And that’s why a bunch of editors would take time out of their busy day to watch Roy at his best. David Thiel has been part of the Popular Woodworking family for 20 years, and now oversees the woodworking video creation.
I’ve got to agree on some of the laughs, although Roy always did make me wince when he was working, as I was always waiting for him to lose a finger at any moment. Christopher Schwarz has helped many of us solve some pretty frustrating problems over the years.
When you are ready to assemble all of the pieces, attach the base with glue and wood screws. Adjust width of joint area, as needed, to match the actual thickness of the material you will be using. As with the pattern at left, adjust the joint area to match the actual thickness of the material you will be using.
Since thicknesses of most materials vary, adjust the width of the half-joint to match the material you are using. Make 2 copies of the pattern on these pages and join the dotted lines together to make the full-size pattern to produce the ornamental background for the sign.
This project is designed to hold a 2W diameter photo frame insert requiring a 1 1-Vi6,f diameter mounting hole.
On the paper, draw a vertical line (A-A) down the center Also draw a horizontal line (B-B) to create the center point on the paper.
Test-fit the frame pieces around the backer board and adjust to fit, (See the drawing to the left where the backer board is shown with dashed lines.) Use glue to fasten corners of the frame.
Scroll saw segmentation portraiture is an exciting technique that involves a combination of fundamental scroll sawing and wood staining procedures. As with other scroll saw techniques, the sawing process involves temporarily bonding a photocopy of the pattern to the wood and sawing the individual pieces following the pattern lines. The majority of the patterns in this section will need to be enlarged with a photocopy machine.
Apply a temporary' bonding spray adhesive to the back of the pattern and hand-press the pattern onto the surface of the wood.
Preliminary practice cuts are recommended for beginners until lines can be followed consistently and confidence is gained.
For most projects, the pattern provides thin cutting lines to follow.Try to cut directly on the line.
Essentially, the object is to use just a few stains or coloring mediums creatively to achieve a wide range of color tones. Most of the recommended colors come from using just two basic stains: Golden Oak and Black or Dark Walnut stains (see photo). By mixing, layering, wiping, and smearing stains together, a near infinite variety and depth of color can be obtained.
Notice the color differences beiween two pieces of soft maple where one is stained Golden Oak and the other is left unstained. One method employed on the Fawn on page 108 and the Leopard 011 page 115 is to actually cut out the spots, or a series of connected spots, stain them separately, and reinsert them.This requires drilling a small blade-threading hole for every cutout.
Since oil and water do not mix, water is another method that can be used to create a spotting effect. The stained segments are assembled much like the pieces of 3 puzzle and then glued together. The piece between the ears has been smear-mixed with (he addition of dark stain over the lighter. Simple plaques with routed edges, such as the one developed for the Black Bear on page 1111 are other alternatives. While the mixture is still soft, stipple the surface with the bristle ends of a whisk broom to create a realistic-looking stone texture. Cut a rough shape from inexpensive CD-grade plyuwd to make a Simulated stotte background plaque.
This is my personal guitar, a guitar I built to celebrate my '18 anniversary of guitar building'. 59" x 48" created to celebrate the musical careers of one of our Classic Rock legend bands.


When the first episodes arrived I was a little dismayed by the quality of the video, but let’s face it, the shows are 30 years old.
His encyclopedic knowledge of traditional woodworking techniques is more insightful today than it was decades ago when he first donned his hat and suspenders.
I don’t know if it was because of trying to work around the filming, or a little clumsiness, but he really did make me wince, and I have seen blood drawn several times during the shows.
Roy starts out by explaining that the nutcrackers were originally made as caricatures of Authority Figures, for example soldiers, princes, deacons, etc. Carefully saw on the outermost line or bore with a l*11 Forstner bit and enlarge the opening to the outermost line with a drum sander. Use the following patterns to create names, dates, and decorative elements for the project.
Use this circle as your guide to place the names above the circles, and dates below it, as shown in the illustration on the following page. This can be installed permanently with glue and brads, or temporarily with clips or cleats. With it, any scroll saw artist capable of following a line can create realistic-looking, three-dimensional wooden portraits. Next, the pieces are stained or colored according to the pattern, then reassembled and glued, being set at differing degrees of relief, to give the product texture and depth. Where possible, enlargement recommendations given for the patterns are close to life-size, but you can make them any size desired. Patterns provide recommended staining instructions for coloring the individual pieces, but be aware that color intensity varies due to the absorbency levels of different woods. Simply drill a small hole through the work piece in an inconspicuous place.Thread the blade through the hole in the work piece, reattach it to the saw, and begin cutting. Staining can be as simple or as artistically complex and challenging as you wish to make it. These few might range from deep black to medium to a very light brow n that still contrasts with the whiteness of the unfinished wrood. Other stain colors occasionally used for creating highlights and special effects are Red Mahogany and Salem Maple. A soft, lightly colored effect is accomplished by wiping the surface immediately after the stain has been applied. Some of these pieces are positioned higher and elevated above the surfaces of adjoining pieces to create a 3-D relief effect. Notice how all of the segments for the head of the Fawn were glued together as a single unit.The glue tends to run through wide saw kerf openings rather quickly, so turn the work front-side-up as soon as possible to prevent this from happening.
Therefore, gluing the nose segment farther out (higher in relief) than the eyes will make the project appear more realistic. Also evident is the effective use of white paint to represent the glare glistening from a moist nose or to add realism to eyes.Very small dots can be applied with a toothpick or the pointed end of a small paintbrush handle. Notice the use of just a little Red Mahogany stain lightly wiped onto (he unstained (white) segments in the cars, by the eyes, and just below the nose.
When framing, the portrait can be glued to a natural plywood backer that is unfinished, or whatever is desired. Notice the rustic log slab plaque for the mounting of the Vigilant Eagle (see photo at right).
I've made a video (listed in the link below) in which you can follow some of the work which went into creating the instrument, enjoy! It wasn’t long before the entire Popular Woodworking staff was standing around watching vintage Roy.
Watching through the first four seasons, I’m constantly impressed with the depth of knowledge and his ability to teach and entertain at the same time. My father and I would bet if he would injure himself, as we sat down to watch him, when he was new on the air. The designs featured in this section are those of the artist Kerry Shirts, who has shown extensively in galleries in the western United States and whose work has sold internationally.
As with an oil painting, a scroll-sawn wood portrait looks more realistic when viewed at a distance. The projects range from elementary—involving just a few cut segments in simple shapes—to advanced projects with hundreds of pieces in highly detailed shapes.


When finished, your project will not be an exact duplication of the photograph in the book. Make sure that the front surface of the wood is sanded and dust particles removed with a tack rag.
For a jet-black look, apply a very heavy coat of Black Walnut stain and wait up to several days for it to dry, or simply use black liquid ink.The color intensity can be controlled somewhat by how the stain is applied and allowed to dry.
This technique leaves just a little pigment on the wood—enough to contrast w ith the unstained pieces (see photo, right). Usually, but not always, darker stained pieces are shadows and they are glued farther back.
Like brush work on the canvas of a fine painting, details up close may not appear to make much sense; however, step back and the colors, tones, textures, and shadows merge into a wonderful, coherent image. It will be your own creation, a one-of-a-kind piece of dramatic art that very likely neither you nor anyone else will be able to duplicate exactly again,Therein lies the enjoyment in making realistic scroll saw segmentation portraiture. This only widens the saw kerf", which should be maintained as one continuous narrow width or the size of a single cut.
Usually, it is best to smear Dark Walnut stain over the Golden Oak stain while it is still wet.
With a little practice with a rag, it is possible to create a blend or faded effect on a highly visible segment. Notice that we are not gluing for structural strength, but to maintain the relief level and to keep the pieces sticking to each other.
White, unstained pieces represent highlights and these are usually (but not always) glued farther out, closer to the eye of the viewer.
That one little strategy from A Course In Wood Turning that I implemented not only worked, but the results were completely astonishing. As the bouncy fiddle starts playing at the introduction of the video, I’m drawn back to the 1980’s by the clothes, cars and general look of the streets where Roy starts his walk.
If you’ve ever done any public speaking then you can appreciate doing 30 minutes straight, without a pause, offering humor, instruction and managing to be visually engaging all at the same time. It makes me feel good to be a part of making sure the knowledge and fun is still available only a click away. Remember that all cuts must be perfectly vertical so the cut pieces can separate easily from the uncut segments. Carefully study project photos; it can help determine which pieces have mixed colors and which do not.
This technique has been effectively applied to the beak on the Vigilant Eagle I lead on page 109.
Once you have manipulated the water to spot or achieve the ruffled fur look you want, allow the piece to dry on a level surface.
The segments are not glued edge-to-edge as is done in conventional woodworking practices, common segmentation, or intarsia processes.
Side-by-side segments of the same stained color should alternate up and down slightly to cast small shadows to maintain relief and to give a textured look.
Any size scroll saw capable of making consistently square, vertical cuts with commonly used blades is really the only tool necessary.
Wear rubber gloves, if having stained hands is offensive, and wear a shop apron to protect clothing. When he enters the shop, time stands still and I’m not thinking about video quality, I’m visiting with Roy. Later, entire portrait assemblies may or may not be glued to a backer, depending entirely on individual choice.
Also, there are no shims glued under elevated segments, as is the practice in basic segmentation and intarsia work.



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