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I had several of you guys ask me about doing an inlay video. Our grandsons have been staying with us for the past week. My oldest one is twelve and is great on computer stuff so he helped me do this.

This is a picture story that shows how to make micro drawers using a scroll saw. These would be good for ornaments, small boxes, or gnome and troll doors. Step1 I chose some Easter shapes of a rabbit and an egg. I scaled pictures to be about 0.75 inches wide. I printed them out and used Super 77 spray glue to attach them to the wood. Step 2 From here we need to drill holes for blade access. I tried to place the drill holes in a position that can easily cover them up. I chose the top of the egg and the eyes for the rabbit. Step 3 Now I just cut the outlines of the shapes. I chose #7 skip blade. This wood was standard construction 1.75"x1.75" lumber. 7 inches tall. I wanted to show how I will cut the middle of the drawer so it can be accessed. I marked the area I will cut out with green ink. I wanted to keep the front and back shape. Step 4 The next picture shows the access area cut off. The rabbit is easily shown with the middle section cut out. The egg is sideways in the clamp to hold it level. Step 5 The next step is to cut the core out for the drawer cavity. I wanted to angle the blade so that the core can be used for the bottom. A 10-degree angle seemed to be a good guess. This is to prevent the bottom of the drawer from falling through the bottom. On the bunny piece on the left of the image you can see the green ink that will be cut out. So, I also drilled a 10-degree hole for blade access. Step 6 Here, I show the core cut out for both the rabbit and egg. See the angle of the drawer's sides? The core's bottom slice will eventually be cut off and discarded. The middle slice will be used as the drawer bottom. Lastly, the top slice will also be discarded. The green ink shows what will be waste. The non-green slice (middle slice) is the drawer bottom. Step 7 Here, I show to use the clamp to hold the angled wood 90-degrees to the blade, or close to it. The second picture, notice the first bottom slice missing. The next cut we will save for the bottom of the drawer. Step 8 Here, I showed the saved middle slices. This will be glued back in place for the bottom of the drawers. Step 9 Now let's put the drawers back into the holders. In the rabbit drawer, you can still see the drawer bottom. The second picture shows the front view of them. Step 10 I was not very clever about drawer handles. I just put short screws in the drill access holes. Then it was time to remove the pattern paper. Conclusion I hope this picture story shows how to make micro drawers. This last picture shows a different application for a micro drawer. It is a thick slice of wood ( 2.25" thick) carved Bobcat with a face as a micro drawer. I should have kept the ears as part of the drawer like I did the rabbit, though. I hope this inspires new ideas and applications!

Here is a fun little project you can knock out in an afternoon. These little wooden jack-o-lanterns will certainly delight and add some spooky decor to your house this Halloween. This project is made from cedar fence boards, so they're super cheap to make, and they look great! Step 1 I'm using cedar fence boards. Not only are they super cheap (between $3-4 per board) they have a rough-sawn look that will really make the project look great! The cedar fence boards have little fuzzies on them. Using 80 grit sandpaper, I knock off those fuzzies. I don't want to get it too smooth. The character of the uneven surface and milling marks is what makes this project sand out. Step 2 I'm cutting down each of the panels on the table saw. You can certainly cut out the panels with your scroll saw using the full-sized drawings in the pattern. I'm making 2 jack-o-lanterns, so I doubled the number of panels I need. For each pumpkin, I need two of each of the following: Top & Bottom 5.5"x5.5" Front & Back 4.5" x 6" Sides 3.5"x6" Caps & Inset 3.5"x3.5" Step 3 I like to paint the inside of the jack-o-lanterns so it reflects the light better. It's easier to paint them now than later. For the front and pack panels, I'm taping up the edge. I don't want any paint on these edges, since it will be visible on the outside. Step 4 I'm giving it a quick coat of white primer, followed by a quick coat of yellow spraypaint. I don't worry too much about perfect coverage. In fact, it looks better when there is variation in the coverage. Step 5 I grab my front panel and attach my scroll saw pattern to it. I use spray adhesive on the back of the pattern, then stick it to the front. Step 6 At the drill press, I make pilot holes for the blade to fee through. You can also use a regular hand drill. Step 7 These patterns are really easy, and you'll be able to knock these out in a few minutes. I'm using a #3 scroll reverse blade. Step 8 Time for assembly. I'm using standard wood glue and brad nails to pin it together. You can also use regular hammer and nails. Just be careful not to split the wood. Step 9 For the bottom, II put the box on the bottom panel and trace around it. I'll use this as a guide so I know where to put my brad nails into. I don't do any measuring, just eyeball it. Step 10 With the traced side facing up, I lay down a bit of glue. I know where the perimeter of the box is, so I know where to drive my nails into. Step 11 The inset is supposed to fit inside the box so the lid nestles in nicely. This will be a bit too big and will require some trimming. Just trim off a little on each end until it fits. I don't like it too tight, just enough where it will settle in nicely. Step 12 I glued and sandwiched the top panel between the inset and the cap piece. The cap is only decorative. I didn't bother nailing this one. I just put a little weight on the top and let the glue dry. Step 13 With a propane torch, I went outside and scorched the box. This is a lot of fun and will make your jack-o-lantern look awesome. Keep the flame moving, or you'll get uneven scorch marks. Step 14 I'm using a water based stain from Minwax I got at the big-box store. They can tint the stain any color you want. Naturally, I chose pumpkin orange. I applied the stain fairly heavy, then when I was done with the side, I quickly removed the excess with a paper towel. For the face, I dabbed on the stain, trying hard not to get it into the cuts. I found it easiest to work on one side at a time. Apply stain, then quickly wipe it away. Step 15 I found a stick outside and started stripping away the bark. We'll use this as our stem on our pumpkins. I like to find interesting parts of the stick, just to add a bit of interest. Step 16 On the scroll saw, I trimmed off sections of the stick to make the stem. I also sanded the bottom edge on a belt sander to get it flat. Step 17 I drilled a hole through the top of the box. I also drilled a pilot hole into the bottom of the stem. I'll attach the stem with a screw that goes through the bottom of the box and into the stem. Step 18 I painted the stem with regular craft paint. I painted it on and quickly wiped off the paint with a paper towel before it dried. This gives the stem a stained look and you can still see the wood grain. Once dried, I attached the stem to the lid with a screw from below. I also tied a bit of raffia around the base of the stem for a little extra pizzazz. Step 19 I'm using battery-powered fairy lights. I like this set because it had different displays, as well as a remote and timer. I've put a link to the ones I got here. Happy Halloween! Final Project

I was inspired by seeing a wooden cowboy hat done on a lathe. YouTube videos are always inspiring. Since a hat is similar to a bowl. I had to start this wearable cowboy hat project. I found Cherokee Woods supplies thin stock ⅛" thick. In several types of wood. This first one is maple. Yep, I have more to make, canary wood, and black walnut is planned. Making The Pattern To get the shape of my head I bought a curve tool for drafting big curves. This tool is 30 inches. The blue curve tool is shown in the brim section. I wrapped the curve tool around my head pressing hard. Then scanned it into the computer. I traced the scanned and made it a path. Inkscape has a linked offset and I created 7 linked offsets of 0.125 inches. One larger than my head. For a liner space. 0.125 inches was calculated from an angle of 9 degrees on a 0.75-inch thick board. Made the pattern, attached to hard maple ¾" board, and drilled blade access holes. Step 1 My first issue started by a drill bit broke inside the board. I made a note on the pattern. My fix was to leave it and drill another hole. It turns out I did not need the smallest rings. Then cut the first 2 large rings out. Step 2 2 rings stacked, now for glue up thin stock for the brim. Now in preparation for the brim, I had to glue up (3) sheets 6 in x 24 in . My plan is to have seams going front to back. Step 3 2 more rings are cut and stacked. I decided to show how good / bad that I stay on the lines. So I put the rings back where they came out of and get a zoomed in picture. 4 outer rings are cut, pattern shows lines. Step 4 6 rings look pretty high for the crown. I decided to stop there. Cuts were done with #1 Pegasus MGT. Since bowls use both top and bottom I wanted no bottom blade tear outs. Each ring is about 23 inches around. I got about ⅔ around before changing blades. Once I pushed the dulled blade all around but my" follow the line'' was getting not very good. I went slow, each ring took about an hour. 6 rings , 6 hours but not all at 1 sitting. Step 5 Gluing rings was in steps. 2 smallest rings first. I used the center wood to clamp the rings down. The center is not going to be used. I waited about 30 min before adding another ring. This made it easier to verify the alignment of sides. I wanted to show how the edges line up from my gluing and show cut quality or the lack of following the lines. This next picture is straight down the ruler. You can see variations against the ruler edge. Also see some ripple of the curves just to the left of the ruler. Step 6 Here it is all stacked. This shows bad drilling issues. Drill bits did not stay at 9 degrees. Drill bits drifted and bent a bit as it went through the wood. See next picture. The top center piece is still there from clamping. Looks like 7 rings here. The next picture shows the wall thickness and how far off the bit was. This is the exit hole. Lessons learned here is get a stiff cobalt drill bit. Also do not have drill holes in the same area. Step 7 Sanding time. I have a palm sander "finish" sander I was using to sand down the ripples and edge mismatches. After an hour I decided that the finish sander was not good enough. I went and got an orbital sander. Within another 25 min the outside was sanded. With all grits 100 down to 320. I decided to make a YouTube short video for the sanding result: This video also shows inside sanding results. Not shown in video, I used a hand drum sander and my hand powered drill to sand the inside crown. The sanding drum is the type you can cut sand paper and slip it inside a grove and lock it in. Final sanding grit is 320. Total sanding time: Outside 1hr : 25 min, Inside 3 hrs. Step 8 With the ring stack trace (center area) the outside of the largest ring for inside if brim. Carefully measure 4.5 inches all the way around . This gives dashed lines. Taking the same curve tool that I used for my head, I carefully drew a solid line on the wood for the outer brim. Here (next picture) is the big board in the scroll saw. See the tiny blade? Table angle is still 9 degrees. This will go over the top ring stack and match the sides of the bottom ring. The throat of my saw is 26 inch Hawk. It is starting to look like a hat. Maybe a cowboy hat? Pretty. I don't like selfies, but I had to do a fit check. Yep I look goofy. Total project time around 12 hrs. Do cowboy hats have flat brims? I had to do some research…. Yes 2 of these guys have flat brims. These guys look good. Step 9 Since I looked goofy I needed some bending of wood. Most cowboy hats have some kind of angle of sides. Ok here goes some experiments. Take bar clamps across short side of table. This allows excess bars to be used for support. I decided on with 2inch PVC pipes for a good radius curve for the wood. Sit the hat upside down on these PVC tubes. Use wet paper towels to control water so the water does not go on glue seams of the brim. Wet the wood on the outside edge of paper towels and soak the paper towel. Really soak the wood. I took this pic 5 minutes after soaking. Top view pic first then bottom views. I have light weight clamps on the right and left edges if the brim. These are the weights to pull the wood around the PVC pipes. You can barely see the white pipes in the below picture. The angle of the clamps show that the wood is bending . This is within 5 minutes of wetting the wood. ⅛ inch wood bends faster than I expected. About 2hr later I checked on them the wood is bend around the white PVC tube. Drying time. Slowly allow the bent wood to dry. I covered the wet wood with paper towels. To keep some moisture. After a few hours I checked on dryness and paper towels were a bit too dry. So I lightly sprayed them. Them covered everything with plastic. After a whole night there was still some, not much, moisture on paper towels. So I covered it back up all day. As it dried it opened up the angle quite a bit. But the wood felt a bit cool still but looked dry. Using a thermometer gun I noted the wet wood was 4 degrees cooler than dry wood. Here is a top view. It is still drying. I added a clamp on both sides for more weight. The angle of the curve is the angle I think I want. No cracks or splits are viewable. Step 10 Make a crown top. I just could NOT leave the top flat. So I decided to make the center top inside and level with the edge. This shows the ring thickness and how it is made. Also most hats have sewing seams on top, not the edge. Most "telescope" cowboy hats have a lowered part around the top and then it comes back up in the center. The picture above shows a piece that was cut , then sanded to fit into the tip crown. It's outside edge also has a 9 degree angle to match the crown angle. Since this was made with maple wood I thought a maple leaf would be a good centerpiece. This maple leaf is a separate piece and just glued on top. Now this was cut at an angle of 45 degrees to show kinda embossing or a relief feel. I did try to use a relief cut from ⅛ thick thin stock. It would only stick up a little. So I decide to just add a piece. This 45 degree angle cut leaf was very interesting. Very difficult to get sharp pointed leaves. But even harder to get sharp corners near the leaf. You can't approach the sharp corner the opposite way. You need to keep the same clockwise direction through the whole piece. I actually was going counterclockwise. My magnifying glass is slightly on the right side of the blade. Having the table tilt low on the left, it was hard to see the cut edge. Next time I will tilt the table low to the right. This maple leaf outline is from a Vermont website. But Canadians do wear cowboy hats. Yippee Calgary stampede rodeo. But the leaf is just because it is made with maple wood. Final Assembly Now it looks like a cowboy hat. So I wanted to inject some glue between the crown and brim connection. So I used a #18ga needle and Titebond 3. Next is a hard outer finish, ArmorSeal. Final Project

A few years ago, I saw an ad for a very large auction in Boston. In the ad was a photograph of a beautiful, unusual, scroll saw clock. It had a minimum starting bid of $500.00. I just had to have it so on the day of the auction, I got up very early and drove all the way to Boston from New Hampshire. It was a 3 1/2 hour drive. The auction was held in a very large room with many items to be auctioned off. I walked around the room two or three times and could NOT find the clock. I finally asked an attendant where it was. (Real men NEVER ask for directions) He told me it was completely destroyed on the flight in from Hawaii. He told me they built a box around it to try to protect it but somehow it was destroyed. He brought me over to a table in the far corner of the room where they had put all the pieces. The pieces were in three large ziplock bags with a photograph of what the clock DID look like. Most of the pieces were the size of a half-dollar coin. A few a little larger. I was thinking, I still want it and surely NO ONE in their right mind would want it, so I would be able to get it for almost nothing. When the bidding finally came up the pieces were brought out. The bidding started at $50.00. Believe it or not, there was another "clock-nut" and HE wanted it as much as I did. The bidding went up over $270.00, but, I won the bid. I am positive, everyone there thought I was completely out of my mind to spend that much for three bags of pieces and a photograph. I took the three bags and photograph home and set up two card tables side by side and laid out all the pieces. It was like putting together a very large puzzle. As I assembled the individual pieces I glued them together as best I could. After three or four weeks I had most all the individual pieces put back together. (I had to guess at a few) I took the individual glued pieces and drew each one out on paper. The only original pieces were good enough to save were the ones that formed the round head that supported the clock movement... everything else had to be remade. After a few weeks, it all came together. Of all the clock designs I have copied and recorded, this clock is, by far, my favorite and I think one of the most beautiful scroll saw clocks ever designed. Written by John Nelson. Reprinted with permission from the author.

There has been a lot of confusion around the very popular Excalibur scroll saw. They disappeared for awhile without any word. Then several saws started showing up that looked like the Excalibur, but all under different names. It turns out there was a bunch of movement between brand rights, design rights, and distribution rights that gets a little sticky. Peter Kennedy from King Canada helped shed a little light on how all of this shakes out. Hopefully you'll find it interesting and understand this confusing topic a little bit better. - - - - - - - - - - Hi Travis, thanks for getting back to me. I will try to make this as simple and painless as possible. It is very convoluted so I think point form time lines will tell the story best. My biggest concern is scroll saw enthusiasts, knowing the reputation of the original Excalibur scroll saw, will be unaware it is still available as well as parts and help if required. Please note, my dates may be off by a bit but you will get the idea as to how things have evolved. FYI, King Canada is the largest supplier of wood and metal working machinery in Canada. We are almost 40 years old and are just now entering the US market. 1982 - Somerville Design introduces the Excalibur scroll saws manufactured in Toronto Ontario 2003 – General International acquires the assets of Summerville Design including the Excalibur brand. G.I. sends the 21” scroll saw to Taiwan to be manufactured and adds the 30” version. 2008 + or – G.I. adds the 16” version. 2010 – EX-21 awarded “Editor’s Choice” by Scroll Saw Woodworking and Crafts magazine. 2012 - the EX-21AE 30th anniversary edition is introduced. 1000 units available. Color changed from green to black and dust collection added to the table, stand and foot switch are included. 2012-13 – G.I. goes back to the models EX-16, EX-21 and Ex-30 retaining the black color and other Anniversary options on all saws. No more General green.. 2014 + or – G.I. is sold to DMT holdings of Seattle WA. Including the Excalibur brand but not the manufacturing rights for the scroll saw. They are held by the manufacturer in Taiwan. 2015-16 - JPW (Jet)designs their 22” saw and has it manufactured by the same Taiwan maker as the original Excalibur saws. 2016 + or – The original Taiwanese manufacturer seeks new North American distribution for the original design scroll saws. 2016 – King Canada is granted distribution rights to the original 16”, 21” and 30” saws for the Canadian market. They are branded Excelsior in Canada and King Industrial in the U.S. 2016 - Due to design similarities of the Jet 22”, the manufacturer restricts King’s U.S. distribution to the 16” and the 30” versions. 2016 – Woodcraft commits to national U.S. distribution of the King Industrial 16” and 30” scroll saws. 2017 – Seyco introduces their version of the saw manufactured by the same maker as the Excalibur, Excelsior, King Industrial and the JPW saws. 2017 - The European saws Azxminster, Pegas Etc., are all made by the same Taiwanese maker. These saws were previously supplied to them by G.I. 2018 + or - General International (DMT Holdings) begins to market a Chinese made version of the 21” saw under the Excalibur name and model number. Summary, The only original Excalibur saws are now branded either King Industrial (U.S.) or Excelsior (Canada). At this time, there is no original design 21” available in the U.S. The Seyco and the JPW (Jet)saws are designed after the Excalibur saws with proprietary differences. So, the King Industrial/Excelsior saws are the original design with a different name and the saw branded Excalibur is a different saw with the original name. The many manufacturing nuances and extreme tolerances make these saws virtually impossible to copy and have them function as they were originally designed. Note, when I use the term “original”, I refer to original manufacturer, original design, original components, parts, motors, and specifications. North American Model #’s Original EX-16 is now Excelsior XL-16 in Canada Original EX-16 is now King Industrial KXL-16 in the U.S. Original EX-21 is now Excelsior XL-21 in Canada (not available in the U.S.) Original EX-30 is now Excelsior XL-30 in Canada Original EX-30 is now King Industrial KXL-30 in the U.S. General still uses model #EX-21, “made in China” on the box and 16” or 30’ no longer available. Seyco Model ST-21, 21” no other sizes available to my knowledge Jet Model #727299K, 22” no other sizes available to my knowledge I hope this gives some clarity to the situation.

This is just the latest process that I'm using. It's constantly evolving and I'm looking forward to seeing any ideas from other scrollers that might improve on it. Getting new ideas and learning new tricks is something that I have always enjoyed about meeting other woodworkers and seeing their work. Applying The Pattern Affix your pattern to the wood. This is a Celtic cross design from Sue Mey that I like. Interior Cuts Make your interior cuts. I use an air compressor to blow the dust out of the wood. Then I cover the face of the design with a double layer of packing tape to use as a backer for the resin. Resin Dam I use common plumber's putty to build a (dam) around the design. Epoxy After trying many different brands. I found the Promise brand deep pour tabletop epoxy works best for me. I also use a digital scale to make sure that I get an exact 50/50 mix to the gram. Dyes & Powders I use Alumilite dyes and powders. Adding Color It doesn't take much of either. 1 drop of the dye and just a little of the gold and green powders. The amount of powder shown here is about twice the amount needed. Mixing When you are mixing. Mix the resin and colors slowly while scraping the sides and bottom of the container. Try to keep the air bubbles to a minimum. Pour Then slowly pour the mixture trying to fill all the holes evenly. Popping Air Bubbles Once poured. I use a cheap hair dryer to heat the resin and get as many bubbles out as I can. Let The Epoxy Cure I let it sit for 24-36 hours to harden. I keep my shop around 70 degrees. Trimming The Epoxy After the has hardened, I remove as much of the plumber's putty as I can and run it through my planer to level the back surface down to the clean wood. I make very shallow passes. Maybe 1/32 at a time. Exterior Cuts Now I drill an entry hole and make the exterior cuts. Support Material I save the wood from the outside of the design and peel all the tape off. I put the piece back into the wood that I cut it from and tape the back side to hold it. This is to protect the piece while running it back through the planer. Final Planing Then I lightly shave the front of the piece down until I get it down to clean wood. Finishing Then remove the piece and sand. I start with 100, 220, 320, 400, 600, and finish with 800. Once done you can apply the finish of your choice. I use clear polyurethane. Final Project I hope you enjoyed reading about my process and I look forward to seeing the projects you make. The next photo is a different cross but shows what it looks like when finished.

The following is an excerpt written by @kmmcrafts from Info on Websites forum thread. I've been in on this online selling since 2010.. that said though.. up until just 3 years ago I only tinkered around with selling and never really took it to a business level.. so in the first several years I did maybe 10 orders a year.. when I started trying I did about 50ish orders the first year.. second year was around 170 ish.. last year I had over 300 orders.. and so far this year is doubling + some.. All that said though.. my first year was hardly anything until Mid - Late October before the sales started trickling in. and even last year I think I only had about 40 orders though the year until October hit.. then it was crazy busy.. If this years trend keeps up and the busy holiday season hits harder than last year I'm in trouble.. I turned a lot of work away starting from about mid November on out.. I sell on Artfire Etsy,Zibbet, and a stand alone web site with indiemade.. was just invited to sell on amazon handmade site.. amazon is sort of supposedly Juried.. I applied there when they first opened up.. but they took forever to accept me and when they did I was slammed with work during the holidays.. I lost my pass code to the site.. they kept sending me messages asking why I am not setting up shop I kept telling them but they never sent me another code until a couple days ago.. On Artfire I had a locked in rate of $5.95 a month.. but they done a lot of changes and now it's $20 plus a % of sales.. They have some awesome selling tools but it's like having your own site so you need to bring in your own traffic.. I still have an account but I am not selling there anymore.. due to a lot of issues with the site working correctly etc after they had some employees leave and they just didn't know how to run the site.. (poor management ) Etsy is a listing fee and a % of sale.. get a fair amount of traffic.. but to start over knowing what I know now.. I'd probably have not got so involved with working the shop there.. Lot's of other scroll sawers there and most don't charge a rate to make money.. and the way etsy is set up.. they will show your competitions items on your page etc.. so if I work my butt of to bring in shoppers.. they could leave by seeing a cheaper similar item from another shop.. That said I do get a fair amount of business.. but to do over I would put more focus on my own site.. Zibbet.. basic accounts are cheap.. but traffic is quite limited so you have to bring in your own.. much like a site of your own... I get enough sales to pay the yearly bill.. however I been thinking of closing up that shop just because I want to put my focus on my own indiemade web site as it is a better system.. Indiemade has different tiered plans.. depending upon how many items you have.. I have the $19.95 one.. I do well on indiemade for only being there a year.. First thing to do if you decide to sell online is to get a domain name and get business cards with that domain on it send a card or two in every package you send out.. Most people start on a venue as I did and then branch off to their own site.. Keeping up with SEO is a full time job+... LOL There is a lot to know about do's and don'ts of SEO and if you don't have a lot of time to invest.. your best off on etsy, artfire, or zibbet.. in my opinion.. Or.. spend big money advertising... to be found in searches.. Pictures of your products are very important for online selling.. if you have noise (clutter) in the background that distracts from your product or dark photos then it could mean the difference between a sale or a scroll on past.. I spent a lot of time with my camera and built a special photo booth light box to take my photos.. especially if your selling on a site like etsy where they show others items.. if someone lands on a page other than mine and they see my bright eye catching image they may say.. ooh that one looks awesome.. while the other item may be just as good of quality... my picture caught the attention.. Online selling can be a full time job if you want to make the effort and put in lots of hours.. I put in more than 40 hours a week between answering emails to tweaking SEO to working in the shop, packing orders, taking photos, working on web sites.. etc etc etc.. and I am only getting part time pay.. BUT.. it's nice to work my own hours.. and I am here at home for my family... I think too many people think they can just throw some pictures up on a site and the customers will just come rolling in.. to buy them.. and that is definitely not the case.. Also I think people think that lower prices will attract people.. It might to some extent.. but the more important thing is SEO and pictures.. because if nobody's finding your low price then nobody's going to buy it.. if pictures are bad many times you can't even give it away.. LOL.. That all said.. they say is takes a good 5 years for a business to get to a point of starting to make money.. I am three years in.. it's grown tremendously.. but if in 3-4 more years I'm not doing good I may throw in the towel and get a day job somewhere.. if it wasn't fun.. I'd have done that my first year.. Sorry, didn't mean to write a book, LOL Kevin

When I first started scroll sawing, I grabbed whatever wood I could find lying around. I remember one of my early projects, I was cutting a portrait of a certain Star Wars character out of ¼” red oak. It was going great until the blade hit a weak spot and split the whole thing in two! I was heartbroken. That day, I learned a hard lesson that wood has weak points that run along the grain lines. Achieving fine details in portrait-style fretwork can be tricky when using solid woods, but using plywood can help ensure that those details remain intact. But not any kind of plywood would do. That's why Baltic birch plywood has become a go-to material for scrollers. It's strong, durable, and surprisingly versatile. Let's take a closer look at what makes Baltic birch plywood so great for scroll sawing. What is Baltic Birch Plywood? Baltic birch plywood comes from the Baltic region, which includes countries such as Russia, Finland, Estonia, and Latvia. The region is known for its vast forests of birch trees, which are harvested for their wood. The colder climate and shorter growing seasons in this region result in denser wood with fewer defects, which makes it especially suited for high-quality plywood. During the manufacturing process, the plies are made from solid birch without voids (holes in the ply layers), and arranged with a cross-grain pattern, with the grain of each layer running perpendicular to the layer below it. This design gives the plywood its strength and stability, as well as resistance to warping and cracking. The Scroller’s Choice The plywood has a fine, even grain pattern and uniform texture, which gives it a sleek, modern appearance. The natural color of birch wood can range from pale yellow to light brown, making it a versatile material for a wide range of design styles. Its smooth surface also makes it ideal for painting or staining. However, scrollers often adopt a natural look and simply apply a clear lacquer over the piece. The uniform plies also make an attractive accent that many scrollers will incorporate into their work. While Baltic birch plywood is a high-quality material, it is also surprisingly affordable and readily available. However, it's important to note that this type of plywood isn't commonly found in home centers, and is more typically available through specialized woodworking stores, hardwood dealers, or online. For ease and convenience, I tend to buy mine through Amazon. But there are many online retailers that offer project-sized panels for scrollers. Baltic birch plywood is especially useful for scroll sawing projects due to its smooth surface and ability to hold fine details. The wood is surprisingly strong and supports delicate fretwork. It doesn’t have wild grain patterns, so it won’t compete with the details of intricate fretwork. And, the absence of voids in the plies allows for clean, precise cuts, making it a popular choice for portrait-style cutting. Baltic Birch vs Finnish Birch Plywood Baltic birch plywood and Finnish birch plywood share many similarities since they both undergo the same manufacturing process. However, the key difference between the two is the type of glue used to adhere the plies. Finnish birch uses waterproof Phenol Resin glue, making it ideal for outdoor projects. The glue is dark, which makes the plies more pronounced and the striation between them is more visible. Additionally, Finnish birch plywood tends to be dense and more difficult to cut on the scroll saw. Conversely, Baltic birch plywood uses Urea Resin Glue, which is moisture-resistant, but not waterproof. It is ideal for indoor uses, but not recommended for outdoor use. It is less dense and easier to cut, with more subtle color variations between the plies. Baltic Birch Plywood vs Birch Plywood Birch plywood is often confused with Baltic birch plywood since the names are so similar. You’d be tempted to buy birch plywood from the home center and be disappointed with the quality. Standard birch plywood looks similar from the outside but the differences are considerable. Standard birch plywood contains fewer plies that are bonded together with a variety of glues. The face veneers are made from domestic birch and are very thin, only able to handle minimal sanding. The inner core layers also contain a variety of species and often include voids, glue spots, and sap pockets. Many scrollers avoid standard birch plywood, as it can be frustrating to work with, and will often produce disappointing results. Grading Baltic Birch Plywood Plywood is graded solely based on the appearance of its face and back veneers, not the core. The better-looking side is referred to as the face, while the poorer-looking side is referred to as the back. The following grades are listed as "Face/Back". B/BB Face: Uniform light color with no plugs or open cracks/splits, but may have a limited amount of pin knots and minor color inconsistencies. Back: Uniform color, although color variations and stains are allowed. Veneers may have small oval or round patches to replace open knots and defects that have been cut out before gluing. The selected veneer for patches is of the same general color as the face veneer. Both sides are sanded smooth. BB/BB Face/Back: Uniform color, although color variations and stains are allowed. Veneers may have small oval or round patches to replace open knots and defects that have been cut out before gluing. The selected veneer for patches is of the same general color as the face veneer. Both sides are sanded smooth. BB/CP Face: Uniform color, although color variations and stains are allowed. Veneers may have small oval or round patches to replace open knots and defects that have been cut out before gluing. The selected veneer for patches is of the same general color as the face veneer. Back: Typically has less consistent color and features more prevalent defects, including knots, staining, and hairline splits. More patches per face are common and may not be color-matched. Both sides are sanded smooth. CP/CP Front/Back: Typically has less consistent color and features more prevalent defects, including knots, staining, and hairline splits. More patches per face are common and may not be color-matched. Both sides are sanded smooth. C/C Front/Back: This is a utility grade and is typically used for structural purposes. Patches, open knots, and splits are common. Small voids in the core are permitted. Frequently Asked Questions What are the common uses for scrollers? Strength and stability is the biggest driver for choosing Baltic birch plywood. These include portrait-style designs, fretwork, toys, holiday ornaments, sun catchers, wooden baskets, jigsaw puzzles, layered projects, wooden gears, and backers. Which grade should I buy? B/BB is most commonly used by scrollers and produces great results. BB/BB looks nice, but you may have to work around the patches. Depending on the size of your project, this usually isn't too difficult. Does it sand it well? Because Baltic birch plywood has thicker veneers than standard plywood, it sands very well. I like to sand the plywood with 220-grit sandpaper before applying the pattern. When I’m done cutting, there is minimal sanding required, which helps protect the delicate fretwork. Can I stain Baltic birch plywood? Baltic birch has a consistent grain pattern that tends to become blotchy when stained. If you want to change the appearance of the wood, use a wood conditioner, gel stain, or dye to minimize this effect. What is a good finish? Many scrollers prefer the natural look of Baltic birch plywood. So they either leave it unfinished or coat it with a non-yellowing acrylic spray. My preferred method is using a clear acrylic spray, such as Deft Clear Satin Laquer. I’ll add 2-3 coats, then briefly sand it with 0000 steel wool before giving it one last coat. The result is a clear and smooth finish that feels good in the hands. Which way should I put the grain direction? This is a personal preference and the project often dictates the direction of the grain. For landscapes, horizontal works very well as it mimics the horizon. For portraits, the vertical grain direction looks nice as it draws the eye from the top to the bottom.

Adding color to scrolling is easy and fun. It saves you a lot of time and the cost of purchasing many colors of paint, brushes and the time waiting for the paint to dry between coats. This is not a new process however, Fisher-Price toy company made their toys this way back in 1940 and 1950 before plastic came along. You simply glue artwork to your project instead of painting. You can use clip art printed from your computer or make up your own artwork drawings as I have done. You do not have to be an artist, as I surely am not. I do my artwork using colored pencils. Make copies of the artwork on a color printer in order to keep the original drawings and use them again. Attach the scroll saw pattern to the wood and cut out as you usually do. Sand all over and round the edges slightly. Paint the edges of the project and all around the project about ½ inch in on the front and back surfaces. (optional). This is the only painting you have to do (you do not have to prime the wood). There are two choices to make at this time. White is usually the best choice, or you might want to use a color that matches the artwork. If you choose white, using scissors cut out the artwork about 1/64 of an inch out from the art itself. This does not have to be perfect as the white will be hidden by the white paint you applied to the project itself. If you choose a color other than white, to match the artwork cut the artwork exactly and leave no white edges. Using plain Mod Podge or white glue (Mod Podge is preferred), apply a very thin and even coat with a brush or your fingers. Don’t worry if you get some on the edges, it will not show when it dries. Carefully center the artwork on the project. Try to keep it centered, but do not worry if it is not exact. It will not be noticed. Very carefully smooth out the artwork. Put aside and let it dry overnight Apply a couple of light coats of Mod Podge or white glue over the art, don’t worry if it looks white or cloudy, it will dry clear. These coats will hide the edges of the artwork and give it a harder surface. Apply two of Minwax Satin Urethane (or equal) all over including the edges and back surface. Lightly steel wool with 0000 wool and apply paste wax (optional). Note: A project should look good AND feel good. The paste wax gives your project a “finished” look and feel. Examples Patterns You can find downloadable project patterns using these techniques here.

With Christmas around the corner, here are some of the items I find really useful in a scroll saw shop. All of these are from Amazon (my preferred shopping) with good ratings, but you can find them almost anywhere. Magnifying Glasses - We’re doing such fine detail work, it’s nice to get up close and personal. I really like these magnifying glasses. They have different powered glass inserts, so they can match your personal preferences. It also has a handy light on the top to direct light where you are looking. Work Light - Good lighting is essential. It helps you see the details but also eases eye fatigue. I like these ring lights with a magnifier. It provides great lighting, you have control over the direction, and you can also adjust the color temperature. Plus, having a magnifier is a great help when you’re doing detailed work. Test Tubes - These plastic test tubes are great for holding scroll saw blades. They have a screw-on cap so you don’t accidentally spill them on the floor (which I’ve done too many times). Plus, it makes you look like a mad scientist. Photo Tent - When we want to share pictures of our work, even lighting is key. These pop-up photo tents work great in getting the best picture possible. The sides of the tent are made of a white diffuser that evenly distributes the light. Works great with your phone, or a big fancy camera. Audible - We spend a lot of time at the saw and in the shop. I like spending time listening to audiobooks while I’m working. An Audible subscription is a great way to build up your library. Plus, they have a bunch of fun extras like dramatizations and exclusive podcasts. Hearing Protection - Protecting your hearing is important. Even a scroll saw, which isn’t typically very loud, can wear on your hearing over time. I really like these WorkTunes, so I can listen to the radio. But I really like the BlueTooth connection, so I can listen to my audiobooks from my phone. Dust Mask - A good dust mask is essential. With a scroll saw, we’re producing a lot of very fine dust, which is not good for your lungs. I like these RZ Masks. They’re very comfortable. I also like the velcro that fastens at the back of the head, making it easy to put on and take off. Plus it doesn't interfere with safety glasses or hearing protection. The filter is replaceable, which provides a lot of reusability. Pin Vice - This is basically a mini drill you use by hand. It’s used by model makers to drill very small holes. But I like having this near my scroll saw in case I need to drill a quick hole without going back to the drill press, or if I need to poke out a cut piece. You don’t want to drill every hole with it, but it sure is convenient when you don’t want to get up. This would make a great stocking stuffer. French Curves - Artists use these to create nice flowing curves. As scrollers, it’s nice to have a set around in case you need to adjust a pattern, or add a curve to your scroll saw project. Compass - Sure, you can buy a cheap, plastic compass in the school supply section. But they’re usually junk. They never seem to hold their position when I try to make a circle. I love having a quality compass. Plus, we all need to even draw circles in the shop. I hope you found a few things to tuck under your tree this Holiday season. Or at the very least, give you a few ideas on accessories to make your scrolling easier. Merry Christmas!

When you've been away from the scroll saw for any length of time, your skills get a bit rusty. Cut a few lines on these practice patterns to get the feel of your scroll saw again before beginning a new project. It'll only take a couple minutes to sharpen those skills, and your project won't suffer by being out of practice. These patterns cover a wide variety of cuts; sweeping curves, tight radius, long straight lines, jagged edges, sharp corners, etc. I even threw in a few shapes to keep things interesting. Download the FREE scroll saw practice pattern below. Print several copies of pages 2 & 3. Spray mount them to 1/4" plywood. Drill pilot holes at the beginning of each line as well as starting point for your shapes. Follow the lines as close as possible. For shapes, try cutting the inside or on the outside for variation of different skills. Cut a few lines before starting your next project. If you're a new scroller, these practice patterns are a great way to build your skills and confidence. A few tips: Cut a bunch of these practice patterns and keep a stack of them by your saw. Pull one out before you start your next project. Don't throw away the shapes. Toss them in a box. When the Holidays roll around, they make great gift tags and ornaments for those last minute gift ideas. Don't get too frustrated if you're not following the line well. Correct your course as best as you can. When you're feeling a bit more confident, move on to your bigger project. TCF0003_Practice.pdf

Step 1 I'm using 1/4" Baltic Birch Plywood. I get mine on Amazon and they come in 12x12" panels. I'm ripping it to 5" wide. So total, it's about 12"x5" Step 2 I like to pre-sand my plywood before scrolling. We have to sand it a bit later anyway, so you could skip this step if you want. I'm only doing 120 grit. Step 3 You'll need to tape together your pattern. Just hold it up to the light and align your two sheets together and tape it. Once taped, I applied it directly to the plywood with spray adhesive. Step 4 I took it to the drill press and drilled some pilot holes. I like to approach the line in the corners, so I try to get my pilot holes near that. Step 5 Then we take to to the saw and start cutting out our pattern. My go-to blade is a #3 scroll reverse blade. There is a lot of waste area, so you can easily notch out the sharp corners. Step 6 Once everything has been cut out, I spritz everything down with mineral spirits. It softens the glue and you can easily pull the pattern away. Then I wipe it down in case there is any glue residue. Step 7 I'm using a 2x4 and cutting them into 1/4" strips. It doesn't have to be exact. This provides lath/shiplap style strips that are 1/4" thick and 1.5" wide. Length just needs to be long enough to cover the back of your sign. Step 8 Since I want a rustic/farmhouse style, I want to age these strips. I use a rotary tool and roughly soften and gouge the edges. I don't want it to look perfect. I want it rough. Step 9 I painted each of the strips in pinks, purples, reds....ya'know, Valentine colors! I just use the cheap craft paints you get at the craft store for less than $2 each. If you want to order some, here's a nice set. Step 10 With red craft paint, I painted the inside of the letters. I'm not too concerned if it gets on the front of the project because we'll sand off that paint in step 13. Step 11 With some 120 grit sandpaper, I sand away some of the paint on the lath strips. I just want to expose some of the wood on the edges and rough it up a bit. This gives it a nice aged and distressed look. Step 12 With some wood glue, I adhere the strips to a backer board that matches the sign we cut out. (12"x5") Step 13 Again, with 120 grit sandpaper, I give the front a sanding, mostly to clean up the messy paint job. I only want the inside of the letters to be red, not the face. Step 14 Pour yourself a coup of tea. I'm using black tea to add some color and and splotchiness. This gives the strips an aged look. The tea back broke open for a bit, so I let some of the leaves just sit and dry. Then I brushed it off after. It adds a nice touch. Step 15 Back at the scroll saw. I just cut off the pieces that extend beyond the backer board. Step 16 I'm using wood glue to glue on the sign to the backer. Don't get too close to the inside of the letters. You don't want to have to clean up any glue squeezeout. I used clamps to add some pressure, but you can set a big encyclopedia on it (do they still make those?). Step 17 For the frame, I'm just using butt joints. I think it looks nicer for farmhouse-style projects. I'm using Oak because I like the wood grain. I painted it red, because....Valentine's day. But you can use whatever you have on hand. Step 18 Now to clear coat it. Any clear acrylic spray would work here. I prefer Deft Wood Finish, though. I pick it up at Fred Meyer's, but I'm sure you can find it locally too Not as common as Krylon or Rustoleum, but certainly not obscure. I'd choose a satin finish. Step 19 Add a wall hanger and sign the back. Then you're done! Final

Step 1 Once I have my pattern printed out, I just need to trim it to fit onto my board. I’m using 3/4″ cherry for this project. Step 2 I sprayed the back of the pattern with spray adhesive. I let that dry for a few moments until it’s tacky like a Post-It Note. In hindsight, I should have applied a layer of clear packing tape over the top of the pattern. Cherry is notorious for burning. The lubrication the tape provides would have reduced the amount of burning. Step 3 I drilled some pilot holes in the monogram area and the bottle neck area. I also added a pilot hole just outside the pattern. That way I can cut the perimeter and maintain the surrounding wood. It makes it a little more stable as I cut. Step 4 I cut out the center hole first. I’m using a #3 Scroll Reverse blade. A #5 would work well here too. You can also cut this hole with a hole saw or a large Forstner bit. But cutting it with the scroll saw works well enough. Step 5 Now it’s time to cut the perimeter. You can cut in from the outside edge of the board, but the long pieces tend to bounce around. Instead, I used a pilot hole just outside the pattern. I like cutting the perimeter maintaining the surrounding wood, which adds a lot more stability during the cut. Step 6 Here’s our final cutting. I took extra care in getting sharp inside corners. Step 7 I spritz down the pattern with mineral spirits. After a few moments, the pattern practically falls off. Step 8 Cherry burns really easily. Here you can see the burn marks left behind from the scroll saw blade. I should have added a layer of packing tape to the top of the pattern. The tape will lubricate and cool the blade. Step 9 With my spindle sander, I remove the burn marks from the edge. Step 10 I used a round-over bit to soften up the edge of the wood. Be careful at the openings where the wine glass stems go. You have a good chance of blowout in those sections. I also used a chamfer bit on the bottom edge of where the neck of the bottle sits. The chamfer makes it sit on the bottle nicer. It’s not necessary, but it works nice. Step 11 Then it’s back to sanding. I used my random orbital sander to clean up the front and back. I also did some hand sanding in areas that I couldn’t reach. I also softened up some of the edges in the wine glass holders. Step 12 I used a star sander in the drill press to soften up the edges. Step 13 For the finish, I just used a satin clear acrylic spray. I really like Deft Wood Finish. I gave it about 4 coats. Then I sanded it with some 0000 steel wool. Then gave it another coat for a nice smooth finish. Final Project

There was a great idea posted in this thread about making a list of tips and tricks for scrollers. Having them in one place would be a great resource for new scrollers, and a fun place for seasoned scrollers to find new ideas. So post your favorite tips here and I'll add it to the list. Please keep the tips short and sweet so it's easy to read and add to the list. Let the sharing begin! ===================================================

The following tips were collected from The Village Square Newsletter (no longer being published). What's your favorite tip? Leave a comment below and tell us your favorite scroll saw tip. Seeing Better - Leaning over your scroll saw for an extended period of time can strain your back and shoulders. Try putting a 2x4 under the back legs of your saw. This will tilt the saw slightly toward you. It is much easier to see your work and will relieve some fatigue during your long scrolling sessions. Used But Good - It drives me nuts when I have to change to a different size scroll saw blade part way through a project. The blade is still good. But what do you do with it? Don't throw it away. Try this instead. Go to your local craft store and pick up some magnets. The rare-earth magnets are especially good. Hot glue or epoxy the magnets to your scroll saw table. This will hold your gently used scroll saw blades until the next time you need it. Pattern Removal - An easy way to removing patterns is to use mineral spirits. Use a old Windex bottle or rag to wet the pattern till it turns translucent in color then wiping away the excess spirits along with the pattern with another rag. ---Blame Air Scrubber - Many people use their scroll saw in their home instead of their unheated/air conditioned garage. But this can cause an awful lot of dust which can irritate your better half, and (more importantly) irritate your lungs. Here's a cheap and easy way to create an air filter: Buy a box fan. These usually run about $12-14 at most stores. Also buy a furnace filter about the same size. Duct tape the furnace filter to the back of the box fan. Just like that, you have an air filter. The box fan will pull air through the filter and clean the air of sawdust particles. It'll not only keep the dust out of your lungs, it'll also keep it off the living room furniture. Using Adhesive Paper On Photo Puzzles - I used a photo mounted to a 1/4 bb ply and it was coated with triple thick spray. You have to make sure the what ever you use to mount the picture is totally dry and you must use a protective coating over the picture. I let both dry for about 12 hrs and had good results. The paper peeled off pretty easy and it only left a little residue hear and there. What it did leave behind actually rubbed off with my finger. I used Sloan's adhesive paper. This is not really any faster than any other methods but it does work! ---Firedkm Tearout - Sometimes wood will splinter on the back of your workpiece when drilling pilot holes. This is frustrating when it interferes with threading the blade. The tearout can even ruin a project, especially on delicate cuttings. So next time when you're drilling your pilot holes, place a piece of scrap wood below your workpiece. This will support the wood as the drill bit penetrates your workpiece. You'll be left with a clean hole with no tearout. Cleaning Your Bed - Sometimes the bed or your scroll saw will get gummed up with residue which makes sliding your work piece around difficult. Here's how to clean it. Get a can of WD-40 or similar oil and spray down your bed. With a scouring pad (detergent free), scrub down the bed, then wipe clean with a paper towel. This will remove any glue, pitch, and dirt on the scroll saw bed. Follow this up with an application of furniture paste wax (silicon free). Rub it in with a paper towel, then buff it out with a new paper towel. Not only will this protect it from rust, but it will also make your work piece slide smoothly across the surface. Blow Off - After you've finished sanding your project to the final grit, use an air compressor to blow off any dust. This will get the dust off between the fretwork, as well as the surface. This will provide a clean surface for the finish to adhere to. Don't have an air compressor? Go to your local office supply store and pick up a few bottles of canned air. Canned air is used to blow dust off computer keyboards and cases. It works great too! Too Much Glue - Sometimes we get carried away with the spray adhesive and leave a nasty residue behind when we remove our pattern. Don't throw away your project just yet. Use some mineral spirits to loosen up the adhesive and wipe as much as you can away with a paper towel. Do this several times until it looks clean. Then re-sand the surface. You should be as good as new. CD Glitter - I thought I would e-mail an idea I have came up, I've used it a lot and it works. I have taken old CDs that I've collected threw the years and sanded the silver part off. Then when I had a Christmas Ornament coated with Poly . I took the silver dust and sprinkled it on the wet Poly to make it stick. It looks like glitter and looks great too. Believe or not, it added that great touch that only a Christmas Ornament would have. ---Marshall Border Organized Patterns - I hate it when I lose the pattern inserts from my favorite scroll saw magazines. Here's a simple solution that will keep you organized. Buy a 3 ring binder and some sheet protectors. Sheet protectors are clear sleeves used to protect documents. They have an opening in the top to allow you to insert your paper. These can be found at any office supply store. So next time you get your latest issue of your favorite scroll saw magazine, remove the pattern insert and safely stow them away in your 3 ring binder. Your magazine is now easier to read without the bulky insert, and your patterns are now organized and easy to find. A Tight Fit - Here is a handy intarsia tip. If two adjoining pieces don't fit tight, take both pieces to scroll saw. Hold the pieces tight together and saw between them carefully. This will even up any gaps for a nice tight fit. ---Hosie

I'm doing an Inkscape video series on Scroll Saw Goodies. This first video explains what Inkscape is and how to get it. I go through and prepare a downloaded pattern (kindly provided by Clayton!) for printing. I do this technique each and every time I print a pattern and it works really well for me. Let me know if you have any questions, I'd be glad to help. Enjoy!

Applying Patterns Transfer Method Drawing - One of the most direct ways of putting a pattern to your workpiece is simply draw your pattern onto the wood. This is a good method for simple patterns or to rough out a shape. However, it gets difficult for complex patterns and is limited by your drawing ability. Carbon Paper - Carbon paper is an easy method to transfer your pattern directly to the wood. Place your carbon paper between the pattern and the workpiece, and trace your pattern. The pressure from your pencil will transfer the carbon from the carbon paper to your workpiece. Graphite - If you don't have carbon paper, you can make your own. Flip over your pattern. With a soft pencil, lay down a thick layer of pencil. Once you have a nice thick layer, flip your pattern over and retrace your pattern onto the wood. The graphite from your pencil will transfer to your workpiece. Heat- This method requires a photocopy or a laser print. Make sure you flip your pattern in your imaging software so it prints backwards. Using a household iron will melt the toner on the paper and transfer it to the wood. Turn your iron up to the highest setting. Tape your pattern face down on the wood and iron the back of the pattern. Add firm pressure and go slowly. It will take time to transfer the wood, so check your work periodically. They also make special tools for using this transfer method. Acetone - This method requires a photocopy or a laser print. Make sure you flip your pattern in your imaging software so it prints backwards. The acetone will soften the toner and transfer it to the wood. Soak a paper town and apply the acetone to the back of your pattern. When the paper turns translucent, use the back of a spoon to rub the pattern into the wood. Warning: Acetone is highly flammable and has noxious fumes. Use safely in a well-ventilated area and away from flame. Inkjet - This method requires an inkjet printer. Make sure you flip your pattern in your imaging software so it prints backwards. Take a sheet of labels and peel off all of the labels. What's left behind is a waxy surface. When you print our pattern, the ink from your inkjet printer will stay on the surface and will remain wet for quite a while. Carefully place your label sheet face down onto your wood and wipe the back of the pattern with a paper towel to transfer the wet ink to the wood. This method can also be used with butcher paper. Cut the butcher paper to fit your printer and print it onto the waxy surface. Using Substrates The most common way scrollers attach patterns to their workpiece is by using a substrate. A substrate is a material put directly onto the wood, then the pattern is glued to the substrate. This method protects the wood from the glue and often makes pattern removal easier. Depending on the substrate, it may also offer lubrication for the blade to minimize burn marks. Blue Painter's Tape (Substrate) - The most common substrate scrollers use is blue painter's tape. Painter's tape has low tack which makes pattern removal easy. The wax on the tape also acts as a lubricant for the blade. A good quality painter's tape is recommended as their cheap counterparts rip too easily and may leave behind a sticky residue. Contact Paper (Substrate) - Contact paper are used as shelf liners and can be found in the kitchen area of your favorite store. Contact paper comes in large rolls, which is wide enough to accommodate most projects. Simply roll out what you need and apply the contact paper to your workpiece. Glad Press'n Seal (Substrate) -Glad Press'n Seal has a surprisingly strong bond when attached to a workpiece. Tear off enough to fit your workpiece. With the back of a credit card, press the Press'n Seal into the wood and trim off the excess. Since Glad Press'n Seal does not use any glues, there is no chance of leaving behind a sticky residue. PVA Glue (Attach) - You can use a basic white glue to attach your pattern to the substrate. Simply spread the glue onto the back of the pattern, and place it onto the substrate. Smooth out any air bubbles and wait at least an hour for the glue to dry. Glue Stick (Attach) - If PVA glue is too messy, you can use a glue stick. Some glue sticks have a colorant added. When the glue is wet, the glue shows purple but will dry clear. This type of glue stick makes it easy to know where you've applied glue. The drying time is much quicker; 15-20 minutes or less. Rubber Cement (Attach) - Rubber cement will add a really strong bond. To use, apply a thin coat of rubber cement to the back of your pattern and a thin layer to the back of your substrate. Allow each to dry until it becomes tacky like a Post It Note. Then carefully apply the pattern to the substrate. When the two layers of rubber cement meet, it will create a permanent bond. Full Sheet Label (Attach) - Here is a super-easy way to add your pattern to your substrate. Simply print your pattern on a full sheet label. Peel off the back of the label and attach to your substrate. Full sheet labels can get costly, but what you lose in expense, you make up for in convenience. Spray Adhesive (Attach) - The most common way for scrollers to glue a pattern is by using a spray adhesive. There are 2 ways to do this. The main way is to spray the back of the pattern and wait for it to dry so it's tacky like a Post It Note. Once dry, you attach it to the substrate. For a more permanent bond, spray both the back of the pattern and the substrate. Wait for each to dry so it's tacky like a Post It Note, then carefully attach the pattern to the substrate. Once the two glue surfaces meet, it will create a permanent bond. Directly To The Wood The method that is growing in popularity is gluing the pattern directly to the wood. Using a spray adhesive, spray the back of the pattern (don't spray the wood). When the glue has dried so it's tacky like a Post It Note, apply the pattern to the workpiece. This method is growing in popularity because it requires no additional materials. Pattern removal is easy and will practically fall off with a little mineral spirits. (See Pattern Removal below.) Removing Patterns Peeling - This is the most obvious way of removing your pattern. This works especially well when using a substrate as the pattern and the substrate peel off together. If getting the edge of your fingernail under the pattern is difficult, use a Xacto blade to help it along. Be especially careful when removing patterns from your workpiece. Peeling may add additional stress to the already delicate fretwork and we don't want to break off any fragile pieces. Sanding - You can also sand the pattern off. This method works great when using an image transfer where the pattern is transferred directly to the wood. You can also sand away paper patterns. But be careful. The friction of the sandpaper may soften some of the glue and work the glue into the wood fibers. Just take it slow and don't spend too much time in any one place. Take extra care when sanding delicate fretwork. The action of the sander may add extra stress to the delicate fretwork. You may choose to use a less aggressive sander like a vibrating mouse sander or simply sand it by hand. You can use a sanding pad for additional support and keep it from sliding around while you work. Heat Gun - A heat gun will soften up the glue and make pattern removal much easier. A high-intensity heat gun used for stripping paint and wallpaper works best. You might be able to use a hairdryer. Just put it on its highest setting and work one section at a time. Mineral Spirits - A popular way of removing patterns is using Mineral Spirits. Mineral Spirits is a solvent, so it will soften and dissolve the glue. You can buy odorless mineral spirits, so it's great for indoor use. Just make sure you protect your work surface. Mineral spirits work especially well when you attach your pattern directly to the wood. Just wet the pattern. Once it turns translucent, the pattern practically falls off on its own. Just peel it away and you're good as new. Mineral spirits is also good for removing any sticky residue left behind from tape or glue. Just apply and wipe away. For easy application, add it to a spray bottle. That way it's ready to go whenever you are. Simply spray the back of the pattern and remove. ---------- So, what did I forget? Do you use a different technique I didn't cover here? Let us know below.

Yeehaw! We're going to make a scroll-sawn portrait of the infamous outlaw and gunfighter, Billy the Kid. So, grab your cowboy hat and belly up to the scroll saw to get started on this easy project that captures the Wild West spirit! Prepare Your Materials Print the pattern and cut it to size. A free downloadable PDF is available to SSV Patrons and linked at the bottom of this article. I also prepared some 2 pieces of 1/8" Baltic Birch plywood. I cut the plywood down to 8 inches square and sanded it with 220 grit sandpaper. I like to pre-sand it before cutting. It saves time at the end of the project, and I have much less risk of breaking those delicate parts. Attach The Pattern With spray adhesive, I spray the back of the pattern. Wait a few moments until the glue is tacky like a Post-It note. Then I apply it directly to the wood. I prefer Super 77 from 3M, but any spray adhesive works. Some folks like to cover the top with packing tape, however, I find it easier to skip that step. It makes removing the pattern much easier later on. Stack Cutting For this project, we're going to stack-cut this portrait. We're doing this for a couple of reasons. First, you get two copies of the project for the work of one. Second, since the 1/8" plywood is so thin, having a little extra thickness will help with controlling the cut. I stack 2 pieces of 1/8" Baltic Birch Plywood. I press them together tightly, then tape each of the four edges with painter's tape. It's important these are tight and won't slide. Pilot Holes With the smallest drillbit I have, I drill my pilot holes in each of the grey areas. This will be used to thread the scroll saw blade through. If you don't have a drill press, you can easily do it with a hand drill. Cutting Blade choice is a matter of preference. In this project, I'm using a #3 scroll reverse spiral blade. I tend to use spiral blades for portrait-style projects. It really lends itself well to organic shapes and makes it easy to cut. However, you can use a #3 scroll reverse straight blade too. Removing The Pattern I removed the masking tape from around the edges of our stack cut. To remove the pattern, I spritz down the pattern with mineral spirits. I wait a few moments until the pattern turns translucent. Then the pattern practically drops off on its own. This is why I prefer not to use packing tape. The packing tape will prevent the mineral spirits to absorb into the paper and dissolve the glue. However, you can peel off the packing tape first, then spritz it down. But I find it easier not having the packing tape at all. With a paper towel and mineral spirits, I will wipe down where the glue was just to remove any extra glue. Finishing There you go! Two cuttings for the work of one! Usually, there is minimal cleanup. Sometimes you have to clean out the fuzzies on the back of the project with some needle files or sandpaper. For finishing, I'll put on 2-3 coats of clear acrylic spray. I prefer Deft Satin spray. For an ultra-smooth finish, before the last coat, I'll hit it quickly with #0000 steel will. Framing I made a simple frame with some old weathered fence boards. A simple miter cut at the corners and glued them. For the backer, I like using black felt. I used plexiglass on top of the cutting to protect it from dust. The next step is to hang it up in your homestead! Final I hope you enjoyed this project. Billy The Kid has really captured the imagination of the Wild West and has lived a very interesting, although short, life. Take some time and read a bit more about him. A super interesting character for sure!

This is a set of scroll saw projects you can make and sell and make a decent profit. They all are very simple and easy to make. (Link to full sized patterns at the bottom of the article) Estimated material cost to you for each of these projects is under $2.00 (Less, if you make your own wheels and axles). Time to make each project should be around 20 minutes each and you should be able to sell them for around $20 each. If you net around $18 for each project and you can make each project in 20 minutes, that is 3 projects an hour, or around $54 an hour. Not too bad. Time: These projects are simple and quick to make. (Approximate times noted). 2 to 3 minutes preparing the wood and to glue the patterns to the wood. 4 to 5 minutes to scroll saw each. 4 to 5 minutes to paint and sand. 6 to 7 minutes to assemble. Your actual overall time will vary slightly from project to project. I would recommend to try and time yourself making each of thes projects to find out which work best for you and are faster to make. TIME IS MONEY. Note, I found the turtle to be my fastest, and cheapest, to make. It was made out of a 2x6 piece of scrap wood. The horse pull toy was the longest to cut out due to all the saw kerfs in the mane. The centipede was the most expensive due to the 10 wheels. (I did save by using dowels in place of wheel axels.) Important: Use nontoxic paint, clear topcoats, and paste wax. Some tricks and tips: Try to find and use scrap wood. Perhaps from a local housebuilder or woodworking shop. If the surfaces are to be painted, paint the wood on both sides BEFORE cutting gout. Apply two coats and a clear top coat. Attach the pattern and cut out. Leave the edges natural. Make your own wheels and axles. They are simple enough to make. If you purchase wheels, I recommend Casey’s Wood Products. Make 10 or more the same project at the same time and mass produce them. This speeds up the overall process even more. If you want to paint only the edges of the project, glue the pattern to the front surface as you usually do and glue a plain piece of paper to the back surface. Cut out the project then paint the edges with the pattern and paper still in place. Remove the pattern and the piece of paper and sand the front and back surfaces and you're done. You might want to apply a clear top coat. Use dowels in place of wheel axles Leave the wheels natural. For color, paint only the wheel axles. For color to the wheels, try just painting the outer surface, leave the front and back surfaces natural. A project should look and feel good. Steel wool the project with #0000 wool and apply a coat of paste wax to finish the project. Patterns:

Here’s a fun little project, just in time for Halloween. I used a cedar fence board to make these cute segmented candy corns. It features a rough and rustic look. I show you how to add an aged patina to the project for that vintage folk art look. This project can be easily batched out and finished very quickly to add to your spooky Halloween decor. Step 1 First, sand down some cedar fence boards from the home center ($2-3/board) with 80 grit sandpaper. Don’t sand it completely smooth, just enough to remove the splinters. We want it rough. Step 2 Sketch out the basic candy corn shape. It’s just a triangle with rounded corners. Two curved lines in the middle make up the candy corn color bands. Don't make them all the same, vary the size and shape a bit to keep things interesting. Step 3 Cut the board down to something more manageable. Step 4 Cut them out on the scroll saw. I’m using a #9 scroll-reverse blade. Cut out the perimeter first, then come back and do the bands. Keep each set of pieces together. Step 5 With a rotary tool (like this one) and a small sanding drum, knock off the edges. Be a little rough with them so as to give them an aged and worn look. Step 6 Time to add paint. The bottom is orange, the middle is yellow, and the top is white. Don’t get hung up on getting it perfect. If it's rough, it'll add to the final look. Step 7 With 80 grit sandpaper, sand each piece. Sand away the paint on the edges and high areas revealing some bare wood. Step 8 Glue your pieces together. I’m using wood glue. They don’t need clamps but be sure to clean out any glue squeeze-out. Step 9 Time to add the weathering. I use a medium wood stain and paint it on really thick. With a clean rag, wipe off the excess and set it aside to cure. Step 10 I use furniture wax to soften the feel and protect the wood. (I like Howard Citric Shield.) Glop it on thick and let it sit for 10 minutes. Then with a clean rag, buff off the extra wax. I use a toothbrush to get the wax out of the cracks and crevices. Set aside to cure. Step 11 The wax will build up in the recesses and may give some parts a cloudy look. You can use a heat gun to melt the wax and let it soak back into the wood. Final

A buddy of mine wanted a magnet for his dishwasher that would tell him if the dishes are clean or dirty. This is a quick and easy project that I think would be a great craft show seller. To use, keep the “Dirty” part of the sign facing up. When you start your dishwasher, flip it to “Clean.” Once the dishwasher is unloaded, flip it back over to “Dirty.” Now you’ll know with a glance if your dishes are clean or dirty (without the bother of actually opening the dishwasher). Step 1 First, I printed and cut out the pattern. I've included 2 sizes, just pick the one you like better. I opted for the smaller one in this project. Step 2 With spray adhesive, I sprayed the back of the pattern. Once the adhesive dried a bit so it was tacky like a Post-It note, I applied it to my workpiece. I'm using 1/4" solid oak I picked up at the big box store. Step 3 Then I drilled my pilot holes on the inside of the letters. Step 4 Start with the inside of the letters and cut those holes out first. Step 5 Then I moved to the perimeter of the pattern and cut that out. I'm using a #3 scroll reverse blade. Step 6 I spritz down the workpiece with some mineral spirits. After a few moments, the paper will turn somewhat translucent. Once that happens, the pattern will practically fall off on its own. Step 7 With a palm sander, I sanded the workpiece with 220 grit sandpaper. I'm using a sanding pad (like this one) to help control the small project and pad the workpiece. You can also hand sand this. Step 8 I'm using a star sander (like this one). This is a great tool for softening the edges. Just be careful, because it can easily grab your project and send it flying through the air. Step 9 I'm using Deft Wood Finish in a satin finish. This is my favorite clear coat and produces a beautiful finish. Step 10 I'm using some Gorilla epoxy glue to glue down some ceramic magnets. If I had to do it over again, I think I'd pick up some rare earth magnets like these. They hold stronger and have a much lower profile. Final

Originally published in The Village Square - Sept. 2009 Your walls are covered and your shelves are overflowing with your scroll saw projects. Then it finally dawns on you; maybe you should start selling your work. But what should you charge? This is a tough question to answer. After all, you want to make it affordable so people would actually buy your products. But at the same time, you don't want to short change yourself. While pricing structures can range from picking a number out of the air to complex formulas, here's a good way to come up with a price for your scroll sawn art. First, you must decide what your time is worth to you. Are you happy making $15/hr? $30/hr? Be sure to keep this figure realistic. While it would be nice to make $150/hr, chances are that my work isn't worth more than $15/hr. Once you come up with a number, this becomes your target income goal. Next, figure out what it would cost to make your product. Figure in your time and material cost. Material costs not only includes the materials used to make your product, but it also includes expendables like scroll saw blades, masking tape, paper, and printer ink. Figuring out the costs of your expendables might be a bit of a guessing game, but try to put a ballpark figure on it. While you're at it mark up the material costs by about 20%. After all, you still have to hoof it over to the lumber store, pick your stock, haul it back home and organize it. Don't overlook expenses that occur in the sales process. Are you going to craft shows? Chances are, you'll be spending all day trying to sell your wares. Be sure to compensate yourself for your time. Plus there are booth fees and travel expenses to figure in too. Online markets charge listing fees and take a sales commission. Plus any time that you spend listing your products. See where I'm going with this? Now it's time to figure out what price to charge for your product. So take your time multiplied by your target income goal plus material costs. This is your price. But wait. We're not quite done yet. Now that we have a price, we have to figure out if the market can bare that price. When you come up with a number, compare it to what others sell similar items for locally. If others are selling it for more, raise your prices. If they're selling it for less, decide if you'd be willing to take less. If not, see if you can reduce your time or cost to get the widget price closer to the market price. There are many times where it just isn't worth your time to make that particular product. But there are many other items that you can make that has a nice profit margin. You may also consider the law of averages. Perhaps one product has to sell below what you'd be willing to take, but another product is selling for more. These two products may balance each other out in the long run. Naturally, custom work will cost more than items that can be "mass-produced." Making several of one item is usually more time efficient than making them one at a time. If you do portrait style cuttings, be sure to stack cut your items so you get 3 or 4 copies. Other items, make jigs where possible to speed up production. Also, keep an eye out on how to reduce material costs and any expendables. Often little compromises result in huge savings, thereby increasing your profit margin. And lastly, know who your customer is. Flea market folks won't pay $35 for a free-standing puzzle, but a patron of an art museum would. Be sure to research your customers and what others are doing. Find someone who is doing well and copy them (their method, not their patterns). No need to re-invent the wheel. Hopefully, these tips will get you on your way to selling your wares. It's nice to earn a little extra money to keep yourself in sawblades and buy a new tool on occasion. But if you don't sell anything, don't worry. After all, it's the journey, not the destination that counts.

There are many font resources on the internet. Although many fonts may be free to download, licensing terms for use of these fonts vary from site to site. Be sure to read the licensing terms before using their fonts. Do you have a favorite font site? Post it in the comments and we'll update this list. Free Fonts 1001 Fonts Abstract Fonts Acid Fonts Da Font Dingbat Pages Font Garden Font Meme Font Space Font Squirrel Google Fonts Scroll Crafters (a few scroll saw fonts) Simply The Best Fonts Type Now Webpage Publicity (6500 Free Fonts) Commercial Fonts Fonts.com International Typeface Corporation Lino Type My Fonts So Fontsy - Affordable fonts for crafters. Font Tools Stencilfy - Turns any font into a stencil with bridges.

A lot have seem to like my western frames so maybe I can give something to someone who hasn't found out about this trick. Making The Frame okay i bought 1x4 x8" western rough cedar $4.29 each spit a bunch in half. then set fence and ripped sides about 1.125 got 3 out of each 8' then ripped dado to accept picture and glass. i glued edge of the 1 3/4" piece and placed 1.125 i air nailed it with 1" brads. after i made some patterns and laid out a long and short piece for making 11"x14" frame. glued edges pop 4 staples 2 each side. then hit edges with an orbital sander to knock slivers off. Make Them Old get 2 individual pieces of 0000 steel wool and a gallon of white vinegar and a plastic sealable tube that will hold 2 gallons. pour vinegar and steel wool and close up for at least 2 days. open and stir if it's all dissolved, add 1 gallon of water to the mixture. now paint all exposed surfaces and get them wet. let them set overnight add hangers that's it. Now I hear it only works in western cedar and sometimes you will see orange spots I touch them with liquid again and they get less bright. I think it makes my western pictures. Any questions please ask

Clipart and photographs are often used by pattern designers to create unique patterns for the scroll saw. Be sure to read their Terms Of Use agreement carefully before using any of their images. There may be restrictions that may prohibit you from distributing your patterns. Remember, just because they're free, doesn't mean they don't have a copyright Do you have a favorite clipart source? Post it in the comments and we'll update this list. Free Clip Art Graphics Ace Clip Art Clker I Heart God Clip Art Karen's Whimsey Open Clip Art Library Out West PD Clip Art Public Domain Clip Art Rattlesnake Jack's Old West Clip Art The Graphics Fairy Tribal Shapes Visipix Wiki Commons WP Clip Art Free Stencil Graphics Stencil graphics are clip art that is practically ready to cut. However, they may need a little modification to make them cuttable on the scroll saw. Since these items require very little modification, you may not add those modifications and claim the work your own as derivative work. However, they can be used to make your own cutting and finished projects. Stencils to Download Free Photographs Copyright Free Photos Flickr Free Photos.org Old Picture of the Day PD Photo Public Domain Clip Art Public Photos.Net Public Domain Pictures Stock.xchg Uncle Sam's Photos U.S. Fish & Wildlife Service Visipix Wiki Commons WP Clipart Commercial Clip Art & Photographs Clipart.com

Saw's Bevel Gauge Most saws have a basic bevel gauge built in. Often times this is below the saw along the rocker. A simple needle points to the gauge marked on the rocker to indicate the angle. My scroll saw has a gauge built into the table, which makes it easy to see. This is a good way to get in the general ballpark, but not very accurate nor repeatable. Use this gauge if you don't need repeatable angles, or if accurate angle isn't necessary. Protractor A simple protractor is an easy way to get an accurate reading. You can pick one up for a couple of dollars at an office supply store. Make sure you buy a small enough one where you can lay the protractor against the blade. Line up the bottom of the protractor to the center mark, then adjust your table to the appropriate angle. Paper Protractor I like using a paper protractor. Download this paper template here. Use spray adhesive to attach it to some 1/4" plywood, then cut it out with your scroll saw. The nice thing about paper protractors is you can write on them. Use a red pen and draw a straight line from center point to the appropriate angle. Then simply adjust the table and line up the red line with your blade. You can also write notes on the protractor for each project (IE Bowl. 20 degrees for 3/4" stock.) Digital Angle Gauge I use a digital angle gauge. I picked mine up for about $30 on Amazon. This is super accurate, getting within 1/10th of a degree. You turn it on, place it on the bed of your scroll saw, then push the "Zero" button to zero out the gauge. Then you can start tilting your saw until you get your exact angle. This is my favorite method. I also love being able to use the gauge on other tools where I need an accurate angle. The magnetic bottom will attach to a table saw blade as you tilt the blade. Smart Phone Phones now days are amazing. They even have a built in angle gauge. I usually have mine within easy reach and it's very convenient. I use the iPhone, and the gauge is listed under the "compass" app, which is pre-loaded on your phone. Swipe to the left to get off the compass and onto the angle gauge (level). Place the phone on it's edge, then tilt your bed. Be careful to keep a hold of your phone. You don't want it to slide off onto the concrete floor (I won't tell you how I know this). This is super convenient. The only draw backs is your table has to be level with the floor to begin with (no zeroing option) and it only measures to the degree, not a fraction of a degree. I'm sure there are other free apps that address these issues, but the built in app works well enough. TCF002_Protractors.pdf

Originally published in The Village Square - June 2010 Introduction For those of you who like to scroll saw, you know how tedious it can be to cut around very small pieces. After years of wear (and sometimes even weeks) the hole in your scroll saw table gets scuffed and enlarged from repeated rubbing of the blade. This occurrence is not generally due to user error, but is what I would refer to as the nature of the beast. In my 13+ years of scroll sawing, it is rare that I come across a scroll saw table that doesn't have this type of wear soon after its initial use. For the most part, this does not interfere with production, but when cutting small, delicate pieces it can cause the problem of lack of support as well as losing the piece as it is cut off. In order to rectify this, many scrollers make what is referred to as a zero clearance plate for their saw. The purpose of the zero clearance plate is to provide better support for small and delicate pieces, as well as avoid losing them in the pile of sawdust underneath. There are several ways you can make this add-on for your saw. I will be focusing on what I feel to be the easiest, quickest (albeit, temporary) method of making this plate. It is a great quick fix for those of you who don't need or want a more permanent type or don't want to use it all the time, and can be installed in less than five minutes. Assembly First of all, make sure your scroll saw table is clean. Give it a spray with WD-40 and use some fine grit sandpaper to clean any adhesive or debris that may have collected on it. (Fig 1) After sanding, use a paper towel to clean off the WD-40. This will leave the surface slick and oily. You will now need to use Windex or another window cleaner or alcohol to remove the oily residue. You want the table as clean and grease free as possible. Next, take an empty two liter pop bottle and cut a rounded rectangle from the plastic. The rectangle should be about three inches square with rounded corners. (Fig 2) Use your drill press and a small bit (about 1/16th of an inch) to drill a small hole in the center of the plastic piece. (Fig 3) Go to your scroll saw and place a small blade in the blade holder. Release the top of the blade and thread the plastic piece through, curved side down. Reattach the blade and tighten the tension. (Fig 4) Square out the plastic and use clear packaging tape to tape the plate into place. I use strips of at least 6" long. Place four stripes two vertical to each side of the blade and two horizontal at the front and back of the blade. Do this carefully so you don’t get any wrinkles in the tape which would interfere with your cutting.(Figs 5 & 6) There you have it! An easy, effective and quick zero clearance scroll saw table! Conclusion I found that this type of plate works great. After a few projects, the hole does start to get bigger and sometimes the tape will roll up slightly at the edges after a bit of use. If this occurs, I just take a sharp scraping knife and trim off the loose edges of the tape. After a while, I replace the plate, cleaning my table as stated before. Even though I need to replace the plate periodically, I still use this method as opposed to a more permanent one because it is inevitable that even on wooden overlay plates which are popular, the hole will show signs of wear and get larger. Also with a wooden plate, you are raising the surface of your table the thickness of the wood and this could affect the performance of reverse-tooth blades, which I use often. Many people also use this method using old credit cards or other plastic, but I found that they are a bit thicker than the pop bottle plastic and form a ridge which causes problems when feeding delicate work through. I keep a several blank plates in my supply drawer, as I cut anywhere from four to eight of them from a discarded pop bottle at a time, which lasts a while. I hope you try this method and it works well for you. If you have any questions or comments about this article, please contact me at the email address below and I will be happy to assist you. If you have any questions regarding this project, please email me at sheilalandrydesigns@gmail.com. You may also see and purchase other patterns at www.sheilalandrydesigns.com and download free articles and a catalog of my designs. Come join me on Facebook at Sheila Landry Designs Scroll Saw Art! See previews and updates of articles and projects.

Originally Published in The Village Square newsletter - April 2012 We recently took our son in to get pictures taken at a photography studio. When we picked up the pictures, much to our surprise, they printed too many. What a great windfall! The extra prints were really cheap compared to what we already bought. So we shelled out the extra cash and now have even more pictures to share with our friends and family. Do we honestly believe they printed too many pictures? Of course not. This is called an up-sell. Once they have you in checkout, they offer additional goods/services at a reduced price. Its a way to make an additional sale with minimal risk of investment. I'm much more inclined to buy those extra prints as I have an vested interest in them. As scrollers, I think we can learn something from this practice by up-selling our services at checkout. How? By making additional copies with stack cutting. Stack Cutting is the process of making multiple copies of a cutting at once. You simply stack several pieces of plywood and secure them with tape around the edges. The tape holds the stack together and prevents the plywood from shifting. As you cut the portrait, you're cutting through several layers at once. When your finished, remove the tape along the edges to release the stack. Just like that, you have multiple copies of a project without any extra work. If you are doing a custom portrait, instead of cutting one copy, try stack cutting 2 or 3 extras. There's always somebody who will want one after seeing the original; mother, sibling, grandparent, etc. It doesn't take any extra time. Material cost is minimal. And quite honestly, its easier to cut a stack 1/2" thick than it is to cut something 1/8" thick. So lets say you were commissioned to do a custom portrait. You charge $60 for the work. When they pick up their custom cutting, mention that you made some extra copies "just in case" and show them. They can have the extras at $20 a piece if they're interested. This is a great deal compared to the initial $60 portrait! Plus, they have a vested interest because those cuttings are unique to them. They get a great deal and you walk away with an extra $40 with very little additional effort. You'd be surprised how often your extra copies will be purchased. But what if they don't want it? So what? It hardly cost you anything. Keep it for your portfolio and turn it into a sales tool. Print out the picture you used to make the portrait and tuck it into the corner of the frame. That way you can show people exactly what a custom portrait entails and what they can expect. You'll be able to sell your services a whole lot easier if the customer can see examples.

Working with certain hardwoods, especially exotic tropical woods, can cause an allergic reaction in some individuals. Some reactions are minor like eye irritation. Other reactions could be potentially fatal. Here is a toxicity chart of woods and their potential allergic reactions. This is not an exhaustive list. Please use care when working with any wood you are unfamiliar with. If you'd like a printable PDF version of this chart for your shop, you can download it here. Wood Reaction Site Potency Source Incidence Bald Cypress S R + D R Balsam Fir S E, S + LB C Beech S, C E, S, R ++ LB, D C Birch S R ++ W, D C Black Locust I, N E, S +++ LB C Blackwood S E, S ++ W, D C Boxwood S E, S ++ W, D C Cashew S E, S + W, D R Cocobolo I, S E, S, R +++ W, D C Dahoma I E, S ++ W, D C Ebony I, S E, S ++ W, D C Elm I E, S + D R Goncalo Alves S E, S ++ W, D R Greenheart S E, S +++ W, D C Hemlock C R ? D U Iroko I, S, P E, S, R +++ W, D U Mahogany S, P S, R + D U Mansonia I, S N E, S +++ + W, D D C Maple (Spalted) S, P R +++ D C Mimosa N ? LB U Myrtle S R ++ LB, D C Oak S C E, S ++ ? LB, D D R U Obeche I, S E, S, R +++ W, D C Oleander DT N, C ++++ D, W, LB C Olivewood I, S E, S, R +++ W, D C Opepe S R + D R Padauk S E, S, R + W, D R Pau Ferro S E, S + W, D R Peroba Rosa I R, N ++ W, D U Purpleheart N ++ W, D C Quebracho I C R, N ++ ? LB, D D C U Redwood S, P C E, S, R ++ ? D D R U Rosewoods I, S E, S, R ++++ W, D U Satinwood I E, S, R +++ W, D C Sassafras S DT C R N + + ? D D, W, LB D C R U Sequoia I R + D R Snakewood I R ++ W, D R Spruce S R + W, D R Walnut, Black S E, S ++ W, D C Wenge S E, S, R + W, D C Willow S R, N + D, W, LB U Western Red Cedar S R +++ D, LB C Teak S, P E, S, R ++ D C Yew I DT E, S N, C ++ ++++ D W, D C C Zebrawood S E, S ++ W, D Reaction I – irritant S – sensitizer C - nasopharyngeal cancer P - pheunomitis, alveolitis (hypersensitivity pneumonia) DT - direction toxin N - nausea, malaise Site S – skin E – eyes R – respiratory C – cardiac Source D – dust LB - leaves, bark W – wood Incidence C – common U - uncommon R – rare What is a sensitizer? The more you are exposed to wood, the more sensitive you get to its exposure and the more severe your reactions are. Note: This is not an exhaustive list. You should use care when working with any wood you are unfamiliar with.

The Janka scale is used to determine the relative hardness of particular domestic or exotic wood species. The Janka test measures the amount of force required to embed a 0.444" steel ball into the wood to half of its diameter. Woods with a higher rating are harder than woods with a lower rating. The Jenka scale is measured in pounds-force. This chart has been created by combining data from a number of sources. The left side is arranged alphabetically by species, whereas the right side is sorted by hardness. Janka Hardness Scale Species (sorted alphabetical) Janka Species (sorted by hardness) Janka Abarco 1020 Cuipo 22 Acacia 1750 Balsa 100 African Mahogany 830 Ceiba, Kapok 281 African Padauk 1725 Aspen, quaking 337 African Pearlwood / Moabi Sometimes: Brazilian Cherry "Lite" 3680 Buckeye, yellow 350 Afromosia 2524 Jelutong 357 Afzelia / Doussie / Australian Wormy Chestnut 1810 Basswood, American 367 Alder (Red) 590 Gumbo Limbo 370 Amberwood 2200 Cottonwood, eastern 377 Amendoim 1912 Eastern White Pine 380 Amendoim, Ybyraro 2947 Pine, lodgepole 402 American Beech 1300 Redwood 402 American Red Elm 860 Fir, white 407 American Cherry 950 Obeche 408 Anchico 2524 Basswood 410 Andiroba, Virola 1130 Aspen, bigtooth 420 Angelim Pedra, Amburana 3040 White Pine 420 Angelin 1750 Spruce, black 422 Angelique 1290 Okoume, aboon 431 Angico, Vermelho 3020 Poplar 432 Aniegre 980 Cypress, Mexican 460 Apple 1480 Hemlock, mountain 467 Ash (White) 1320 Butternut, Whate walnut 490 Ash, blue 2030 Hemlock 500 Aspen, bigtooth 420 Maminha-de-porca 523 Aspen, quaking 337 Tamarack 526 Avodire 1250 Chestnut 540 Azobe 2940 Poplar 540 Balau 1642 Catalpa 550 Balsa 100 Hura 558 Bamboo 1450 Willow 568 Bamboo, timbergrass 1642 Cypress, Southern 570 Banak, Kirikawa 911 Cedar, yellow 580 Bangkirai 1798 Alder (Red) 590 Bangkirai, Amang besi 1987 Larch 590 Basswood 410 Silverbell, Carolina 590 Basswood, American 367 Quaruba, Copaie 593 Beech, Australian; Blackbutt 1569 Cativo 625 Benge, Muteneye 1983 Western Juniper 626 Black cherry 788 Sassafras 630 Black Cherry, Imbuia 950 Pine, spruce 647 Black Walnut/North American Walnut 1010 Determa 657 Blackwood, African 1720 Douglas Fir 660 Bloodwood 2900 Embira-branca 669 Bocote, Cabreuva, Santos Mahogany 2200 Southern Yellow Pine (Loblolly and Shortleaf) 690 Boire 940 Silver Maple 700 Boire, Bodowood 1326 Shedua 710 Bolivian Cherry 3650 Boxelder 720 Boreal 1023 Chinkapin, giant 730 Boxelder 720 Limba 731 Boxwood, Buis 2730 Larch, western 745 Brazilian Eucalyptus / Rose Gum 1125 Ilomba 749 Brazilian Koa 2160 Elm 769 Brazilian Mesquite / Carapa Guianensis 1220 Sycamore, American 770 Brazilian Olivewood 3700 Keruing, Apitong 775 Brazilian Redwood / Paraju / Massaranduba 3190 Parana-Pine 780 Breu 980 Laurel, California; Myrtle 784 Brushbox 2135 Black cherry 788 Brushbox 3025 Cumaru 790 Bubinga 1980 Primavera 799 Bubinga, African rosewood 2628 Mahogany, Honduran Mahogany 800 Buckeye, yellow 350 African Mahogany 830 Buckthorn, Cascara 1040 Lacewood, Leopardwood 840 Bulletwood, Balata, Macaranduba 3070 Sweetgum 850 Butternut, Whate walnut 490 American Red Elm 860 Cambara 941 Tupelo, gum 861 Cameron 1940 Southern Yellow Pine (Longleaf) 870 Camphorwood 930 Hackberry 880 Canarywood 2000 Oak, Asian; Rubberwood 890 Carbonized Bamboo (represents one species) 1180 Cedar 900 Caribbean Heart Pine 1280 Eastern Red Cedar 900 Caribbean Walnut 1390 Sande 900 Catalpa 550 Meranti, dark red 908 Cativo 625 Paper Birch 910 Cedar 900 Banak, Kirikawa 911 Cedar, Spanish 1006 Cuangare 911 Cedar, yellow 580 Ekop 915 Ceiba, Kapok 281 Camphorwood 930 Chechen, Black poisonwood 2200 Boire 940 Cherry 995 Cambara 941 Cherry, tropical/Mayan; Machiche, Cerezo 3190 American Cherry 950 Chestnut 540 Black Cherry, Imbuia 950 Chinkapin, giant 730 Red Maple 950 Cocobolo 1136 Soft and Ambrosia Maple 950 Coconut palm 1600 Aniegre 980 Coffee Bean 1390 Breu 980 Copaiba, Bacana 1470 Mango 980 Cottonwood, eastern 377 Imbuia, Imbuya 982 Cuangare 911 Roble 987 Cuipo 22 Cherry 995 Cumaru 790 Hevea 995 Curupixa 1018 Pink ivory 995 Curupixa 1490 Sakura, Chinese birch 995 Cypress, Australian hard 1375 Magnolia, southern 1000 Cypress, Mexican 460 Teak 1000 Cypress, Southern 570 Cedar, Spanish 1006 Degame 1816 Black Walnut/North American Walnut 1010 Determa 657 Curupixa 1018 Dipteryx odorata / Cumaru / "Brazilian Teak" sometimes: "Brazilian Chestnut," "Tiete Chestnut," "South American Chestnut," "Southern Chestnut" 3540 Abarco 1020 Dogwood, flowering 2150 Holly, American 1020 Douglas Fir 660 Boreal 1023 Doussie 2103 Teak, Brazilian; Tatajuba 1038 Eastern Red Cedar 900 Buckthorn, Cascara 1040 Eastern White Pine 380 Teak 1075 Ebony 3220 Peruvian Walnut 1080 Ebony, Brazilian 3692 Makore 1100 Ekop 915 Siberian Larch 1100 Elm 769 Brazilian Eucalyptus / Rose Gum 1125 Embira-branca 669 Andiroba, Virola 1130 Etauba, Itauba 2900 Cocobolo 1136 Faveira 2895 Teak 1155 Fir, white 407 Thuya, Thuja, Arar 1155 Freijo 1627 Maple, hard-rock 1156 Garapa, Goldenwood 1700 Juniper 1160 Golden Teak 2330 Nyatoh 1171 Goncalo Alves / Tigerwood 1850 Carbonized Bamboo (represents one species) 1180 Goncalo Alves, Tigerwood 2160 Larch 1200 Grapia 1658 Kapur 1205 Greenheart 2593 Brazilian Mesquite / Carapa Guianensis 1220 Grenadilla, Mpingo, African blackwood 2940 Yellow Heart Pine 1225 Grey Ironbark 3664 Movingui 1230 Gum, spotted; Australian hickory 2185 Pine, Caribbean 1240 Gum, Sydney blue 1273 Avodire 1250 Gumbo Limbo 370 Yellow Birch, Iroko 1260 Hackberry 880 Gum, Sydney blue 1273 Hard / Sugar Maple 1450 Ramin 1274 Hemlock 500 Movingui, Ayan 1278 Hemlock, mountain 467 Caribbean Heart Pine 1280 Hevea 995 Angelique 1290 Hickory / Pecan, Satinwood 1820 Mersawa 1290 Highland Beech 1686 Red Oak (Northern) 1290 Holly, American 1020 Walnut, Mansonia; Imbuya 1290 Honeylocust 1548 Makore, African cherry 1294 Hophornbeam, Ironwood 1860 American Beech 1300 Hornbeam, American 1780 Manni, Chewstick 1304 Hura 558 Ash (White) 1320 Ilomba 749 White Ash 1320 Imbuia, Imbuya 982 Boire, Bodowood 1326 Ipe / "Brazilian Walnut" / Lapacho 3684 Sourwood 1326 Ipe, Lapacho 3342 Oak, white 1333 Ironbark, red 2470 Ribbon Gum 1349 Ironwood 2299 Kauri, Agathis 1350 Ivorywood, Pau marfim 1987 Tasmanian Oak 1350 Jarrah 1910 White Oak 1360 Jatoba, Brazilian cherry, Coubaril 2350 Cypress, Australian hard 1375 Jelutong 357 Natural Bamboo (represents one species) 1380 Juniper 1160 Sepetir 1382 Kaneelhart, Ajoewa 2464 Caribbean Walnut 1390 Kapur 1205 Coffee Bean 1390 Karri 2010 Kentucky Coffee Tree 1390 Karri 2030 Mahogany, African, Khaya 1395 Kauri, Agathis 1350 Mahogany, Royal 1400 Kempas 1710 Santa Maria 1410 Kempas, Thongbueng 1797 Sapele 1439 Kentucky Coffee Tree 1390 Louro 1441 Keruing, Apitong 775 Tulipwood, Pau rosa 1441 Kiiat, Muninga, Mukwa 1564 Bamboo 1450 Koa 1551 Hard / Sugar Maple 1450 Kurupaya 3840 Madrone, Pacific; Manzanita 1460 Lacewood, Leopardwood 840 Copaiba, Bacana 1470 Lapacho 3640 Sweet Birch 1470 Larch 590 Apple 1480 Larch 1200 Curupixa 1490 Larch, western 745 Pau-santo, Angelica 1490 Laurel, California; Myrtle 784 Mahogany, sapele 1500 Lignum vitae / Guayacan / Pockenholz 4500 Maple, Brazilian 1500 Limba 731 Tauari 1500 Locust, black 1700 Sapele / Sapelli, Kupa'y 1510 Louro 1441 Witch hazel 1530 Lyptus 1796 Honeylocust 1548 Macadamia 2300 Koa 1551 Macawood 2406 Peroba 1557 Madrone, Pacific; Manzanita 1460 Kiiat, Muninga, Mukwa 1564 Magnolia, southern 1000 Tree-of-heaven, Ailanthus 1568 Mahogany, African, Khaya 1395 Beech, Australian; Blackbutt 1569 Mahogany, Honduran Mahogany 800 True Pine, Timborana 1570 Mahogany, Incensio, Cariuva 2200 Zebrawood 1575 Mahogany, Royal 1400 Coconut palm 1600 Mahogany, Santos' Cabreuva 2600 Olive, Brazilian; Taxi 1600 Mahogany, sapele 1500 Yew, Pacific 1600 Makore 1100 Quina 1611 Makore, African cherry 1294 Peroba de campos, White peroba 1624 Maminha-de-porca 523 Tualang 1624 Manbarklak, Black kakaralli 2890 Freijo 1627 Mango 980 Red Pine 1630 Mangrove, red 2940 Walnut, tropical; T'zalam 1630 Manni, Chewstick 1304 Wenge 1630 Maple, Brazilian 1500 Wenge, Red Pine, Hornbeam 1630 Maple, hard-rock 1156 Balau 1642 Marblewood 2532 Bamboo, timbergrass 1642 Maria-preta, Arvore-da-chuva 1668 Roxinho 1650 Marishballi 2967 Shedua, Amazakoue 1650 Mastic 1770 Merbau 1654 Meranti, dark red 908 Grapia 1658 Merbau 1654 Zebrawood 1658 Merbau 1712 Maria-preta, Arvore-da-chuva 1668 Merbau 1925 Highland Beech 1686 Merbau 1925 Patens 1691 Mersawa 1290 Garapa, Goldenwood 1700 Mesquite 2345 Locust, black 1700 Moabi, Guajara 2100 Kempas 1710 Mora 2424 Merbau 1712 Morado 2400 Blackwood, African 1720 Movingui 1230 Piquia 1720 Movingui, Ayan 1278 Opepe 1724 Narrah, Amboyna 2170 African Padauk 1725 Natural Bamboo (represents one species) 1380 Acacia 1750 Nyatoh 1171 Angelin 1750 Oak, Asian; Rubberwood 890 Mastic 1770 Oak, live 3200 Hornbeam, American 1780 Oak, white 1333 Rosewood 1780 Obeche 408 Shorea 1780 Okan 2780 Lyptus 1796 Okoume, aboon 431 Kempas, Thongbueng 1797 Olive, Brazilian; Taxi 1600 Bangkirai 1798 Opepe 1724 Sandalwood 1798 Osage Orange 2040 Serviceberry 1800 Osage orange 2400 Afzelia / Doussie / Australian Wormy Chestnut 1810 Padauk, African 2219 Degame 1816 Paper Birch 910 Hickory / Pecan, Satinwood 1820 Para-angelim 1958 Goncalo Alves / Tigerwood 1850 Paraju, Brazilian redwood, Jutahy 3500 Hophornbeam, Ironwood 1860 Parana-Pine 780 Purpleheart 1860 Patagonian Rosewood / Curupay / Angico Preto / Piptadenia Macrocarpa / Brazilian Tiger Mahogany 3840 Tarara 1860 Patens 1691 Yellowheart, Anan 1878 Pau ferro, Brazilian ebony 2713 Jarrah 1910 Pau-santo, Angelica 1490 Amendoim 1912 Pearwood, African; Aboga 2732 Merbau 1925 Peroba 1557 Merbau 1925 Peroba de campos, White peroba 1624 Tallowwood 1933 Persimmon 2254 Tualang 1938 Peruvian Walnut 1080 Cameron 1940 Pilon, Angelim 2020 Para-angelim 1958 Pine, Caribbean 1240 Bubinga 1980 Pine, lodgepole 402 Benge, Muteneye 1983 Pine, spruce 647 Wallaba 1986 Pink ivory 995 Bangkirai, Amang besi 1987 Piquia 1720 Ivorywood, Pau marfim 1987 Poplar 432 Canarywood 2000 Poplar 540 Tallowwood 2007 Pradoo 2170 Karri 2010 Pradoo, Burma padauk 2267 Pilon, Angelim 2020 Primavera 799 Sydney Blue Gum 2023 Purpleheart 1860 Ash, blue 2030 Purpleheart, Amaranth, Pau roxo 2713 Karri 2030 Pyinkado 2369 Osage Orange 2040 Quaruba, Copaie 593 Moabi, Guajara 2100 Quebracho Colorado 2470 Doussie 2103 Quina 1611 Brushbox 2135 Ramin 1274 Sucupira sometimes "Brazilian Chestnut" or "Tiete Chestnut" 2140 Red Mahogany, Turpentine 2697 Dogwood, flowering 2150 Red Maple 950 Brazilian Koa 2160 Red Oak (Northern) 1290 Goncalo Alves, Tigerwood 2160 Red Pine 1630 Narrah, Amboyna 2170 Redwood 402 Pradoo 2170 Ribbon Gum 1349 Gum, spotted; Australian hickory 2185 Roble 987 Amberwood 2200 Rosewood 1780 Bocote, Cabreuva, Santos Mahogany 2200 Rosewood, Brazilian; Jacaranda 2860 Chechen, Black poisonwood 2200 Rosewood, Indian 3170 Mahogany, Incensio, Cariuva 2200 Roxinho 1650 Santos Mahogany, Bocote, Cabreuva, Honduran Rosewood 2200 Sakura, Chinese birch 995 Ziricote 2200 Sandalwood 1798 Padauk, African 2219 Sande 900 Tatajuba 2220 Santa Maria 1410 Wenge 2235 Santos Mahogany, Bocote, Cabreuva, Honduran Rosewood 2200 Persimmon 2254 Sapele 1439 Pradoo, Burma padauk 2267 Sapele / Sapelli, Kupa'y 1510 Ironwood 2299 Sassafras 630 Tornillo 2299 Satinwood 2600 Macadamia 2300 Sepetir 1382 Tamarind 2318 Serviceberry 1800 Golden Teak 2330 Shedua 710 Mesquite 2345 Shedua, Amazakoue 1650 Jatoba, Brazilian cherry, Coubaril 2350 Shorea 1780 Pyinkado 2369 Siberian Larch 1100 Morado 2400 Silver Maple 700 Osage orange 2400 Silverbell, Carolina 590 Macawood 2406 Snakewood 3800 Mora 2424 Soft and Ambrosia Maple 950 Kaneelhart, Ajoewa 2464 Sourwood 1326 Ironbark, red 2470 Southern Chestnut 2670 Quebracho Colorado 2470 Southern Yellow Pine (Loblolly and Shortleaf) 690 Spotted Gum 2473 Southern Yellow Pine (Longleaf) 870 Afromosia 2524 Spotted Gum 2473 Anchico 2524 Spruce, black 422 Marblewood 2532 Stranded/woven bamboo 3000 Greenheart 2593 Sucupira sometimes "Brazilian Chestnut" or "Tiete Chestnut" 2140 Mahogany, Santos' Cabreuva 2600 Sweet Birch 1470 Satinwood 2600 Sweetgum 850 Tigerwood, Muiracatiara 2620 Sycamore, American 770 Turpentine 2624 Sydney Blue Gum 2023 Bubinga, African rosewood 2628 Tallowwood 1933 Southern Chestnut 2670 Tallowwood 2007 Red Mahogany, Turpentine 2697 Tamarack 526 Pau ferro, Brazilian ebony 2713 Tamarind 2318 Purpleheart, Amaranth, Pau roxo 2713 Tarara 1860 Boxwood, Buis 2730 Tasmanian Oak 1350 Pearwood, African; Aboga 2732 Tatajuba 2220 Okan 2780 Tauari 1500 Rosewood, Brazilian; Jacaranda 2860 Teak 1000 Manbarklak, Black kakaralli 2890 Teak 1075 Faveira 2895 Teak 1155 Bloodwood 2900 Teak, Brazilian; Tatajuba 1038 Etauba, Itauba 2900 Thuya, Thuja, Arar 1155 Azobe 2940 Tiete rosewood 3280 Grenadilla, Mpingo, African blackwood 2940 Tigerwood, Muiracatiara 2620 Mangrove, red 2940 Tornillo 2299 Amendoim, Ybyraro 2947 Tree-of-heaven, Ailanthus 1568 Marishballi 2967 True Pine, Timborana 1570 Stranded/woven bamboo 3000 Tualang 1624 Angico, Vermelho 3020 Tualang 1938 Brushbox 3025 Tulipwood, Pau rosa 1441 Angelim Pedra, Amburana 3040 Tupelo, gum 861 Yvyraro 3040 Turpentine 2624 Bulletwood, Balata, Macaranduba 3070 Verawood 4000 Rosewood, Indian 3170 Wallaba 1986 Brazilian Redwood / Paraju / Massaranduba 3190 Walnut, Mansonia; Imbuya 1290 Cherry, tropical/Mayan; Machiche, Cerezo 3190 Walnut, tropical; T'zalam 1630 Oak, live 3200 Wenge 1630 Ebony 3220 Wenge 2235 Tiete rosewood 3280 Wenge, Red Pine, Hornbeam 1630 Ipe, Lapacho 3342 Western Juniper 626 Paraju, Brazilian redwood, Jutahy 3500 White Ash 1320 Dipteryx odorataCumaru / "Brazilian Teak" sometimes: "Brazilian Chestnut," "Tiete Chestnut," "South American Chestnut," "Southern Chestnut" 3540 White Oak 1360 Lapacho 3640 White Pine 420 Bolivian Cherry 3650 Willow 568 Grey Ironbark 3664 Witch hazel 1530 African Pearlwood / Moabi Sometimes: Brazilian Cherry "Lite" 3680 Yellow Birch, Iroko 1260 Ipe / "Brazilian Walnut" / Lapacho 3684 Yellow Heart Pine 1225 Ebony, Brazilian 3692 Yellowheart, Anan 1878 Brazilian Olivewood 3700 Yew, Pacific 1600 Snakewood 3800 Yvyraro 3040 Kurupaya 3840 Zebrawood 1575 Patagonian Rosewood / Curupay / Angico Preto / Piptadenia Macrocarpa / Brazilian Tiger Mahogany 3840 Zebrawood 1658 Verawood 4000 Ziricote 2200 Lignum vitae / Guayacan / Pockenholz 4500

Originally published in The Village Square - May 2010 Now that its May, dreams of playing outside and enjoying the warm weather is becoming a reality. Thoughts of BBQs, picnics, camping are swimming in my head. But one other thing that I often think of is scrolling. One of my favorite things is having my scroll saw on the patio with an ice cold beverage, making sawdust, and listening to the birds chirp. A scroll saw is a pretty small tool and can easily be transported from the garage to the patio with little effort. I just set it on an old table, plug it in and go at it. I always have good light, and with a gentle breeze, you have an natural dust blower. If carrying your scroll saw to the patio seems too cumbersome, consider building a simple scroll saw stand on wheels. The stand can be constructed easily from 2x4 with a MDF or plywood top. Add a shelf to hold your project, scroll saw blades, and tools for added convenience. Now you can simply roll the scroll saw to wherever you need it. This is especially helpful when chasing after shaded areas. When you're ready to scroll, it is very convenient to have everything you need with you so you don't have to run back and forth to the shop. For this, I use an inexpensive tool tote. In the cleaning aisle of many stores, you can find a cleaning tote. Its nothing more than a plastic carrier, usually with a well on each side of the handle. This is used to carry cleaners, but it also makes a great tote for your most commonly used tools. Fill it up with spray adhesive, acrylic spray finish, blue masking tape, clear packing tape, scroll saw blades, scissors, a hobby knife, and a cordless drill with small bit. When you're ready to scroll, simply bring the tote with you and you're ready to go. I encourage you to try scrolling outside this summer. Its such a simple pleasure will enrich both your scrolling hobby, and your outdoor living.

Originally published in The Village Square newsletter - July 2010 Introduction Wood is such an incredible media to create with! I know of a few other materials that have such a wide array of variation. There are literally thousands of different species of wood, each with its own unique characteristics. Wood offers a huge range of colors, textures and grain patterns and left its natural color, provides an infinite range of possibilities to make beautiful and distinctive projects. The natural color of wood can range from near white (Holly) to the darkest black (Ebony) and everything in between from orange (Padauk) to greenish (Poplar) to yellow (Yellow Heart) or even purple (Purple Heart). Why then would we want to add color to wood? There are several reasons why we would want to change the natural color of the wood we use for our projects: Appearance: Even though there is a vast range of colors, perhaps we want to have our finished project a color that doesn't come naturally to the wood we are choosing. Availability: Many of the beautiful exotic woods are rare and difficult to find. If you happen to live away from a large metropolitan area, it could be very hard to find a certain species of wood that would happen to be the color you were looking for. Cost: Even if you were able to find that exotic species of wood that would be exactly right for your project, you may find that not only would the cost of the wood itself be expensive, but also the cost to ship it to you. There Are Many Options Available We are fortunate to live at a time where there are several viable options available for adding color to our wood. Many companies offer both oil-based and water-based stains and dyes which will change the appearance of the wood, without hiding the grain. Of course, you could always paint wood solidly, too if that is your preference. Many acrylic and oil-based paints are made specifically for application onto wood and work very nicely. There are even environmentally safe stains that have no odor and will not raise the grain. The best thing to do is to experiment with different products and you will find which ones are most appealing to you. What if you "Can't Paint?" In the many years I have worked and taught in the woodworking and painting fields, probably the most common thing I have heard from woodworkers is the phrase "I can't paint!" When I hear Enhancing Projects with Color Page 2 that from people, I pride myself in being able to prove them wrong. Most people look at painting at face value. By that, I mean that they look at the finished product, which to them may seem to be complicated and difficult to accomplish. But I feel that is a mindset which needs to be redirected. As with woodworking, achieving beautiful results doesn't have to be complex and intricate. Some of the best patterns on the market are those which the result is exceptional, yet the process is easily implemented once it is approached one step at a time. As with scroll sawing, it is best to look at a painting project as a progression, where each step is small, yet adds greatly to the finished piece. Most of us know from our own experience just what was involved in creating our scroll sawing pieces. Laypeople who don't do scrollwork are completely fascinated when they see fretwork. They see hundreds of holes, cut out in complex shapes and the process of creating such a piece is unfathomable to them. I believe the same is true when painting. Many times projects require only a touch of color to accent your piece and give it an entirely different look. Further, by adding a couple of layers of color, you are able to change the entire appearance of the project. Following are some examples of simple painting techniques that anyone can do with little experience that will enhance the beauty of your scroll saw projects. Staining Probably one of the easiest ways to change or enhance the color of the wood is staining. Most stains are semi-transparent and allow the natural grain of the wood to show through, keeping the interest and the integrity of the grain pattern. There are many oil-based stains on the market, as well as some water-based ones. Choosing which stain to use can be confusing and is greatly a matter of personal preference. I found that most of the oil-based stains come in only natural wood colors, so if you are looking for an unusual color such as red or green it could be difficult to find. However, oil-based stains are the traditional choice for most woodworking projects because the oil does not tend to raise the grain and in itself, it offers better protection of the wood. However, with many advances in technology along with our raising concerns for the environment, water-based stains have gained a great deal of popularity recently. I have been very impressed with the "Saman" line of stains for many reasons. Being water-based, they have no odor, dry quickly and are environmentally friendly. They also need no conditioner and the 27 colors are intermixable, allowing you an endless color palette. They don't leave any overlapping marks, (which is important when staining larger projects or furniture) and don't raise the grain. Clean up is easy with soap and water. With the type of projects I do, this has been one of my favorite products. The results I have had from these stains have been great and I have had friends who are cabinet builders that have been equally impressed in using the products on larger projects. I will, however, note that I found that in order to achieve a durable finish, you need to use either an acrylic sealer or an oil-based one (after the stain is completely dry). The water-based sealer that Saman offers has not proven to be durable in my use. If you would like more information on these products and where to obtain them, please visit their website at http://www.dtep.com/saman.htm or contact me and I will forward the information to you. I made a segmentation of a hump-backed whale using Ash. Figure 1 shows the original whale and Figure 2 shows the dramatic difference using a stain. I had also created this project using Maple, but the results were not as interesting and rather "flat." Maple, which is a good choice for many segmentation projects due to its tight, even grain and strength, proved to look a bit a better choice for the segmentation project in Figure 3, in which the focus was more on the details of the design rather than the texture. I found the deeper grain of the Ash allowed more interest in the Whale design and was a better choice for that project. It is strictly your own preference as to which wood you choose for your project. Experiment and see what is available to you and also what you desire for your end result. Acrylic Paint Washes Another method of adding interest to wood is by using acrylic paint as a wash. Creating a wash with acrylic paint is achieved by simply adding water to the paint until the desired opacity is reached. You can do this with any brand of acrylics, either bottle or tube, and the result is pretty much the same. Just add a drop or two of paint onto a palette (I use the round bubble palette that is available where most painting supplies are sold) and little by little drop some water into the paint and mix. Test the opacity on a scrap of wood from your project until you reach the results you desire and you are ready to go. Since the use of washes incorporates additional water into the paint, I found that it is best to use them primarily on hardwoods to minimize raising of the grain. Using washes on softwood such as pine can cause the wood to swell and depending on the amount of area that is going to be colored, can cause unsightly problems. It is best to use washes sparingly or only as accents on most pieces. If a broader coverage is desired, I would recommend staining, as above. Accents on pieces, however, can be very effective and appealing and because of the huge range of acrylic paint colors available, using acrylic washes is an economical and easy way to enhance your projects. In figures 4 and 5, I have shown how brushing on a simple wash of color, following the stylized scroll saw lines, can add lots of interest to this Oak sled. Because the wood is Oak and only a small amount of color is added, there is very little rising of the grain and the results are dramatic. In Figure 6, I have used washes to tint the Maple skates and accent them. Again, I am following the scroll saw lines and just filling in the areas with light color. Since the Maple has a hard, tight grain, there is very little swelling and the acrylic paint tends to sit on top of the wood. Once dry, I sprayed the skates with a coat of polyurethane varnish to set the colors. Actual Painting of Wood Finally, I am going to talk about painting wood using acrylic paints. Since acrylic paints are insoluble once dry, they form a durable surface which won't fade with time and can be a nice way to enhance your scroll saw projects. In Figure 7, I show two songbird plaques I designed for scroll sawing. Although I realize that it is a matter of personal preference, I see the plaques as a bit lifeless. By adding some simple painting techniques, following the scroll saw lines that were already there, I used only five colors (besides black and white) to bring these birds to life. When painting wood in this matter, I begin with a base coat which is a solid blocking in of color. Base coating not only gives you an even color to build your design upon, but also acts to seal the wood and allow additional shading and detailing without saturating the wood or bringing up the grain. In this project, I used Curly Maple, as again, it is a hardwood with tight grain that is a good choice for painting. I also liked the additional grain properties, as they added some interest to the frames, and also some texture to the birds. The grain is small and subtle and suitable for a project of this size without overpowering the main design elements. For the first base coat, I used the acrylic paint and very little water (just enough to keep my brush moist and allow the paint to move) and blocked in the main colors. After allowing this to dry, I was able to add some shading and detailing in the form of washes and line work without worrying about raising the grain or warping the wood. The first coat of acrylic acts as a barrier on the wood and inhibits additional layers to penetrate the wood. This gives us the freedom to paint on the piece without damaging it. Although there is a bit more detail to this type of painting for scroll saw projects, when approached in a step-by-step manner, it is a simple and effective way to enhance our overall projects. The results can be very dramatic and look as if it took us a lot of time and skill to achieve it. Conclusion These have been just a few techniques to add interest and color to your scroll saw projects. Each method described here is a simple, cost-efficient and fun way to expand your skills and add interest to your projects. I hope you are inspired to try a few of them and discover the inner artist lurking deep within yourself. I think you may be surprised at how easy it is! If you have any questions or comments, or if you wish to send me pictures of your accomplishments, I would love to hear from you. As always, I try to be here to help. Happy Painting! If you have any questions regarding this project, please email me at sheilalandrydesigns@gmail.com. You may also see and purchase other patterns at www.sheilalandrydesigns.com and download free articles and a catalog of my designs. Come join me on Facebook at Sheila Landry Designs Scroll Saw Art! See previews and updates of articles and projects.