FrankEV

My third Intarsia Project. A 7.5" wide x 9.5" tall Oval. For a full write-up see my post in the Intarsia/Segmentation Forum. Comments and Critiques always welcome.

Over engineered, I'll say! Your total 12mm (1/2") is a little thick, but I understand why you did that. I cut all my art panels in nominal 1/8" thick ply and glue them to a 1/4" ply backer for a total 3/8" thick panel. I use a homemade gluing press to glue the cut panel to the backer. Any warp in the cut panel is eliminated while drying in the press. This is what the back of my Floating frame looks like. This is a drawing of the construction detail. I just noticed that the right end of the top dimension is to the wrong place. Should be to the end of the panel. I do brad nail and glue the 1/4" material into the Rabet. I'm thinking of using my router to make the rails in one piece from 3/4" x 1 3/4" wide material. The width of the rabbet would be a min. of 7/8". I will need to buy a bigger rabbeting bit and the rabbet will need multiple passes, but would make the frame glue-up much simpler. My only problem is with the 1/4" Z-clips I use to mount the panel into the frame. I have to ve very careful to locate the screw in a full 3/8" thick section or the 516" long screws I use will poke through. not nice! I also just use a small sawtoot hanger as I don't want the frame to tilt when hung on the wall. Scroll Saw art shoul be hung flat on the wall at eye level for best viewing from about 4' away. And, yes, I burn my Logo in to the panel with a lazer engraver. Thanks for showing the back side. Hope this might be of some value.

Wouldyou flip it over and take a pic. I'm interested in how you constructed the frame and attached the cut panel. And how thick is your cut panel?

Cute image! Very nice job on the gallery type floating frame.

Similar to what I made. The stop makes the length repeatable

On these first two attemps I found the Scroll Saw cutting to be easy-peasy. The shaping work takes much more time to do well. Working with the very small pieces. like the thorns on the Rose stem, is a stiff PITA. Also, being able to visulize the image is very important. I can also see where, if trying to be true to an image, wood color choices can be daunting. Yes, it is more relaxing than cutting a 700 hole Art panel and I don't have to make a frame to mount the panel into. However, I don't get to use my Air Brush to add color, which is a skill I'm trying to improve on. Not too sure if I will get addicted to doing Intarsia, but I can see developng some of my own patterns and doing the work along with my other work. I do need a break now and then from the Art Panel work that I do. BTW I'm curious, if you were to do this piece, what would your wood choices be?

This is only my second Intarsia piece, and yes again, it is almost a direct copy of a work I found on-line. For a full descriptive write up see my post in the Intarsia/Segmentation section. Thanks for reading.

Chris, aka Hawk, just recently posted in the General Scroll Sawing Forum about his Sanding and Shaping Area of his shop. Well, I too, have a sanding station tucked in the corner of my little shop, but it was not often used. My only day to day use was to clean off fuzzies on the back side of my cut panels using a sanding mop in the wand of my Guenevere Finisher. Now for your reading pleasure, here is my story. Last week I attempted my first Intarsia project and needed to put the sanding station into use. And even though I wore a dusk mask and glasses, the sanding dust got all over the place, all over me, in my eyes, and, even with the mask on, in my throat. So, before attacking another Intarsia project I knew I had to make some changes and upgrades to my dust collection system and my dust face mask. The first job was to put new roll-around wheels on the cabinet. One of the undersized wheels I had previously used broke off and the cabinet could not be moved. Now it moves and can be positioned to a more comfortable working location easily when needed. Second, I rearranged the Guenevere Finisher and my small vertical Oscillating Sander so I can now use the second chuck on the finisher to hold shank mounted burrs/sanding drums, etc. Third, since my disk/belt sander already had a hook-up to my dust collection system I also needed to add another inlet that I attached a small tilted homemade hood that picks up the dust from the chuck mounted sanders. I’m waiting for a delivery of one more Y-fitting and a reducer so I can hook-up the Oscillating Sander to its dust outlet port. Unfortunately, since my sanding station is mounted on a cabinet I built many years ago, it is not a “sit-down” area like Chris’s. I can use my Scroll Saw stool/seat while using the chuck mounted sanders, but I must stand up to use the Belt Sander or the Oscillating Sander. In my case, since my shop is tiny, I’ll have to live with it. As they say, “Beggers can’t be Choosy”. I spent the better part of today testing out the dust face protection Items I purchased and the modifications to the dust collection systems, on a new project. The face protection equipment is a little warm to wear, but no dust in my eyes, nose or throat. So that is great. The small hood I made over the chuck mounted sanders is working fine. I can watch the dust fly into the hood and at the end of the session there was only a small amount of sanding dust on the surface below the chuck. I’m sure there is some air-borne dust created, but it appears to be manageable and nothing more than what gets air-borne when I’m cutting on the Scroll Saw. Here are some pic’s: That blue thing is the Harbor Fraight WESTERN SAFETY Multi-Purpose Dust Mask with Activated Carbon Filter My shank mounted Burrs and Sanders (before the top was rearranged) Hope this may have been of some interest.

A lot of good answers above, but my question is "WHY 1/8" BACKER?". To me a Plaque has significan thickness. So if the cutting is done in say 1/8" or even 1/4" material, the backer needs to be a minimum of 1/2" or maybe 3/4". Thus, no problem with using a sawtooth hanger. If by chance you are cutting a thick panel and only need a 1/8" backer, then I can see a problem if the hanger is located at a cutout area. I've had this happen and I wound up gluing a small piece of 1/8" material to be back of the backer where the saw tooth hanger is to be located. I use the vary small 'Hammer-in Sawtooth Hangers' so the prongs are short and won't penetrate through a 1/4" total thickness. I like JimmyG's solution to hanging thin panels without frames. But in my case, I never use anything thinner than 1/4" for a art panel backer, so again the small sawtooth hangers would worrk. However, for me I always make frames for my art panels and the hanger is mounted on the frame. For me the real answer is simple, just use a 1/4" or thicker Backer...then no problem using a Sawtooth Hanger.

Well, such a dilemma! A silhouette is a good Idea, but a collorful paint job would be better, IMHO. How tall is the cutting? If small, it could be mounted on a stake and used in an indoor garden. If large (over 8" tall), I feel it could to be mounted on a nice thick oval backer for a nice plaque type wall hanging. Simple, but elegant. I might even suggest, to complete the scene, you could cut out a image of a simple small potted plant to sit just in front of the watering can. Just my 2 cents.

This is my first Intarsia piece, and yes, it is almost a direct copy of a work I found on-line. For a full descriptive write up see my post in the Intarsia/Segmentation section. Thanks for reading.

My reference is to the scrolled Flag Stand. Not the Plaza, which is correct. On the display stand, I don't know what the other flags are. IF THEY ARE NOT NATIONAL FLAGS THEY ARE CONSIDERED "LESSER" FLAGS AND THEAMERICAN FLAG SHOULD BE DISPLAYED HIGHER. Nothing more nothing less. If it is to reside in your NATO office, so be it, but, not knowing the planned use, it could be displayed anywhere...so I only recsognize the usual American Flag Protocol for such a display. Especially when presented in this or any other forum for the readers to view. Sorry if I'm a nudge when it come to our NationaL Flag.

I read what you wrote, and if I understand correctly,the Flags in the plaza are all national flags, therfore all being equal they are all flown at the same height. If the flags to either side of the American Flag in your display are not flags of other nations, then by definition they are considered "lesser" flags and the American Flag is supposet to fly higher. This flag protocol is easily found on Google and elsewhere.

Great set-up! Sure wish I had room for something similar. I have a sanding station that includes a Vertical Belt/Disk sander, a small oscilating sander and a Guenevere finisher with Wand setup. I also have a dremel with wand like I see hanging in your area, I also have a lot of the shanked sanders as you do and also have a number of shaping/carving burrs, both some very rough and some quite fine. And my vacuum only services the mounted Benc sander. My set-up works, but not quite as nice of a sit down area like yours. I would actually have to sell my home and move to a bigger home and property in order to have a bigger shop...afraid that will not be happening at my age.

According to google, those flags would be considered "lesser" Flags. Therefore the A. F. should be in the middle and flown higher. My flag flys 24/7/365, but I do have a spot light on it as required.

Very nice work on both. Love the Flag Stand. I'm not familiar with the two flags on the stand with the American Flag. If they are orher countries National Flags, all is good. However, If they are lesser flags, the American Flag shoud be in the middle and flown higher than theothers.

I have had the same situation and I do believe the heat can deffinately affect the adheasive making it grip stronger. Even age (sitting aroun on the shelf) seems to make the adeasive get stronger. A newly purchased product seems to release easier. That being said, I always sand the panel well (to min 600 grit) to get a good smooth surface before applying the shelf liner. And, when I remember, I check the direction of the grain so when I remove it, I make sure to peel it off in the direction of the grain. These steps make the removal easier and with minimum lift up of any veneer fibers. I have also noted that some Ply has a much more rough grain than others. I think the part of the tree use to make the venner also creates this rogher (less tight) grain which will release the surface fibers more readily. I find even the Solid core Ply that I buy in pre-cut panels, the grain can feel different from panel to panel (some smooth and some much rougher). The next time you remove it and pattern on shelf liner, you might want to try using a hair dryer/heat gun to losen the adheasive while you peel it off. Just my 2 cents on the subject. Hope it helps.

This double project was inspired by this Art that is exhibited on the walls of a Wayne G. Sanborn Activity Center in Deland Florida. I’ve enjoyed cutting ‘Birds-of-Prey’ patterns since I began scrolling but most of the patterns that are available were not very accurate representations and not in the perched pose I was looking for. So, although I did use images I found on-line, the patterns I developed using Inkscape are basically my work and not just a ‘trace bitmap’ copy. The patterns wound up being a ‘guide’ to the cutting as the many (I did not count, but I’m sure well over 500 in each pattern) cut-outs are very small with some smaller than the hole I drilled for the Pegas #2/0 spiral blades I used to cut the patterns. Additionally, although the patterns appeared to work on paper, I found I had to add many bridges, on the fly, to make them scrollable. Due to the delicate nature of the patterns, the closeness of the long parallel cut-outs, and the need to be very accurate in my cutting, I found I could only cut for about two hours at a time before my eyes would start to cross. As a result, it took over a week to complete each panel. As usual, the 11” x 14” patterns were cut in 5/32” thick solid core Maple Ply affixed to a 1/4" thick BB Ply backer. Using the Air Brush, the backers and panels were painted using Artist Acrylic Air Brush Paints. Backers were painted Black while the cut panels were colored using photos of real Bald Eagles and Red-shouldered Hawks as guides. Creating the various color shades necessary to be realistic is still a ‘trial-and-error’ process for me. So the painting, drying time, necessary repainting, and additional drying time was very time consuming. I think I did a decent job of adding color to this project, but I still have a lot to learn. The double frame is just a variation on my standard 1 3/4" wide rail Poplar frame that has a Black rattle can spray, prime and paint, finish. As always, comments and critiques are welcome. EDIT: I posted the patterns in Pattern Exchange.

Yep, from sombody who has been adding color to my work for a while now, damn nice!!!!!!!! This may have been you first for a scroll saw project, but your painting skills are very apparent.

I use Titebond III wood glue for affixing my panels together, making frames, etc. The Titebond bottles have a decent dispencing tip, but it gets clogged with hardened glue and becomes difficut to pop-up to open. Just wondering if anyone uses a better type glue dispenser. I'm looking at this one, but looking for any suggestions anyone might offer. Thanks

Interesting, you made a framing jig/sled but don't know how to make a frame. Simple flat rail frames are easy to make. Multi part frame rails, fancy sculptured rails, etc. are more difficult but not usually warented for Scroll Saw Art Panels. This is what I do for all my Art panels. I use 3/4" Poplar or Premium Pine x 12" wide boards the I rip down to 1/34" wide "sticks" that I use to make my frames. I also use a frame cutting sled that I made that eliminates the need for meassuring. see: I rough cut the sticks to the Frame rail lengths adding about 2 inches. I than use my table router with a 1/4" rabbeting bit to rabbet the frame rails before I cut the miters. If you do not have a router table, the rabits can also be cut on the table saw with careful setup. My art panels are 3/8" thick, so I rabbet the sticks (which are actually 5/8" thick) 1/4"x 1/2". After the rabbets are done, I use the cutting jig to cut the miters. I simply need to set the stop about 1/16" longer than the panel width or height dimension. I use Titebond III wood glue with a little dusting of fine sawdust and a Seddy strap clamp to glue up the corner joints. After. the glue joints dry, I reinforce the joint from the back with 'V' nails and then sand to eliminate any glue squeeze out. I use 150/220/600 grit to get a very smooth finish. That is the easy part. Finishing is another story. Stains, Paints, Acrylics, and Lacquers are just some of the options. The choice of what finish I use depends a lot on the art panel, with Black Paint or Lacquer being my most often 'go-to' finishes, I'm still learning how to get a nice flawless finish which has never actually happened yet. Hope this helps.

546 holes...gees, thats all? Great cutting!

Realy nicely done. Curiose, what made you choose to do all red? Usualy in these images all is black ecept the red lips.

Nice cutting. Complements on the coloring!

Had done that one earlier as 11x14. Eventhoug it would go with the HATs, i did not want to redo as an 8x10.