾” (19mm) stock, a thickness generally available wherever hardwood is sold. This thickness accommodates a variety of profiles and angles and is generally easy to cut. Thicker wood is more challenging, requiring a slower feed rate to keep the blade from deflecting and distorting the cut.

It’s hard to resist the temptation to push the wood through the blade, especially if the cut is a long one, but the payoff for feeding the wood slowly is an accurately cut ring that will be far easier to work with. As you gain experience, you’ll learn how to manage thick and dense wood through proper technique and careful blade selection.

Selecting the primary wood

Many types of wood are suitable for scrolled bowls, either by themselves or combined with contrasting woods. I call these “primary woods” to differentiate them from wood best used for decorative accents. Here are some primary woods that are readily available and moderately priced.

Aspen

Although more difficult to find than in past years, it is relatively inexpensive, easy to cut and shape, and, when sanded well and shellacked, looks like ivory or porcelain. It is best used alone, since its softness makes it difficult to sand evenly when combined with harder wood. It is also vulnerable to discoloration from sanding dust and bleeding when combined with strongly colored woods.

Poplar

Inexpensive and easy to cut, popular is attractive when clear and light colored. Avoid pieces with large brownish-green patches, unless deliberately chosen for a special effect.

Cedar

This popular wood comes in many varieties and is easy to cut and sand. However, some types can cause respiratory problems and rashes, and others are prone to brittleness, so be sure you’re familiar with the characteristics of the variety you’re considering.

Mahogany

There are many types of mahogany, varying greatly in cost and beauty. All varieties are easy to cut and sand. Boards with dramatic grain, or with chatoyance (a shimmering quality), are most effective when used by themselves, with simple designs that showcase their beauty.

Maple

Either hard or soft maple is a good choice for a light-colored bowl, or for combining with a darker wood. Since color cast varies, choose your piece carefully to get the effect you want.

Cherry

A longstanding favorite of bowl makers and other woodworkers, cherry is vulnerable to burning when cut. To minimize or prevent this problem, cover the wood with clear or blue tape to lubricate the blade.

Walnut

Slightly more expensive than other common hardwoods, this attractive wood is easy to cut and sand. It also contrasts well with lighter-colored woods, such as cherry and maple.

Oak

Both white and red varieties work as stand-alone woods, or in combination with other hardwoods. Its distinctive grain pattern can produce unusual and dramatic effects when cut at an angle.

Selecting wood for combinations

Whether gluing in strips to create swags or vertical stripes, or layering wood horizontally, there are three factors to keep in mind.

Color contrast

Color contrast can be subtle, as with poplar and cedar, or dramatic, as with walnut and maple. Be aware that even boards from the same species can differ slightly in color. Walnut, for example, can vary from warm brown with a reddish cast to a cooler, brown-gray hue. These differences will become apparent as you try out different wood combinations, and can make one board a more appropriate choice than another. Since the finished color may be difficult to predict, you can preview the final results with an application of mineral spirits.

An application of mineral spirits will approximate what the wood will look like when the finish is applied.

Found Wood

Many of the bowls in this book were cut from “found” wood. I’ve rescued large boards of varnish-covered mahogany and teak from an old storage shed, and repurposed hard maple from my sons’ baby dresser. I’ve even done my share of dumpster diving. However, my best discovery was a local cabinet shop whose craftsmen tossed bowl-sized cutoffs of beautiful hardwoods into bins to be used for firewood. They were pleased to find a better use for their cutoffs, and the chance to “talk shop” with experienced professionals was an unexpected bonus. Be creative with your sources. You’ll benefit, and so will the environment.

Hardness

When possible, choose woods that are similar in hardness, like cherry and maple. They will be easier to sand smooth when glued together. Woods that are somewhat softer, like walnut and mahogany, can be combined successfully with slightly harder ones if care is taken to sand them evenly. Avoid great discrepancies in hardness—the beauty of the color combination will most likely be undermined by the uneven finished surface.

Sanding dust migration and color bleeding

The dust from strongly colored accent wood like padauk and redheart can migrate into the pores of adjacent pieces during sanding and discolor the wood. For this reason, it’s generally not wise to pair light-colored, porous wood with strongly colored exotics. However, if your design demands that you do so, vacuuming the workpiece frequently as you sand can often remove the offending dust. Strongly colored wood can also bleed into adjacent areas if the finish is applied too generously. Minimize this likelihood by using light coats of finish. Fortunately, the discolored areas can usually be corrected with an application of the appropriate solvent, and the finish repaired.

Don't be afraid to try new woods and combinations. If you don’t want to commit to a full-size project, make a small prototype to see how the wood cuts and sands. I’ve made my share of “designer sawdust” but have also had some wonderful discoveries—you’ll never know how things will work out unless you try.

Cutting the Rings

All the projects in this book are made from concentric rings that are cut at specific angles. These rings can be circular, but they can also be cut in a vast array of profiles, such as ovals, rectangles, and multi-lobed shapes. Beginning projects use patterns that provide cutting lines for each ring. More advanced projects, especially those with rings cut at various angles, use patterns that provide cutting lines for the first ring only; once cut, the first ring serves as the pattern for the second. The second ring serves as the pattern for the third, and the sequence continues until all rings are cut. This method requires precise cutting but gives very good alignment when the rings are stacked. Patterns are usually attached with a temporary bond (repositionable) adhesive. If your design is circular, you can bypass a paper pattern entirely and draw the rings directly on the wood with a good-quality pencil compass.

Marking the bowl

As you make your bowl, you’ll be directed to draw pencil marks of various types on the blank or rings, including registration lines, also referred to as “guidelines.” The type of pencil used can make a difference. Lines drawn with a harder lead are more precise but are lighter in color and more difficult to see. They may also score the wood if too much pressure is applied. Lines drawn with a softer lead are more visible but less precise and can leave graphite particles that penetrate the pores of soft woods like aspen. If you keep a variety of pencils on hand, you can choose the best match for each situation. For dark woods like walnut or teak, you can use a white pencil if precision is not required, as when marking glue spots or indicating ring orientation. Before gluing or sanding areas containing pencil marks, transfer any you’ll still need to adjacent surfaces, then erase the originals.

The useful awl

In this book, the awl is used for several important purposes. The first is to center patterns on the blank, which is done by inserting the point of the awl through the center of the pattern and placing it at the intersection of the guidelines. The second purpose is to create an indentation to keep the drill bit from wandering when drilling an entry hole with an angle guide. Be sure to keep your awl handy while progressing through the projects.

Beginning projects, such as the basic bowl, include a pattern for each ring.

More advanced projects will have a pattern for the first ring only. Each ring will then be used to create the next one.

Selecting the right blade

In the first edition of this book, I was clear in my preference for #9 Flying Dutchman blades, in reverse and ultra reverse tooth configurations. Although these are still appropriate choices, I’ve expanded my recommendation to include two blades made by Pegas, the Super Skip and the Modified Geometry, in the #7 size. These blades are such effective cutters that, depending on the wood, even a #5 could be used. The advantage of a smaller blade is its greater maneuverability and the option to use a smaller drill bit for the blade entry hole. I’d recommend trying the Pegas #7, in either configuration, as a starting point. Regardless of choice, be sure that the blade is tensioned fully to reduce the chance of deflection as you cut.

Table tilt and cutting direction

Most scroll saw projects are cut with the saw table perpendicular to the blade. Projects using angle cuts, such as double bevel inlay, relief cutting, and collapsible baskets, typically use small angles, no greater than 4˚. To someone who has never cut at a steep angle, making accurate cuts with the saw table or arm tilted between 15˚ and 45˚ may seem nearly impossible.

If your scroll saw has a tilting table, the instructions will direct you to tilt the left or right side of the table down to a specified angle. Nearly all saws with tilting tables have a full 45˚ tilt to the left but vary in degree of tilt to the right. For this reason, “left side down” has become a convention, although the direction of table tilt will always be specified.

If your saw has a tilting arm, just reverse the direction of the tilt given for the table. “Left side down” for tilting tables is the equivalent of “right side down” for tilting arms.

Cutting a ring in a clockwise direction means that the wood is moving counterclockwise. The cut will be wider on the upper face than on the lower one.

Blade tensioning

1. If blade slippage occurs when using higher tension, the blade ends can be lightly sanded to remove any residual oil. Clamping screws can also be sanded or filed to remove any oil, dirt, or burrs that may be contributing to the problem.

2. The blade holders on some scroll saws require considerable finger strength to tighten sufficiently to prevent slippage. This problem can be solved with an easy-to-make tightener that slips over the knob. To make this simple device, trace the outline of your scroll saw’s blade-holder knob on a small block of wood, drill out the center, and cut along the outline. Be careful not to over tighten to avoid stripping threads or breaking the clamp.

This shop-made device makes it easy to tighten blade holders.

When cuts are made with blade and table perpendicular to each other, cutting direction is a matter of preference. When cuts are made at an angle, direction is critical and always clearly specified in the instructions. Nearly all cuts are made in a clockwise direction. This means that you are rotating the wood counterclockwise as it moves through the blade. In other words, the blade appears to be moving clockwise because the wood is being rotated counterclockwise. A ring cut in this manner, with the saw table tilted left side down, will have a larger diameter on the upper face than on the lower. Those few situations when counterclockwise cutting is needed are indicated clearly in boldface.

Drill holes using the smallest bit that will accommodate your blade. The smaller the hole, the easier the sanding will be later on.

Sanding away drill marks may be tedious, but the alternative—cutting into the ring—leaves permanent cut lines on the sides of the bowl.

Drilling blade entry holes

Cutting the outermost line of the bowl is easy—you enter the cut from the edge of the blank, then follow the pattern around until you reach your starting point. However, once that cut is made, a blade entry hole must be drilled on the next cut line so you can insert the blade and complete the ring. The angle at which this hole is drilled is usually the same as for the first cut and will be clearly specified in the instructions. The easiest way to drill the hole is with a rotary tool and shop-made angle guide. For best results, use the smallest bit that will accommodate your blade, no larger than a #54 or #56 wire size. Avoid drilling back-to-back holes on the same ring by alternating sides on successive rings, and don’t be tempted to cut into the ring instead of drilling the blade entry hole. Even if you cut with the grain, vertical lines that cannot be sanded away will be left on the sides of the ring.

Making and using an angle guide

Cut a scrap of ¾" (19mm)-thick hardwood into a rectangle measuring about 2" x 1½" (51mm x 38mm). Cut one side to the desired angle and mark this angle on top for future reference. To use the guide, mark the entry hole on the pattern with an awl. Place the edge of the guide at the hole, angled edge toward the center of the bowl blank. Place the drill bit along the guide and drill through the blank. If the bit is too short to go all of the way through with the guide in place, slide the guide out of the way to complete the hole.

Having an assortment of angle guides on hand makes it easy to drill a hole at the proper angle.

Demystifying the cutting angle

Computing the cutting angle isn’t magic, just trigonometry. For every combination of wood thickness and ring width, there is a cutting angle that will produce a perfect alignment when concentric rings are stacked. This angle is usually referred to as “the” cutting angle, and bowls made from rings cut at this angle have straight sides. To make curved-sided bowls, the first ring is cut at “the” cutting angle, but then the cutting angle is increased with each successive ring.

Instructions for all projects in this book provide the required cutting angles. However, these angles will only work as expected if your blank is the thickness specified in the materials list. If you want to use wood that is thicker or thinner, you will need to compute a new cutting angle. For straight-sided bowls, the angle you compute is the one you’ll use for all the rings of the bowl. For curved-sided bowls, the angle you compute will be used for the first ring only, then increased with each successive ring. Computing the angle is not difficult, and on see here you’ll find the information you need to do this. You can also go to scrollmania.com, where you’ll find an app that does the computation for you once you’ve provided the wood thickness and ring width. This easy-to-use site, designed for makers of scrolled bowls, also contains powerful tools for creating your own bowl patterns.

A bowl with rings cut at a constant angle has sides that form a straight line.

Curved sides are created by increasing the cutting angle from ring to ring.

The chart on see here gives the cutting angles for three typical ring widths, using stock that is ½” (13mm) or ¾” (19mm) thick. Cutting your rings at these angles will result in a near-perfect alignment when used to make a straight-sided bowl from a single piece of wood. If you do the computations yourself, you’ll find that I’ve added in a small margin for error for all but the 45˚ cut. For example, the computed cutting angle for the combination of 3/8” (10mm) ring width and ¾” (19mm) blank thickness is 26.6˚, not 28˚.

Patterns and project size

Every pattern in this book specifies its exact size when copied at the designated percentage. After making your copy, be certain it is sized correctly.

To change the size of a project by reducing or enlarging the pattern, you must either redraw the rings to their original width or change the cutting angle. To do so, use the formula on see here or the Angle Calculator that can be found at scrollmania.com.

I’ve made adjustments like these throughout the book to compensate for minor cutting deviations and imprecise angle settings on the scroll saw. These angles are sufficiently precise for a good alignment, and provide a little extra wood to compensate for miscuts. However, if you use a digital angle guide to set your saw and are confident in the precision of your cuts, you can decrease that margin and use 27˚, for example, rather than 28˚, for a slightly better alignment. Information on using multiple angles to produce curved sides is introduced in Chapter Four.

Cutting angles for straight-sided bowls

Wood thickness

Ring cutting

Cutting angle

½" (13mm) stock

½" (13mm)

45˚

½" (13mm) stock

3/8" (10mm)

38˚

½" (13mm) stock

¼" (6mm)

28˚

¾" (19mm) stock

½" (13mm)

34˚

¾" (19mm) stock

3/8" (10mm)

28˚

¾" (19mm) stock

¼" (6mm)

20˚

Gluing

Once the rings are cut, they are stacked and checked for spaces between them. This can be done by shining a light behind the stacked rings or by trying to slip a thin strip of paper between them. If you can see any light, or if the paper slips in at any point, you have a space created by the rings not sitting flat against each other. Even if the blank started out flat, forces released while cutting the rings can result in a slight cupping. If not corrected, even small spaces between adjacent rings can cause unsightly glue lines. Resist the temptation to use clamping pressure to close the gaps. The likelihood that the rings can be forced completely together is small, and it takes little time to correct the problem. The best “tool” for eliminating spaces between rings, often referred to as “flattening the rings,” is a full sheet of 150-grit