Creative Woodworks & crafts 2005-04, страница 38
long floating pieces. If you don't use enough glue, they will lift. If you scan this pattern into your computer, you will have a few challenges printing ft out on an 11" x 14" page. To solve that, rotate the pattern 9CF in any photo ediling program and print the pafterr on 1wo pages (a program like Rapid Resizer will accomplish that niccly). Trim off the oulside edges to the pattern size, leaving a 1/4" leb so the pages can overlap. Tack the pattern down to your work surface and position each page, tacking them as ycu go. Once the pattern has been reassembled, apply clear packirg tape over the scam, edge to edge. Fold back the area where the pattern over laps and sprcy the folded area lightly with temporary spiay adhesive, then fold the tab back into place. Failing to do Ihis will cause the pattern tc lift off the wood when you are cutting the overlapped area. Step 3. When drilling my pieces, I prefer using spiral blades. I find they suit the type of pieces I design perfectly. Before you drill this piece, try to plan your culting in cdvance and drill acccrdirgly. I clways start in Ihe most delicate arec close to the center and work out info sclid wood. This way, if it does break, it does so early on. I cut this with a 2/0 Flyirg Dulchman Spiral and used a No. 68 drill bit to drill my holes. If you are using a drill press, save yourself some frustration and make sure your depth stop is T1GI-.T before you drill. {Mine worked loose, ard ycu can imagine my frustration when I turned the piece over and aboi it 1200 holes hadn't come all the way through.) Secondly, using c bil lhat small en Baltic birch will often cause the wood to "splinler" on the bottom, clogging or, worse yot, obscuring your holes, making blade changes all but impossible. Tc eliminate this problem, run the bit down in the hole twice. The first time will drill it and the second will cut the back clean. Keep in mind as ycu begin cutting that a pattern is simply a guide book, not a rule book. Feel free to mcke any charges you wort, Thicken some lines or remove some of the culs, for example. Do whatever you feel meets your lalenl, experience and saw. I do this quite often or' pallerns I designed myself. Biade tension on a pattern like this is especially important; the blcde wilt need to react as soon as you move the wood. 1 like a setting of about 4 to 4-1/2 on my Dev/alt. Use c tension you ore comfortable with, bearing in mind how thin the connections ir1 this pallern are. I am often asked at shows by other scrollers, "How did yot. cut that and nol break that long piece that hargs into the waste area?" The 1wo things I tell them clways seem to make their eyes light up, so I will share them here. First, if ycu are using a spiral, it is not necessary to turn the wood around the blcde. Use the blade like o pencil and 1race the lines of the pattern using the entire 360" of the cutting surface a spiral offers. Another technique I often use is to change directions when I cut. Often, if you follow Hie line all the way arourd, you will end up with a long piece lhat hengs way back jn1o the cut-out wilhoul enough support to keep it from breakirg off. Instead, charge direction, cutting across the waste area to the hanger. Wher ycu get to it and cut it, then resume the outline, you won't lose these pieces. Take your time and let the blcde do the ci.tting. If you feel like the cutting needs more support, use clear packing tape on the top and bottom to give it some extra support. This allows you to see the pattern while supporting Ihe piece. If you fird some cf your cut-outs get stuck in Ihe hole and you have trouble getting them oul, Iry using a dart. The long, thin tip work; great for pushing scraps Ihrcugh. As you continue your cutting, plan to leave an area for last that is big enough for you to lift Ihe piece off the saw with. Step 4. Once you have completed the cutting of your masterpiece, unpack the stack by peeling the tape from the F'sc, 'n back of the stack up to ttie pal lem side. While the pattern is still oft ached, use an air compressor to blow the dust off both the front and bock. Note: be sure to place something solid behind Ihe piece for support when blowing the dust from it. Also, be sure to turn you pressure down tc about 40 PSI. Step 5. We still have a few steps left, but we are well cr our way to completing a true work of art. To deal with the fuzzies that a spircl will inevitably lecve, i use a bernzcrnatic plumber's torch {yes, you read that riyhl!) lo burn off the fuzzies, nr.uch in the same way they used to burn off the pin feathers from a plucked chicken. Starl by slanding the cutting, back side facing you, against a piece of scrap wood that is big enough to completely cover the piece. Then use the torch to burn off the fuzzies. There are a few very important Ihings tc keep in mind here, first, turn the torch way down. Second, make sure the scrcp wood totally covers the piece. Having all the cut-outs with something solid behind them will greatly eliminate scorch marks. Finally, keep Ihe torch moving quickly. Make several posses, being careful lo net hold the torch in one place cr you will burr1 through-One e you have finished this, i jse a compressor to blow off the charred fuzzies and repeat as necessary. This process will not work if yoi. intend for both sides of your cutting to be seer. However, since wo ere addirg a backer, it will do nicely for us here. If you prefer nol lo use the torch, cr if you plan to display bolt) sides of the cutting, you may want to try removing the fuzzies using a sander, a dremel tool, any number of files, or even an exacto knife. Step 6. To remove the pattern, use a spray bottle filled with mineral spirits end mist the paper thoroughly. Let il soak in for about five minutes and you should be cble to peel Ihe pattern off ir one piece. Remove the lope from the edges and then mist the entire piece one more lime. This time rub gently with the balls of your fingers to remove any stubborn glue or paper that remains. I krow you are thinking that mineral spirits will discolor your wood, but this is not tree. Let dry thoroughly (overnight is besl) before you apply your finish, and you won't be able to tell the piece you used the mineral spirits on from ore you didn't after they are finished. Note: Mineral spir-ils are flammable! DO NOT use the torch to remove any additional fuzzies once you have cpplicd a flammable solvent. For a final finish, spray the piece front and back with two cocts of lacquer. Step 7.1 prefer to use felt for my backer because I like the texture of it, but feel tree to use whatever you like, I have found that black works the best, bul once agcin, this is ycur cutting, not mine. I use Aleene's tacky glue in the clear bottle {it dries crystal clear jusl in case) to mount my backer board. Use care to avoid glue running out into the cut-outs. Step 8. The last step for me is the one most often overlooked by other scrollers I talk to. Select a beautiful franr.e for your work. You wouldn't build a million dollar house and then pul vinyl siding on it, would you? Of course not! You spent a week of your life cutting this piece of wocd crd il deserves tc be treated like the true work of art you crected. I hope you enjoy the challenge this pattern presents and that you will share your culling of it with us. Remember to enjoy the experience. Good Luck and Happy Scrolling! Jeff has been scrolling for abcuf 1-1/2 years and designing for a IHIIe over a year. He is an accomplished "artist" with scroll saw works hanging in four galleries across the nation. Jeff says that he owes a great deal to Gary Browning and Tom Mullane for their guidance and teachings. To see more of Jeff's work or if ycu have questions or comments for him, contact him directly atscrtsawportraifs@aol.com.l2$ |
