Home Accessories

Gargoyle Book Rack

Make from 1/2" thick material.

Gargoyle Pattern For Scrool SawScroll Saw Patterns
Bore 9/64w diameter holes for two No. 6 x V9 screws to attach uprights to ends of the shelf«
Gargoyle Pattern For Scrool Saw

Scissors Holder

Make from 1/4" thick material.

Join the pattern sections along line (A-B),

Make from 1/4" thick material.

Join the pattern sections along line (A-B),

Scissors Holder

Scroll Saw Book Holder

FEET

Make 2

Make a 45° bevel on the front and outside edges. This drawing of the piece, for example, shows the bevels on the left foot.

FEET

Gargoyle Pattern For Scrool Saw

REAR SUPPORT

Bore V24" diameter holes for two No. 6 x W screws to fasten each end of both rear supports to the uprights.

Make 2 rear supports 1/2" x 13/4" x 16". (The length can be altered as desired; make any changes needed for the shelf length as well.)

REAR SUPPORT

SHELF

REAR VIEW

Make from W thick material.

loin the pattern sections along line l(A-Ii)

Outline Loin

Dashed lin« indicate positions of spacers between the panels.

Plant Thick Line Drawing Image

FRONT PANEL

Plant Hanger

Enlarge the pattern 200% on a photocopy machine.

Make from V-T thick material. Adjust widths of joint areas as needed.

Predrill holes for screws to attach the bxse to uprights.

When you are ready to assemble all of the pieces, attach the base with glue and wood screws.

Scroll Cut Animals

BOTTOM PANEL

Adjust width of joint area, as needed, to match the actual thickness of the material you will be using.

Lay your material on edge directly on the pattern, and trace the outline; saw slightly to the inside edge of your newly-drawn pattern lines; sand or file to fit.

JOINT AREA

Scroll Saw PatternsScroll Saw Patterns Names

As with the pattern at left, adjust the joint area to match the actual thickness of the material you will be using.

Lay your material on edge directly on the pattern, and trace the outline; sawf slightly to the inside edge of your newly drawn pattern lines; sand or file to fit.

JOINT AREA

Copyrighted material

Victorian Wall Shelf

Make from 1/4" thick material

SHELF SUPPORT BRACKET

Make from 1/4" thick material

Scroll Saw ShelvesScroll Saw Pattern SwanScroll Saw Patterns

Swan Napkin Holder

Make Wings and Spacer from W thick material. Make Heads, Legs and Base from 1/2" thick material

Scroll Saw Patterns Napkin HolderScroll Saw Pattern Swan

SIDE VIEW

Side View Scroll SawScroll Saw Photo Frames Patterns

SPACER

Since thicknesses of most materials vary, adjust the width of the half-joint to match the material you are using.

Lay your material on edge directly on the pattern, and trace the outline; saw slightly to the inside edge of your newly drawn pattern lines; sand or file to fit.

Half-joint

Half-joint

Scroll Saw Patterns And OutlinesScroll Saw Patterns And Outlines

BASE

Swan Dotted Line

Locations are shown for pieces that attach to top of the base

House Sign

Make from W thick material.

Make 2 copies of the pattern on these pages and join the dotted lines together to make the full-size pattern to produce the ornamental background for the sign. (See illustration on the facing page.)

Note: You may want to enlarge the patterns to accommodate long names.You can also reduce or enlarge the alphabet on page 80 to fit.

Ornamental Alphabets

ORNAMENTAL BACKGROUND

LETTERING

LETTERING

Cut Circle With Scroll SawScroll Saw AccessoriesScroll Saw Accessories50th Anniversary Gifts Scroll SawAnniversary Scroll Saw PatternsAnniversary Scroll Saw PatternsAnniversary Scroll Saw PatternsAnniversary Scroll Saw PatternsScroll Saw Lettering Plaques50th Anniversary Plaques Scroll SawAnniversary Scroll Saw PatternsAnniversary Scroll Saw PatternsAnniversary Scroll Saw PatternsScroll Saw Lettering PlaquesScroll Cut AnimalsScroll Saw Anniversary

Anniversary Gift

Make from 3/4M thick material.

This project is designed to hold a 2W diameter photo frame insert requiring a 1 1-Vi6,f diameter mounting hole. Carefully saw on the outermost line or bore with a l*11 Forstner bit and enlarge the opening to the outermost line with a drum sander.

Use the contractions below and the numbers opposite to modify the pattern as needed: 1st. 22nd, 25th, 33rd, 40th, or whatever.

Anniversary Scroll Saw Patterns50th Anniversary Plaques Scroll Saw

TOP VIEW OF BASE

Shown half size

Scroll Saw Wedding Name Plaques

OPTIONAL Add a V«" * 3" or 1" x 4" brass plaque with names and date.

No 6*1" flathead wood screws.

Bevel or shape edges as desired

OPTIONAL Add a V«" * 3" or 1" x 4" brass plaque with names and date.

No 6*1" flathead wood screws.

11/4

11/4

Copyrighted material

Tying the Knot

A gift co make for newlvweds or wedding anniversaries. Use the following patterns to create names, dates, and decorative elements for the project. Then follow the instructions to make a backer board on which to mount the parts.

Wedding Scroll Saw Pattterns

DETERMINING THE SIZE OF THE BACKER BOARD

Get a large sheet of paper, approximately 17" x 22". (Or tape smaller sheets together as needed.)

On the paper, draw a vertical line (A-A) down the center Also draw a horizontal line (B-B) to create the center point on the paper.

Place a compass at the center point and draw a 7 i/hm diameter circle, indicated as (1) on the following page, with a 3 cVi6" radius.This is the mounting area for the large decorative circle.

Extend the compass 1M to draw another circle (2). Use this circle as your guide to place the names above the circles, and dates below it, as shown in the illustration on the following page.

Short names like "Dirk & Karen % will fit on one line, but you will need additional circles/lines for longer names such as " Bartholomew and Elizabeth," or to include last names. Extend the compass an additional 1 W for each line, as indicated by circles (3) and (4).

After placing the names and dates m proper locations (centers on the line A-A ), determine placements for the corner brackets: Measure the widest portion of your project (e.g., Bartholomew); add a minimum 1/8" beyond each end, and mark to produce two vertical lines (C-C).

From the top edge of the topmost line of letters, add W and draw a horizontal line (D-D).

Measure down 4' below a ale (I); draw horizontal line (E-EL

Place the large heart -V sw above line (E-E), and position the four brackets in the corners prvKluced by the lines (C-C, D-D, E-Eh

Finally, add a line ! 4M bevond the lines (C-C, D-D, E-E) to define the size of the backer board. (This W space fits inside rabbet of hp of the frame.)

At this point, obsenr completed layout and wake adjustments as desired. Measure and cut the backer board from '/4" thick material.

PLANNING THE FRAME

To determine the quantity of material you need tor your frame: Measure the width and length of your backer board; add 2" to each

dimension, and then double that number For example: Assume your backer board is HP x 14 V:" as shown below. Add 2" to each dimension, making them 12" and 16 1/2". Double these numbers, which equals 24" and 33". Just add these together for a total of 57" of framing material needed.

Picture Frame Backer Board

BACKER BOARD

DETERMINING THE SIZE OF YOUR BACKER BOARD

Adding •/4 to outside of lines C. D. E. will determine the size of the backer board.

MAKING THE FRAME ...

The frame is made from 5/8" x 1 Vh" material On the bottom edge, use a router and bit to create a rabbet or lip 1/4" wide by 1/4" deep. Use a round-over bit to shape the top edge as shown to the right.

CUTTING FRAME PIECES TO SIZE

Once again, refer to the dimensions of your backer board. Add 1 3/4" to both dimensions. (For example, using our backer board illustrated on facing page, which is 10" x 141/2",

+ 13/4" = 16 l/V.) You will need two pieces cut at each length you determine for your project. Miter both ends of each piece at 45°.

Test-fit the frame pieces around the backer board and adjust to fit, (See the drawing to the left where the backer board is shown with dashed lines.) Use glue to fasten corners of the frame. Clamp together until dry. Small brads can also be used to secure joints if desired.

Next, lay all the parts in their proper positions on the backer board. Remove one part at a time; apply glue to back side; and reposition onto backer board. (Do not glue the corner brackets in place until the frame has been attached to the backer board.) Before gluing the birds on, attach a length of cord or string to the heart, and wrap to form a knot-like area between the birds' beaks.

Attach backer board to frame. This can be installed permanently with glue and brads, or temporarily with clips or cleats.

Glue the corner brackets in place and attach a hanger to the back.

Cut Circle With Scroll SawScroll Wood Initials

Make doves from Vi thick material

Drill Vh diameter hole.

Make heart from */8 thick material.

Western Scroll Saw Art For Sale

7 W diameter circle cut from W thick material

Letters and Numbers

Cut Out Letters

Make from 1/2" thick material.

Painting with Wood

Advanced Scroll Saw Portraits

Scroll saw segmentation portraiture is an exciting technique that involves a combination of fundamental scroll sawing and wood staining procedures. With it, any scroll saw artist capable of following a line can create realistic-looking, three-dimensional wooden portraits. The designs featured in this section are those of the artist Kerry Shirts, who has shown extensively in galleries in the western United States and whose work has sold internationally.

As with other scroll saw techniques, the sawing process involves temporarily bonding a photocopy of the pattern to the wood and sawing the individual pieces following the pattern lines. Next, the pieces are stained or colored according to the pattern, then reassembled and glued, being set at differing degrees of relief, to give the product texture and depth. As with an oil painting, a scroll-sawn wood portrait looks more realistic when viewed at a distance. Like brush work on the canvas of a fine painting, details up close may not appear to make much sense; however, step back and the colors, tones, textures, and shadows merge into a wonderful, coherent image.

The majority of the patterns in this section will need to be enlarged with a photocopy machine. Where possible, enlargement recommendations given for the patterns are close to life-size, but you can make them any size desired. The projects range from elementary—involving just a few cut segments in simple shapes—to advanced projects with hundreds of pieces in highly detailed shapes. The procedures are essentially the same, the complex projects simply require more time. With the exception of the Fawn and the Leopard, very few inside cuts need to be made. Any size scroll saw capable of making consistently square, vertical cuts with commonly used blades is really the only tool necessary.

There are no hard and fast rules in the staining process. Patterns provide recommended staining instructions for coloring the individual pieces, but be aware that color intensity varies due to the absorbency levels of different woods. When finished, your project will not be an exact duplication of the photograph in the book. It will be your own creation, a one-of-a-kind piece of dramatic art that very likely neither you nor anyone else will be able to duplicate exactly again,Therein lies the enjoyment in making realistic scroll saw segmentation portraiture. What you are capable of producing with these basic techniques is virtually unlimited.

Applying the Pattern

Enlarge the pattern to the desired size, using a photocopy machine. Use scissors to remove the excess paper to within about '/2H of the actual pattern (see photo). Make sure that the front surface of the wood is sanded and dust particles removed with a tack rag.

Apply a temporary' bonding spray adhesive to the back of the pattern and hand-press the pattern onto the surface of the wood.

Scroll Patterns Scissors
A photocopy of the pattern is trim me J with scissors and ready to apply to the wood.

Cutting the Wood

Preliminary practice cuts are recommended for beginners until lines can be followed consistently and confidence is gained. Patience and practice are the keys to developing sawing skills.

Beginners should also use the hold-down and guard. Making quick, sharp, "on the spot" turns to cut inside corners and acute angles requires practice and a fairly narrow blade.

For most projects, the pattern provides thin cutting lines to follow.Try to cut directly on the line. Cutting too far to one side of the line may spoil the integrity of the design. Avoid backing up and recutting a line if you happen to wander away from the line of cut. This only widens the saw kerf", which should be maintained as one continuous narrow width or the size of a single cut.

Some projects require making inside cuts. Simply drill a small hole through the work piece in an inconspicuous place.Thread the blade through the hole in the work piece, reattach it to the saw, and begin cutting.

Cut out the pattern segments, using the scroll saw (see photo). Use a medium (No. 5) or smaller (No. 2) blade as dictated by the amount of cutting detail and sharp radius turns required. Remember that all cuts must be perfectly vertical so the cut pieces can separate easily from the uncut segments.

Do not attempt to get extra use from a dull blade. Immediately change to a new blade at the first signs of charring in the cut. This will save you from immense frustration later. Dull blades tend to wander from the line of cut and make inclined cuts that are not vertical, resulting in beveled edges that interlock and refuse to separate*

Portraits With Cut Segments
Typical portrait segments/or the Dig Horn Ram project are being cut. AH pieces are sawn free, working from the outside inward. This and most other projects do not require making inside cuts.

Staining the Pieces

Staining is the second key element of the process. Staining can be as simple or as artistically complex and challenging as you wish to make it. Protective measures are recommended because staining can create quite a mess. Have wiping rags or paper toweling on hand to clean up spills and drips. Protect work areas with disposable papers, drop cloths, or plastic sheeting. Wear rubber gloves, if having stained hands is offensive, and wear a shop apron to protect clothing.

The staining process is not bound by rules. In fact, experimentation is strongly encouraged. There are, however, a few tips and suggestions that will be helpful. First, when cutting the individual segments free with the scroll saw, mark the back surface of each piece with an "X "This will keep the front surfaces properly oriented when staining and assembling the project.

Essentially, the object is to use just a few stains or coloring mediums creatively to achieve a wide range of color tones. These few might range from deep black to medium to a very light brow n that still contrasts with the whiteness of the unfinished wrood.

Most of the recommended colors come from using just two basic stains: Golden Oak and Black or Dark Walnut stains (see photo). Other stain colors occasionally used for creating highlights and special effects are Red Mahogany and Salem Maple. For a jet-black look, apply a very heavy coat of Black Walnut stain and wait up to several days for it to dry, or simply use black liquid ink.The color intensity can be controlled somewhat by how the stain is applied and allowed to dry.

By mixing, layering, wiping, and smearing stains together, a near infinite variety and depth of color can be obtained.

Note: Generally, for these projects, unevenness in the application of stain is desirable. Very few things in nature are smooth and perfect; i.e., animal fur is not always groomed. Uneven effects look more like natural fur or feathers.

When the pattern key specifies, "Golden Oak mixed with Black Walnut," the two stains should be smeared together on the wood, not mixed together in a separate container. Mixing in a pan just creates another even shade. "Smear-mixing" can be done with a finger, the corner of a cloth rag, or with a cotton swab. Usually, it is best to smear Dark Walnut stain over the Golden Oak stain while it is still wet. Carefully study project photos; it can help determine which pieces have mixed colors and which do not.

Some lighter tones of Golden Oak stain on areas of certain pieces will also be noticeable. A soft, lightly colored effect is accomplished by wiping the surface immediately after the stain has been applied. This technique leaves just a little pigment on the wood—enough to contrast w ith the unstained pieces (see photo, right). With a little practice with a rag, it is possible to create a blend or faded effect on a highly visible segment. This technique has been effectively applied to the beak on the Vigilant Eagle I lead on page 109.

Scroll Saw Wood Segmentation
Just two stains, Golden Oak and Dark Walnut, arc the primary colors used on every project. Disposable aluminum cake tins are great for dipping and slosh'Staining with a foam bntsh.
Notice the color differences beiween two pieces of soft maple where one is stained Golden Oak and the other is left unstained.

Creating a Spotted Look

One method employed on the Fawn on page 108 and the Leopard 011 page 115 is to actually cut out the spots, or a series of connected spots, stain them separately, and reinsert them.This requires drilling a small blade-threading hole for every cutout. Spotted effects can also be created with contrasting drops or smudges of stain.

The spots on the Leopard are done by first applying a coat of Golden Oak stain; allowing it to partially dry (two to three hours); then, while it is still "tacky," using a small brush to daub on spots of the same Golden Oak stain.

Since oil and water do not mix, water is another method that can be used to create a spotting effect. Test this first 011 scrap. Apply the background stain as usual to the wood. While the stain is still wet, drip some water 011 it and "pat" it around with your finger so you do not have perfectly round drip spots. Once you have manipulated the water to spot or achieve the ruffled fur look you want, allow the piece to dry on a level surface.

Gluing the Assembly

The stained segments are assembled much like the pieces of 3 puzzle and then glued together. Some of these pieces are positioned higher and elevated above the surfaces of adjoining pieces to create a 3-D relief effect. See photos at right. The amount of relief can range from l/i6" to Vi6,f—again there are no hard and fast rules.

The gluing is a very basic process. Simply lay a bead of carpenters glue over the saw kerf on the back surface. See photo center right. Notice that we are not gluing for structural strength, but to maintain the relief level and to keep the pieces sticking to each other. The segments are not glued edge-to-edge as is done in conventional woodworking practices, common segmentation, or intarsia processes. The individual pieces are not glued to a backer either, although some could be. Later, entire portrait assemblies may or may not be glued to a backer, depending entirely on individual choice. Also, there are no shims glued under elevated segments, as is the practice in basic segmentation and intarsia work.

It may be best to glue separate sections of the portrait together before gluing others. Notice how all of the segments for the head of the Fawn were glued together as a single unit.The glue tends to run through wide saw kerf openings rather quickly, so turn the work front-side-up as soon as possible to prevent this from happening.

When viewing real life, the noses of animals and people are the closest to you. Therefore, gluing the nose segment farther out (higher in relief) than the eyes will make the project appear more realistic. Usually, but not always, darker stained pieces are shadows and they are glued farther back. White, unstained pieces represent highlights and these are usually (but not always) glued farther out, closer to the eye of the viewer. Side-by-side segments of the same stained color should alternate up and down slightly to cast small shadows to maintain relief and to give a textured look.

Here, two adjoining pieces are placed upside-down and positioned for gluing so the unstained piece will be about Wi6" to //*"
A bead fillet of glue being run along the saw cuts on the back surface. Notice the "X" marks that indicate the back surfaces.

Usinu; Highlighting Techniques

In addition to "smear-mixing" and blending stains to create a realistic look on individual pieces, some additional highlighting can be added either before, during, or after gluing the assemblage of segments together Just a little wipe of Salem Maple or Red Mahogany stain along one edge can have a dramatic effect (see photo, right). Also evident is the effective use of white paint to represent the glare glistening from a moist nose or to add realism to eyes.Very small dots can be applied with a toothpick or the pointed end of a small paintbrush handle.

The piece between the ears has been smear-mixed with (he addition of dark stain over the lighter. Notice the use of just a little Red Mahogany stain lightly wiped onto (he unstained (white) segments in the cars, by the eyes, and just below the nose. Also note the use of white paint to make the eyes seem to glisten and the nose look moist.

The piece between the ears has been smear-mixed with (he addition of dark stain over the lighter. Notice the use of just a little Red Mahogany stain lightly wiped onto (he unstained (white) segments in the cars, by the eyes, and just below the nose. Also note the use of white paint to make the eyes seem to glisten and the nose look moist.

Using Frames, Plaques, Backers & Display Props

Ebony Scroll Saw Wood

Hie Hagle Head (front view) is mounted on a rustic slab plaque.

There are numerous ways to display your completed "portrait." One is to frame it with a self-made or purchased molding (see photo at right). When framing, the portrait can be glued to a natural plywood backer that is unfinished, or whatever is desired. Usually, it is best to omit the placement of glass when framing.

Simple plaques with routed edges, such as the one developed for the Black Bear on page 1111 are other alternatives. Notice the rustic log slab plaque for the mounting of the Vigilant Eagle (see photo at right).

Many of the projects are nicely displayed without any kind of visible plaque or backer. In such cases, it is best to cut a backer from a piece of l/8" or '/4rt plywood slightly smaller (W to W) all around the profile outline of the portrait. Then glue the portrait to the backer, using construction-type gap-filling mastic or silicone adhesive.This adds to the structural integrity of the project without any visual distraction.The Big Horn Ram (below right and on page 113) is shown mounted to a simple painted plywood backer and a novel simulated stone plaque.

Hie Hagle Head (front view) is mounted on a rustic slab plaque.

Gun Scroll Saw ProjectsScroll Saw Compound Dragon Head

Making Simulated Stone Plaques

The simulated stone backer is a complementary way to mount wildlife portraits (sec photo). A piece of '/2M exterior plywood covered with W wire mesh provides the foundation for applying a home-use concrete patching mix. Cut the desired shape from the plywood and attach the wire mesh with a staple gun. Fold the edges over and attach to the back. Home-use concrete patching mix is available at local hardware stores and mixes with water. Wear rubber gloves and hand-smear the mixed patching compound onto the backer board.

While the mixture is still soft, stipple the surface with the bristle ends of a whisk broom to create a realistic-looking stone texture. When dry. attach the assembled wood portrait to the front surface with silicone, epoxy, or structural adhesive.

Silicone Rubber Grout

Attach t/4" in'rr mesh to the plyuwd to serve as a reinforcement for the /hitching compound, Flatten the folded uire mesh to create natural-looking, irregular edges.

Portraits Inlaid Natural Wood Plaque
Cut a rough shape from inexpensive CD-grade plyuwd to make a Simulated stotte background plaque.
Victorian Scroll Saw Patterns
This rear view shows the heavy hanging chain and the edges of patching compound attached to the plyuvod with the "wrap" of uire mesh.

Attach t/4" in'rr mesh to the plyuwd to serve as a reinforcement for the /hitching compound, Flatten the folded uire mesh to create natural-looking, irregular edges.

The Complete Guide To Wood Finishing

The Complete Guide To Wood Finishing

Wood finishing can be tricky and after spending hours on building your project you want to be sure that you get the best outcome possible. In The Complete Guide To Wood Finishing you will learn how to get beautiful, professional results no matter what your project is, even if you have never tried your hand at wood finishing before. You will learn about every step in the wood finishing process from a professional wood finisher with years of experience.

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Responses

  • yusef
    Can i cut bead board panels with a scroll saw?
    4 years ago
  • rocco
    How to make a letter cut outs?
    4 years ago
  • Ren Faerber
    How to make scroll saw designs?
    4 years ago
  • KATHARINA
    How to change colors on scroll saw outlines?
    2 years ago
  • sven
    How to figure angles for the letter v to cut?
    2 years ago
  • bob brown
    How to figure angles for the letter v to cut using skill saw?
    2 years ago

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