Proper proportions. This Shaker classic is one of the best examples of how frame components can influence the character of a cabinet. While the board between the doors does not exactly qualify as a face frame stile, that is one of its functions. Contrast its extreme width with the single-board thickness of the rails between the drawers. (Private collection, Paul Rocheleau)
Unlike most kitchen design books, “Kitchen Think” is a woodworker’s guide to designing and furnishing the kitchen, from a down-to-the-studs renovation to refacing existing cabinets. And she shows you how it can be done without spending a fortune or adding significantly to your local landfill.
Yes, there are hundreds of pretty full-color photos of well-designed kitchens, which are organized into 24 case studies throughout the book. They range from the sculptural (kitchens by Johnny Grey and Wharton Esherick) to kitchens of a more recognizable form.
But there’s also a heavy dose of practical instruction: how to build cabinets efficiently, how to make a basic kitchen island, how to build a wall-hung plate rack. Plus butt-saving advice that comes only from experience – like how to maximize space in inside corners, how to scribe cabinets and countertops into odd spaces and how to make sure you’ve left ample space for hardware.
All of this is built on a foundation of research into kitchens from the past. Hiller’s historical perspective on design might just change your mind about what makes a good kitchen.
Widths of door stiles & rails Bottom rails are almost always wider than top rails on old cabinet and furniture doors. Sometimes stiles are the same width as the top rail (before material is removed for fitting the doors), sometimes not – and sometimes they are dramatically different.
Dimensions of face frame stiles and rails (in addition to where they appear) For example, a true period look for cabinets predating the widespread use of mechanical drawer slides requires intermediate drawer rails. Even if you plan to mount your drawers on full-extension slides, you should incorporate rails between them to evoke the look of those that once supported web frames.
Style is cyclical. The pulls on these metal cabinets found in a garage inspired those Lynette Breton made for her mid-century style kitchen. She made the concave handle detail with a router with a shop-made jig, using a rub collar and core box bit. Before using the router, she bored out the center on the drill press to give the bit a place to plunge into. The core box bit removed the remainder of the waste. The process was more nerve-racking than it might have been because she did this routing after painting the cabinets. The pulls in the center are Bakelite with chrome from Vintage Hardware in Port Townsend, Wash. (vintagehardware.com). (Margaret Stevens Becksvoort)
Hardware What kind of hinges were used, and how were they attached? If the doors were hung on butt hinges, were they mortised into the door and face frame, or only into the door? What is the length of the hinge? How wide are the leaves? Are the pins removable or fixed, and do they have finials? What is the finish?
Hardware position Note the distance of the top and bottom (and center, if applicable) hinges from the ends of the door. Note the position of drawer pulls, doorknobs or latches; door hardware was commonly installed approximately halfway or two-thirds to three-quarters of the way up on base cabinet doors and similarly spaced in the opposite direction for upper doors. They were not usually located in the upper or lower corner, as is typical of cabinet doors today.
Set correctly. When we recreated the pantry in Lauri Hafvenstein’s 1917 house, I followed the original pattern Lauri had seen in a neighbor’s kitchen, with inset doors and half-inset drawer faces.(Lauri Hafvenstein)
Are doors and drawers inset, overlay or half inset? Drawer faces were sometimes half inset even though the doors in the same set of cabinets were fully inset.
Moulding profiles It should go without saying that moulding profiles are important. They can vary enormously and are one of the most distinctive and delightful details in a period kitchen. If you cannot replicate a profile yourself, you can usually have it done in the species of your choice by a millwork shop willing to custom-grind knives. Just be sure you order extra, as there will usually be a hefty set-up charge along with the grinding fee, and different batches can have dimensional variations invisible to the eye but great enough to cause headaches during installation.
Edge treatment of half inset drawer faces These may be eased, quarter-round, beveled or moulded.
Graduated. Notice the proportions of door elements in this elevation of a pantry “dresser” from an 1899 carpenter’s guide. (A gift to the author from Charles Bickford)
Proportions of graduated drawers Along with the proportions of face frames and door components, one of the least-noticed and most critical aspects of historic kitchens is the proportions of drawer faces. Many cabinetmakers make the mistake of building all the drawer faces in a stack to the same size. Not only does this look terrible, because when viewed from above (i.e., from normal standing height), the bottom drawer will inevitably look smaller than the rest, and so, out of scale. It’s also not how drawers were traditionally sized. You can make as many adverse comparisons as you like between 19th-century cabinetmakers and the furniture made by those who worked in the golden zone of northeastern American states during the late 18th century, but even oft-maligned Victorians worked with a tradition grounded in classical proportions. This was one of the first and most important lessons I learned from Roy Griffiths in 1980.
Toe kicks. Flush toe kicks were an option in 1927, and still are today. (1927 Universal millwork catalog)
Toe kicks Are they flush (i.e., does the bottom rail of the face frame go all the way to the floor) or recessed? If the toe kick is partially recessed – i.e., if the face frame stiles extend down to the floor with inset toe kicks between them – note the rhythm of this variation. In some cases the stiles are full-length only at the end of each cabinet run, with the kick recessed everywhere else. In others, the stiles may run down to the floor on each cabinet.
I have a student who can’t make the Anarchist’s Tool Chest class that begins tomorrow morning (Aug. 2) at 9 a.m. If you’re local (or want to drive overnight) and want to join the class, send me an email: fitz@lostartpress.com. You can read more about the class here.
FIG. 1. USE OF THE HAND SAW FOR RIPPING DOWN A BOARD Note how the blade is steadied by the thumb of the left hand when starting the cut. It is a good plan to hold the saw low when beginning to ensure alignment with the line
The following is excerpted from Vol. I of “The Woodworker: The Charles H. Hayward Years: Tools.” As editor of The Woodworker magazine from 1939 to 1967, Hayward oversaw the transformation of the craft from one that was almost entirely hand-tool based to a time where machines were common, inexpensive and had displaced the handplanes, chisels and backsaws of Hayward’s training and youth.
This massive project – five books in total – seeks to reprint a small part of the information Hayward published in The Woodworker during his time as editor in chief. This is information that hasn’t been seen or read in decades. No matter where you are in the craft, from a complete novice to a professional, you will find information here you cannot get anywhere else.
We have culled, organized, scanned, edited and re-edited these articles to create these hardbound volumes. This is not simply a quick reprint of old magazines. We have reset all of the type. We have scanned and cleaned every image (there are more than 2,000 drawings and photos). The entire project took hundreds of hours and a dozen people all over the country.
The first volume is on tools, and includes: Sharpening; Setting Out Tools & Chisels; Planes; Saws; Boring Tools; Carving; Turning; Veneering & Inlay.
There are three general classes of saws; hand-saws, back-saws, and those for cutting curves. The first, with the use of which we are concerned here, are for the preliminary cutting up of timber and for the larger joints, and at least one is essential in the kit.
Features of the Handsaw. A saw which will cut fairly rapidly without badly tearing out the grain, and one which can be used for cutting both across and with the grain, is desirable because it can be used for so many purposes. Choose one about 22 in. long (that is the blade length measured along the teeth) and having, say, 10 points to the inch. The latter detail refers to the size of the teeth and means the number of tooth points in an inch including those at both ends. In Fig. 2, for instance, there are 10 points to the inch. Many saws have the number stamped on the blade near the handle. If you propose to do mostly carpentry as distinct from furniture making you can gain a little in cutting speed at the sacrifice of fine cutting by choosing a saw with larger teeth, say 8 points.
FIG. 2. HOW TOOTH SIZE IS CALCULATED Count the points (not the teeth) in an inch including those at both ends
Make sure that it is a cross-cut saw you get, not a rip-saw. There is an important difference between the sharpening of the two which affects the cutting. The cross-cut can be used for any sort of cutting, whereas the rip-saw is confined to sawing with the grain. It is a good plan too to choose a taper-ground-saw. It means that the blade has a natural clearance in the kerf it makes since it is slightly thinner at the back than at the toothed edge. Even with this refinement, however, a saw would jam in its kerf unless the teeth were given what is known as set. This is the slight bending over of the teeth in alternate directions so that, as the saw cuts through the wood, it makes a cut (kerf it is usually called) slightly wider than the thickness of its blade. Of course, this means that the resistance is slightly greater in that the saw has had to remove more wood in sawdust, but this is mostly offset by the reduced friction of the blade in the kerf. It does mean, however, that the taper-ground-saw has a definite advantage in that the set can be less owing to the natural clearance of the blade.
Using the Saw. Sawing is done on trestles, on the bench, or in the vice. In the first the wood is usually steadied by pressure from the knee, whilst for bench sawing the usual plan is to cramp down the wood. This is really important because it is impossible to saw properly if the wood is jumping about. Here then is a first essential. If you cannot hold the wood steady, fix it down with a cramp.
FIG. 3 . FAULTS IN SAWING A. Blade is not held upright. Square is used to test B. Forcing, often leading to a buckled-blade C. Blade twisted to correct wandering from line
Square Sawing. Perhaps the chief difficulty that besets the beginner is that of square sawing, and this is entirely a matter of knowing when the saw is upright and of keeping it so throughout its stroke. If the cut is not square it means that at best there will be a lot of wood to trim away, and at worst the wood may be too small owing to its have been undercut. For a start place a trysquare on the bench against the blade and endeavour to keep the blade in line with it as at A, Fig. 3. We have known a case of a man, determined to cure a fault of sawing out of square, who stood a large mirror in front of himself and glanced at it occasionally to see whether the saw was upright. This is not usually practicable, but whatever method you use endeavour to get the feel of when the saw is upright. Put the square on the wood and hold the saw against it perfectly upright. Note and try to register your position. Move the saw into various positions in its stroke and again note your attitude. After a time you will no longer need to use the square as a guide, but even so, test the sawn edge afterwards to see whether you have any special bias, and endeavour to correct the fault.
FIG. 4. COMMON FAULT IN SAWING ALONG A LINE The saw drifts and to correct it the blade is twisted. The saw cuts the other way, and so on till the end of the cut
Straight Sawing. A common experience for a beginner is to find that the saw is either drifting away from or bearing towards the line along which he is sawing. He tries to put things right by twisting the handle (C, Fig. 3), and, after a few strokes finds that the saw is bearing the opposite way, and so it goes on until the end of the cut, the resulting edge being a long and wavy line as in Fig. 4. Clearly the important thing is to start right with the saw blade parallel with the line.
Now in normal sawing the blade is held so that the line of the teeth makes about 45 degrees with the wood, as at A, Fig. 5. This makes it a little difficult to judge whether the blade is in alignment with the line, because when the saw is low the handle does not extend far enough along the line to enable you to judge the matter, and when it is high the handle is so far above the line that it is just as difficult. The best plan is to start the cut with the saw held at a very low angle as at B, Fig. 5. Then, if the toe of the saw is used to start the cut the handle will extend a long way along the line and it will be low. Once a reasonable start has been made the saw can assume the normal 45 degrees. If you start right there is no reason why you should not keep right—assuming that the saw is in order. Bad sharpening can cause drifting, but the drift will always be in the same direction. It may be due to unequal setting, to the saw having been sharpened from the same side throughout, to one side having been caught on a nail, or to the blade being buckled. Do not try to cure it yourself. Take it to a proper sharpener and explain what happens. He will know what to do. Sharpening and the correction of faults is a skilled operation calling for experience.
FIG. 5. ANGLE AT WHICH HAND SAW IS HELD Normal angle is shown at A. For starting the cut the low angle B is advisable as it gives a better idea of whether the saw is in alignment with the line
General Sawing. Assume that you are going to saw along a board, the latter held on trestles or boxes. Start the saw at a low angle as already suggested and give a few short strokes, the blade bearing against the thumb of the left hand to steady it as shown in Fig. 1. This enables the saw to make a start in the right place. As the blade cuts more deeply into the wood you can gradually change the position of the handle so that the blade makes about 45 degrees with the wood, and the short starting strokes can be changed to long ones embracing nearly the whole length of the saw. Note from Fig. 1 how the index finger of the right hand points along the blade. This is a great aid to control and applies to almost every saw. Keep the left hand with either the thumb or side of the finger bearing against the blade until the saw has cut a fair way into the wood—say about the width of its blade. Apart from steadying it at the start it helps to prevent an injury in the event of the blade jumping from the kerf. If the left hand is merely held at the edge away from the saw the latter might jump out and jar the hand.
Don’t force the blade. Keep it moving steadily in long, even strokes with light or moderate pressure. It used to be taught to apprentices that a saw should cut merely by its own weight, and the underlying idea that forcing must be avoided is sound; but you need something rather more positive than this. Give just enough pressure to ensure firm control and you will find that the saw will cut freely. If it doesn’t, it needs sharpening.
In practically every case the saw is used to the side of the line rather than on it. The point is that the line represents the finished size, and the saw cut is made on the waste side to allow for final trimming with the plane. Many men tend to saw well away from the line for fear of making the wood too small. This is natural enough, but it exemplifies the lack of confidence of a man not sure of himself. Learn to cut accurately therefore, and you can then cut close to the line, leaving just enough for trimming.
Workshop systems have come a long way since this welter of equipment was installed in the John Grass woodturning shop in Philadelphia.
The following is excerpted from “The Workshop Book,” by Scott Landis (first published in 1991), which remains the most complete book about every woodworker’s favorite place: the workshop. This new 216-page hardbound edition ensures “The Workshop Book” will be available to future generations of woodworkers. Produced and printed in the United States, this classic text is printed on FSC-certified recycled paper and features a durable sewn binding designed to last generations. The 1991 text remains the same in this edition and includes a foreword by Roy Underhill.
Like a house, the workshop is a complete environment. It provides shelter and basic human needs like heat and light, comfort and safety. The shop must therefore account for all of the same structural requirements as a house – a floor, walls and ceiling (along with a foundation, windows, doors and a roof, if it is freestanding). Beyond that, the dedicated, functional nature of the workshop and the equipment that is used in it embrace a whole range of issues and specific requirements – electric power, dust collection, task lighting, solvent storage and vapor extraction – that are only peripheral in most houses.
Unfortunately, in too many workshops, these critical support systems are accorded scant consideration. After spending so much time, energy and money on the workshop structure and equipment, we’re too often willing to put up with an inadequate, even unsafe or unhealthy, work environment. But, as Donald Williams, furniture conservator for the Conservation Analytical Laboratory (museum support center for the Smithsonian) told me, these systems should be nonnegotiable. “They may seem extravagant to the person who’s scraping by in the basement,” he said, “but for me that’s where it starts. You do without a table saw if you need to.”
In this chapter I will outline the basic systems that are common to most shops. To attend to them all would require the diverse talents of a small corps of professionals – an architect, a builder, a mason, an electrician and a plumber, among others. You may have some of these skills yourself, or be able to crib enough information from the literature to undertake much of your own construction. If not, you may prefer to hire (or barter for) a professional to do the job. Electricity, in particular, can be dangerous – even deadly – so do not undertake any electrical operation about which you are at all uncertain.
In any case, entire books have been written about each aspect of the subject, covering everything from roofing and insulation to electrical wiring; and there are federal, state and local building codes that apply to just about any structural situation you can imagine. Refer to these sources (a few of which are listed in the Bibliography) or to a licensed professional for more detailed information. And contact your local fire marshal or insurance representative to make sure that what you are about to do is not only safe, but legal, and will not adversely affect your insurability.
Structure Purpose-built workshop buildings come in every shape and size and in every conceivable type of construction, from poured concrete and rammed earth to log, timber-frame and standard balloon framing. Converted shops are at least as varied. In this book you’ll find comfortable shops that are located in a pole shed, several old mill sites, the granite bowels of an industrial building, a Chevy bookmobile and hewn out of a chicken coop. I know of one Arizona sculptor who works in a hogan, the traditional earth and timber longhouse of the Navajos.
Wood paneling has practical as well as aesthetic advantages. It is sturdier than drywall, it helps absorb sound and it provides some additional insulation.
So many different types of buildings and construction methods are used to build shops successfully, that I won’t attempt to discuss them all here. There are, however, several structural considerations worth mentioning, whether you’re building from scratch or working in your basement.
Insulation Insulation is as important for comfort and energy efficiency in a shop as it is in a home. What’s more, insulation absorbs machine noise, making the shop a more pleasant place to work in and to live next to.
After roasting for much of six years in an uninsulated tin garage, Roger Heitzman took action before moving his California workshop into a corrugated-steel, light-industrial building. He attached a separate 2×3 stud wall to the inside of the steel frame with screwed-on brackets. Then he stuffed fiberglass insulation in the furred walls and ceiling and he sheathed the inside with 1/2-in. drywall. The effort paid off. Heitzman’s half of the 2,400-sq. ft. building hovers around a pleasant 70° F during most of the summer, while it sizzles at 100° F in the uninsulated cabinet shop in the other half. During the three cool months of the year, auxiliary heat is supplied by two portable kerosene heaters (10,000 Btu).
Different construction situations and budgets call for different insulating materials. Fiberglass and polyurethane foam are two of the most popular, although Homasote panels and ceiling tiles are also used to advantage. A few timber-frame shops I visited were fitted with stress-skin panels, in which foam insulation forms an unbroken vapor barrier around the skeletal frame, effectively reducing drafts and heat transfer through the walls. Stress-skin panels are expensive but they are installed quickly (the interior wall covering and exterior sheathing are built into each panel), and reduced heating costs will make up for at least some of the initial investment.
Interior paneling contributes to the sound and thermal insulation of the workshop, and several shops I visited were either completely paneled or combined a wood-sheathed wainscoting on the lower portion of the wall with a drywalled surface above. Wood paneling creates a warm, cozy atmosphere and provides a rugged, puncture-resistant surface to which tools and shelves may be easily attached. Drywall is relatively inexpensive, easy to install and is usually painted white for a bright working environment, but it is readily gored by an errant swing of a board, and fastenings must be driven into supporting studs or attached with special anchors. (I always feel more secure with a nail, screw or dowel in wood than with an anchored screw in drywall, particularly if the fastening must cany any amount of weight.)
In a large space, a dropped ceiling will aid significantly in retaining heat and absorbing sound and will reduce the risk of fire that comes with the accumulation of fine sawdust on studs, wiring and lighting fixtures. Of course, these advantages must be balanced against the loss of headroom.
Details like this lumber-camp door latch lend a practical, homespun character to Harold Payson’s Maine boat shop. The latch is so simple people don’t know how to use it. Payson nailed a 3/4-in. by 1-in. by 2-ft. long stick of limber hardwood to the door, far enough from the rounded end to allow the stick to bend as it hits the notched catch, which is mortised into a hole in the casing. A slight pull or push opens or closes the door and, as Payson notes, “a little oil in 36 years is all this simple door latch has asked for.”
Doors It is important to remember that workshop doors frequently must accommodate more than just people. A standard 2-ft. 8-in. wide interior door is too small to comfortably allow movement of machinery and materials, much less a large piece of furniture or a small boat. Even a 3-ft. wide exterior door will prove too narrow for many workshops. The best access is provided by an insulated, custom-made door at least 4 ft. wide, or by a larger sliding door, such as the one shown in the photo above. In many garage workshops or freestanding structures, a standard overhead garage door makes it possible to open up an entire wall of the shop. This access to fresh air creates a pleasant work environment during mild weather and makes it easy to move equipment and materials in and out of the shop.
Garage doors and large sliders are difficult to insulate and seal, however, so they may create problems in cold weather. Since most heat loss in a building takes place around the windows and doors, good insulation is important not only in the construction of the door but in proper weatherstripping. A tightly sealed door will also help contain noise and dust, which is especially important if the shop is located inside the house.
A 14-ft. wide sliding door allows easy movement of wood and machinery in Joel Seaman’s timber-frame shop (left), and opening it on nice days provides plenty of fresh air. The door is framed with 2x10s, 2x8s and vertical 2×4 stiles. Spaces between the frame and stiles are filled with I-in. thick rigid foam, and a layer of Tyvek beneath the cedar clapboards prevents drafts. (Photo by Joel Seaman.)
Martha Collins’s versatile door-within-a-door design (shown above) offers several different options for access. Daily entrance is provided by either of two 28-in. by 83-1/2-in. double-glazed doors. Opening both doors creates a 56-in. wide opening, big enough for most large objects. These doors are, in turn, hung within a pair of larger doors. Though Collins rarely opens them now, the big doors proved useful when she moved in; the 94-in. by 94-in. opening was almost as large as the end of the 45-ft. trailer that delivered her shop equipment. Unlike most overhead garage doors or horizontal sliders I’ve seen, these doors are well insulated and sealed, and she only has to open as much door as she needs.
By hanging two narrow doors within two larger doors, Martha Collins can create four different openings to accommodate movement of objects large or small.
Floors Debate persists among woodworkers over the ideal workshop floor surface. Most shops have either a concrete or a wood-frame floor. The former is the rule for basements, garages and many small outbuildings. It has the obvious advantages of ease of construction, low maintenance and great strength, and its smooth, solid surface makes it easy to roll machinery or other carts and fixtures around the work space. What’s more, the concrete stays cool in the summertime and it is one less combustible material in a shop full of dry tinder.
But concrete has some serious disadvantages over the more forgiving plywood or solid-wood surface. Concrete is often cold, damp and slippery, and it’s hard on dropped tools (and coffee cups) and harder still on feet, legs and back Without a substructure of floor joists, there’s no way to run wires or dust-collection pipes beneath the floor, unless they’re installed in the slab, thus committing you to the original layout. And last but not least, because concrete is a poor insulator and a good conductor of electricity to ground-a much better conductor than wood-it increases the risk of electric shock if your machinery leaks power.
To cope with these realities, the people I visited who work on concrete have adopted several strategies, which vary greatly in their complexity and expense. Some simply cover the concrete with vinyl floor tiles or with rubber-mat runners in high-traffic areas, such as the bench/tool-chest corridor and in front of machinery and assembly tables. You can purchase hard rubber or cushioned mats, which are easier on the feet, but I know of at least one shop that does just fine with oversize truck mud flaps. Of course, any kind of floor mat will interfere with rolling carts and machinery, but this is a small price to pay for the greater comfort they provide.
If you are installing a new concrete floor, it can be made relatively warm and dry with proper site preparation and the addition beneath the slab of gravel, foam insulation and a good plastic vapor barrier. For the ultimate in thermal comfort, consider installing radiant-heat pipes in the concrete when you pour.
A number of woodworkers I visited covered their concrete floor with wood. Curtis Erpelding laid 2x2s on 16-in. centers, insulated between them with sheets of Styrofoam and covered it all with particleboard. (Plywood would make a more rugged, if more expensive, alternative.) He ran conduit between the 2x2s to service outlets on short posts located at each machine. Erpelding wanted to use flush-mounted electrical fixtures, but the Seattle fire department specified off-the-floor receptacles that would not be vulnerable to a splash of coffee. In practice, Erpelding figures they’re also easier to keep clean and easier to reach.
This sort of in-floor wiring is rather permanent, but Erpelding explains: “I had a pretty good idea of how I wanted things laid out.” Plywood ramps bridge the height difference between the wood platform and surrounding concrete floor and make it easy to roll his shop vacuum and production carts around. The built-up floor underlays the entire bench area and part of the machine space, thus retaining the practical advantages of concrete in the assembly and storage areas and around some of the machinery.
A wood floor makes a “friendlier” work surface than concrete, but it is not without drawbacks. When built above bare earth, it is also subject to moisture. Covering the earth with a good vapor barrier and perhaps a skim coat of concrete over gravel will improve drainage and reduce moisture infiltration. The insulation must not be exposed or it will eventually deteriorate, either as a result of moisture or nesting critters. Wood is obviously more susceptible to fire. Aware of this danger, Peter Axtell poured 2 in. of concrete atop the plywood floor in his spray booth.
Considering the weight of machinery and the activity that takes place in most workshops, a wood floor must be heavily built. Kelly Mehler’s wood floor supports heavy industrial machinery with full-cut 2×12 floor joists on 12-in. centers, sheathed with three layers of tongue-and-groove oak flooring. The floor creaked a bit when Mehler installed his 2-ton planer with a forklift truck, but it never sagged. Mehler’s shop was a car dealership in another life, and the floor is overbuilt for most workshops, but 2×10 joists on 12-in. centers (and more support posts and beams than you think you need) would probably not be excessive. Plywood floors should be protected with a good-quality epoxy paint or a porch-and-deck enamel. (Choose a light-color paint to keep the shop bright.) Solid-wood floors can be oiled, painted, varnished or left bare to develop a rich patina.
Examples of various triangle chip borders. A single-sided triangle chip changes character depending on where the deepest point is placed and how the borders are placed in relation to each other.
“Slöjd in Wood” is the first English translation of Jögge Sundqvist’s classic Swedish book. It’s a gorgeous peek into a work that is dominated by saturated colors, crisp bevels and handmade work. In addition to introducing you to the pieces you can make for your home, Jögge shows you how to grip the knife to produce the cuts shown in the book safely and efficiently. And shows you how to replicate the deep colors on your pieces that are positively mesmerizing.
“Skureut” is an older, colloquial word for a pattern carved in wooden surfaces. The word skureut was used in dialects in Härjedalen, Hälsingland and Jämtland. When the more strictly geometrical patterns of the Renaissance became popularized as handicraft, this carved ornamentation was named chip carving. Skureut fits nicely with slöjd objects with its free-form folk-art style.
Make your slöjd unique and personal by mixing wise sayings, commentaries on life’s complexities, signatures, names, dates and years with patterns made using chip carving, nail-cut patterns and shallow relief carving. There is great inspiration to be gained from slöjd artifacts at open-air museums and museum collections. Forgotten treasures that glitter in the dark.
Chip carving knives. Svante Djärv makes a useful model with bevels at 22°. The other one is my own make – an old razor knife with sharp carbon steel with bevels at 12°, which can be used only in softwood.
Tools: Chip carving knife, straight gouge No. 9, 5mm and No. 3, 14mm, center punch.
Material: Use deciduous softwoods such as lime, alder, sallow and aspen, but soft birch also works. Avoid knots, which are hard and difficult to cut.
I am studying older slöjd, and I am inspired by this naive folk art. The natural and expressive form speaks to me, and I collect patterns and decorations in a sketchbook. I transform them to tell my own stories.
PATTERNS ARE PART OF THE WHOLE When I work with slöjd, I make quick, rough sketches in green wood to get a three-dimensional feeling for how the shape will be. I make many prototypes before I decide on a basic functional form. The decorations should be part of the overall design and communicate something personal, adding a heightened feeling. A pattern shouldn’t overtake or compete with the basic form. For that reason, I sketch a lot and try out different varieties of decorations before I decide. A useful strategy is to arrange pieces of paper with your drawings on the work before you carve it.
FOUR BASIC RULES Apart from practice, these ingredients allow me to produce my best work:
Shadow effect of the first cut from raking light.
A really sharp chip carving knife. Hone and strop carefully. Feel for nicks by running the edge along your nail. If it grabs without slipping, it is really sharp.
Raking light. Use a strong lamp or spotlight shining from the side opposite your knife hand onto the carving surface. The shadow helps you see the width of the line of the second cut.
A good, essential grip. The thumb and the knuckle create fixed angles for the knife, 45º to the wood and 45º slanted backward toward you. They rest on the work and support the cut.
A peaceful setting so as to concentrate.
CUTTING LINES In general, cut along the fiber direction. It is possible to cut across the grain in short-fibered woods such as alder, linden and sallow, but the wood can tear out when you cut round forms. If you angle the knife 45º toward yourself, it slices the wood surface first, preventing tear-out. It is sometimes necessary to turn the knife and push with the other hand’s thumb. When you cut round shapes such as circles and S-curves, both the blank and the knife turn throughout the cut. Make large arcs with your elbows during the cut. As this rotation transfers to your knife and to your work, the movement is smooth and without nicks.
The basic grip to cut a line. The thumb and the knuckle support the knife on the blank at two 45° angles. This grip provides fixed angles, which makes it easier to cut a variety of patterns. Use power from your back and shoulders. Support the work on your knee for better stability.
Make each cut deep enough so the cuts overlap at the bottom of the V-shaped groove. If done right, the waste pops out cleanly. It is difficult to clean-cut afterward. If you cut parallel lines, the partition walls are fragile so use less power. Think through the pattern you have drawn and the order of cuts to prevent tear-out and other flaws.
TRIANGLE CHIP Triangle chips, together with cut lines, are the most traditional ways of carving decorations in wood. These patterns are triangular. The basic one is made with two 90º cuts and one 35º cut. I call this the single-sided triangle chip. The 90º side cuts appear as deep shadows. The other one, the three-sided triangle chip, has the deepest recess in the center. This is done with three 90º and three 45º cuts.
The triangle can also have sides of different lengths or even be curved. If you place these three-sided triangle chips in a circle, they become a sun circle or can be a component of a rosette.
Different examples of three-sided, three-cornered chip.
Three-sided triangle chip. Start by cutting the fibers at a 90º angle from the center. Press the tip of the knife into the wood so the edge stops at the point of the triangle. The cut is deepest at the center and becomes shallower until it stops at the tip of the triangle. Now cut away the material between the 90º cuts using a 45º angle. Cut toward the center to the same depth and angle. The chips come out easily if the 90º cuts are slightly deeper. The surface will be nice and clean.
FINGERNAIL CUT
Fingernail cut.
This pattern is simple and quick to make. Fingernail cuts can be found on objects dating to the 9th century Oseberg archaeological collections in Norway. The length of each cut is approximately 12mm (1/2″). Leave a narrow border between the individual nail cuts.
Straight gouge No. 9, 5mm that has been has been reground so the profile has rounded corners and resembles a finger. This profile makes the cut look the best.
Use a straight gouge Pfeil No. 9, 5mm. It is reground with rounded corners to be able to cut deep enough in the first 90º cut.
You can vary the length by using shorter or longer strokes. Change to a gouge with a different width for wider or narrower patterns. If you cover the surface with fingernail cuts, the uncut border creates negative space, which adds to the work’s expression.
The first phase is to make a cut at a 90º angle and repeat in a row with an interval of 10mm to 12mm (3/8″ to 1/2″) between cuts. Hollow out the fingernails on your way back to the start. For the hollowing phase, hold the gouge near the edge and support the thumb and index finger knuckle on the blank. Start cutting at a 90º angle then carefully scoop and level out as you cut toward the next 90º cut.
SHALLOW RELIEF CARVING A shallow relief is a form or motif surrounded by a lower layer carved a few millimeters into the surface. This makes the carving dynamic with nice shadow effects.
First cut the borders of the shallow relief to a 45º angle with a chip carving knife. Then cut the motif at a 45º angle away from the motif into the background. Use extra power to cut as deep as you can.
Then use a straight gouge No. 3, 14mm to cut the lower layer flat to the depth of the first cut. With a split blank, you get straight fibers; that makes it possible to cut from two directions into the background. Use the thumb of your non-gouge hand to press on the gouge’s bevel, increasing friction so it doesn’t slip as you cut toward the border.
To emphasize the motif, make markings in the background. For example, small nicks with a knife tip. Punches or stamps also make interesting marks.
How to draw a Viking braid in five steps.
Ideas for different types of single-sided or three-sided triangle chips. Offsets and variations make a great difference.
LETTERS AND NUMBERS Signatures, names, years, dates, sayings or poems make slöjd articles personal and unique. The letters are cut with the same technique as the lines and the triangle chips, depending on how wide and deep you want them. Study your favorite fonts to understand how to transform the letters into lines that can be carved.
The beginning and ending of lines that make up letters and numbers can be finished in three different ways. Pointed is two cuts coming together at a point. Sans serif letters such as block letters need a stop cut. Serif letters get triangle chips at the beginning and end.
