-,..

....

.. ..=---. """:7"---=---=--

,.

...,

i"

~.:':'..:
~~:=.... -;."' --::-----~.:::---~ ...

. ._,
.

r . . .

. . '.:Q-

.I.

. '

---

.j:..

.
I

..

:.:.

.... --.... . '

r:- ":"' - '\

.-

---

:..

-- '

:.

...

...

...

-.....

...

-- v

-,.,

..r .. t
-; .. ~ ....

-~

....

~-

..

."

I- '

..
..

....

CoNTeNTs
Introduction
GETTING STARTED
Tools and materials

Workshop safety

THE PROJECTS
Celtic knotwork border

12

Knotwork overlays

I5

Initial memo holder

18

Claddagh lovespoon

20

Double photo frame

23

Eagle wall plaque

26

Message board

31

'Tree of Life' seed keeper

34

Hand mirror

37

Dragon trinket box

41

Knotwork jigsaw boxes

44

Celtic cross

48

Fun photo fram('

52

Mirrored cJndle

sco ne~

57

Zoomorphic lovespoon

61

Coasters in holder

64

Trivet

67

Claddagh mirror

71

Stained glass uplighter

76

Bathroom set

82

The project designs for

tra cing and photocopying

87

Glossary

126

Further readi ng

12 7

About the author

129

Index

130

1NTR00UCTION

......,
I ...

t Columba; Who ~s born

developed their own cultural dl\letSitt~
In Jreland around A0520,_ mqctt of Celtic symboll-srn --~l~:
romril~n ~to them all.
was possibly one -of the
rnost Influential people Jn
:rhe_Qtlgtns of CeltlC artg0:1>adc:.as fat
the history of Celtic art. Following a as :JOOQec;, when megalithJt stone
dispute with the king of Ireland In carvings .were decorated With geometric
Ao563, over the copyright of a book he
patterns, but 1ts foll devel9Pment came
between 450Bc .;tnd:;$Ql!c,.a tfme _known
had duplicated, St Columba enug,ated
to Iona, off the west c.o ast o.f SC'otland,
as La Tene petiod The C!l.ts: ofLaT~lie
period prQduC'ed l,Jr()nze repouS&.t
ta set up the monastery. From th~re hli;
impact spread throughout Europe~ and
oblects for pe>nal wear, as well as:Wr:
many of the manuscripts still In
hoPSe ornaments and religious purpoM.
existence - were produced as a direct
Frqm SDsc the Roman Emptre grew in
result of hls-1nfluence.
str~ngth and Influence and consequ~11tly
St ColumQa understood the Importance
much of the. Celtk culture was
of lea ming hvm ~st ma$ters. not only Jn
su.ppress-ed arrti: , dtJu~. -~ ~ote
an artiStic sense, but also In a sp1rtruaf' outposrs of Western:eu:~m~. . ro
way, a _l~son that still hAs ~fw..P:' tetaln their :tradftfO'ris.-aml $.ntlnued to
today. In his dying prayer forth,'.mqf)e'. ~lop their art. th~ - ~'5- -\\le~
of Wna he said:
Caltcla In NOrthern spmn, Br!tta:11y.
Wales; ~.tland, Cornwall, the Isle of
-see thal you be at peace amdhg youru~, Man and lrelarJd. In Ireland especlatfy,
~ chl1d!en, arid love one-anothtt. FOllC1W the
ha\il~: rertudned ttce from Roman
example of good men qfoid~
control. G1tlt_art flourished, so by the
time Chrtstlanlty reached. there Jn: _the
fifth at1d sixth ceritury Ao the Celtic
Much of modern c~ftlt destn fs 'taken
from Irish manuscripts o( the -~tXth to
artlsrs were able to brlng thclr own
eighth centuries, rriost noiablf from
.unique Influences to th~ )fJL!lrilnated
The Book of Kells, the Llndl$fii:m~ manuscripts that me mohasterJes
Cospels and The Book of Durrow. , Q-~ ,pl'O(juced. Their pagan af:lfs~ ttadlllons
we.re not swept aside by the coming of
the arti~ts who decorated the ~spels
c:on{<;l1ned Jn these books we~ dr,awtng
Chrtstlan tty, but weie-1:ncorporated Into
the artw9r~- _:that d_ecorated the
on a much okler pag~ artistic
tradition, developed by ,aooent Celtic
handWrirten pJ1e/$ and enriched them
tribes.-From about IOPOac.tbey ()qruj>ted
greatly. Thse tnSU:lar -manuscripts were
a vast area radiating from ntral Europe
made 1.1p qf the four N~w Testameni
to Scotland, Ireland and Spain. Altho_ugh
gospels of Matthew, Mark, Lu~ and
many different tribes existed and John, written In the Latin ofthe vutg<1te

Tools
It is possible to make all the projects In
this book with a falrfy basic range of tools
and, where I have used power tools. I
have tried to suggest less expensive hand
tools that can be used Instead.
Having said that, there Is no doubt
that power tools can save a lot of time In
shape-cutting, and in reducing the bulk
of material In certain projects. For the
reader who Is thinking of Investing In
new tools, my advice Is to buy the best
you can afford. I would also recommend
taking a training course to acquire
power tool skills before making a
purchase. Many tool stores run half-day
or full-day courses to teach the basics In
Tbp-of-tlte-rangt scrol/saw

CELTIC WOODCRAFT

routing, scrollsawlng etc., and these are

Invaluable for finding out which mode!
would best suit your needs. If It Is not
possible to attend a course, a lot can
be learnt from demonstrators at
woodworking e.)(hibltions. wha will
willingly give free advice and tips on
8"51r bench~top scralfSRW

Jjns/(' Jigsaw f1nd rotary tool with commonly used accessories

.. .. . ...... ......
~

~ ,'";

'

. "' .

'

....a

their products, so never be afraid to ask.

The power tool I use most is a variable
speed scrollsaw, b1,1t I also us.ea plunging
router, Dremel rotary tool, electric drill
and power sander.
On the facing p~ge th~re is a ba.$lc
...
benci:i-top scrollsaw ( 1) 1 a top...of-the. 'range scroll~w: (2)' a basic jigsaw that
can do a Lot of the work of a scrollsaw
(but not the fine fretWork), and a rotary
tool with some commonly uw.cf
accessories (3). Where a scroflsaw is .not
available for making iritemal cuts, a hand
fretsaw with removable blade can be used.
When !t comes to woodcarvingr hand
to.o!s, there Is a bewildering variety
ava1Jable, but the projects ca.n be ma<ie
without having to .invest in a great ran:ge
of them. I tend to. use my favourlte two pr
three palm tools and a German chip knife

in mostof my work.
Lt really is a case of your personal
preference when it comes to choosing
and .using tools. There are. many bo.oks
you can refer to. in order to 1am more
aboutwoo<lcarvlng tools, but !t ls be,st to
work your way systematically thr0ugh
the projects .<ind only acqutr-e new too.ls
as and when you need them. This wfU
hot apply, of course, Jf you alre<1.dy have
all the necessary tools .. and are just
looking for new designs to work on.
The. most important thing Is that,
whatever your choice of C<jrving tools,
they must always be. kept in good
condltl.o n and sharpened pro~rly.

Mate:rlals
There :m m4tly

ti.ti!~' $~1~,

m.

~ngJ1'l gertet.a4b.U;r;~~~ate

desfgn:s. <J. kn~~e ;;lJ~ ~~ .ti)~f.

best when the..Y, ar.e' made
'' .' " ' ftiifuie.~
" . .' ' ''"'',.. , ..
and
.

it
tti~(b1n-hty

ft
. no.
. ~ , ~ red.
.. ti~
. . ...0;n~
9f. ~

m,(}$ sg~b.J~

ts Itn:re.~/al~9 ~~It~

bassw60Q, :as It ha~fa: ftrl~ -e.ven. ~tn

and, alth~gft ft ts, fairly &Off ut;~~/Jt

A selection of palm c111vi11g tools

and chip carving knives

ls. classed as a harciwooq. syoam0.re 1.s.

alsci: a s.ooc1 timber for carvin~ Celtic
designs. BQ.th st these \.Voods are vcy
light In colour; s.o you rnay prefer tQ
experiment with darker timbers, such as
mahogany or cli~try, providing th~ gra)ri

paneming Is not'.too prono1.mcect

softwoods such as. pine- may at first
s~erti .ealiy to qr\'> a11d can eye us~ tot
certain a:pplicatlorts~ l;>ut they do noi hold

del<iil .W!d.I and. cao be eaS!ly damaged.

Some Qf the materials needed to

complete the projects

CelTtc
kNoTWoRk BOR0eR

Matertals
several phot~pi~Of
t~rfiplatc IA (sc~ page Slf,
.e:t
e-9fargcd J>y I 25 %
P.fne st4fr wood, 6

6$mm {It, .x ]Min)

x
~

lengtlt

req~i'l rcd
~posl.!f~gable Sp_r~y.

adhesive
Dooble-slded s~ t~P.~!
Palnt. Vnlsh or wax
fjflish, as ~eq u l rcli
Tools
Sc~llsaw. etectrk Jlgsa\.

or hand tretsaw
Orlll fined with sm~P blt
I 2mm ('hln) ~~t ch1,e1

craft knife or~~P

12

!qufe

CELTIC WOOOCRAFT

his. prOJ~t $hQws you how

to aclill!Ve the ribbon-like
Interlacing so typical of
Celtic knotwork, whJd:t
forms the basis of many of the designs,in
this book. The simple but lmpresslv
border adds the perfect finishing touch to
a room and, by using a variety of
finishes. you can achieve a hlghly
Individual look.
Celtic knotwork, which appears on
stone crosses of the sixth century AD and
onwards, and In the Intricate patternfllling designs of the eighth-:tentury
Illuminated manuscripts, can Qe. made
up of one, two or more Interlacing bands.
Some people believe that there ts no
symbolism att;:r~he_d to the different types
of knotwork; and It Is probable that
meaning has been conferred In more

recent i:frneS,; It is easy to see, however,

why other peaple belleve that the
unbroken bands of the knotwork
~present a saqed path through llfe, with
no beginning or end, an ..et:e.r.n~I Journey
of spiritual growth.
This project may look daunting but.
beCause the de$lg,n Is worked In small
manageable sections, It Is not difficult to
make. The main sklll required Is patience,
and. In my eXperience you wouldn't be a
woodworker if you did not already
possess this trait.
Once the sections are <:omplete. they
Join to make a continuoiis border, as
shown. which can ~ rut to tit corners.
Alternatively, lf y<;;u. want to use the
bor~r to decorate small pieces of
furniture, cupboards or boxes, simply
redU.~e the design to the size required.

Mc b"d

I (Ui lf't

~1r1ri

gt

drllled hole first. A scrollsaw Is Jdeal

1;h"1H11

tc

upc- 10
11 'O

tg

ae
"'

design, carefully separating the

pieces and removing all traces of

~ i -11

sticky tape.

I:'.

6 Using the original template as a

1 nrtL

r;J lhr

udnJ
Cts

rurs

"'

h1-eadl

lht

M~

guide. transfer all the crossing lines

onto the pieces with a light pencil
mark. It Is essential to copy the lines
faithfully so that the woven effect is
even and continuous, especially

L~

"---"

when pieces are Joined end to end.

..

........._

-~:-

CELTIC ICl'IOTWOU BORDER

--I

13

7 With a sharp chip knife or craft knife.

score along 1hesc lines to a depth of
3mm ('hin).
8 Using the chisel at right angles to
each line. gradually slope the wood
down towards the line. so that the
band appears to weave under and
over. as shown. Also reduce the
wood by 3mm ('/91n) at each end of
the border where ft wlll meet the
next piece.
9 Give each piece a final light sanding.

To complete the profect, you have a

choice of finishes:
Varnish the border, then fix it in place
around the wall using a suitable
adhesive such as 'No More Nails'.

Tl1t 11nl/qut, wcalltt r(d-bronze effed

14

Ce:L.T IC WOODCRAF T

Alternatively, ff you wish the border to

contrast with Its background. prime
and paint the sections first, then glue
in place as above.
To give the effect of a plaster relief
finish, prime the wood before sticking
It In place, then paint the whole wall
and Celtic border with the same paint.
Or, to achieve the antique weatheredbron ze effect. apply a base coat of
emu lsion paint In a terracotta colour
after priming. When dry apply a coat
of metalllc copper paint. Allow to dry
and then dip a small stencil brush in
gold metal paint, wipe off until almost
dry, and then stipple randon:ily over
the copper. Repeat with another darker
shade of copper until the desired effect
ls achieved (see below).

kNoTWoRk oveRIAys

he previous knQtwork
border is just one
example of the variety of
Celtic knotwork designs
that exist. Single knotwork motifs can
be used to great effect as overlays on
a variety of objects, and are mad\?
using similar techn'iques to the
previous profect.
Four different templates for overlays
are provided on page 88 but, once they
have been mastered you will be able to
use other patterns from Celtic art source
books to.make your own overlays.
The templates can be enlarged to
any size to suit the object they are to
decorate, and I suggest enlarging by
140% for the first attempts, as this will
make the internal cuts easier.

Some suggested uses for the overlays:

Decorate the lid of a purchased or

home.,.rnade box (above left).

use four matching comers to deeorate

a chunky plain picture frame (right).
Decorate drawer~fronts or doors on
furniture.
Make the same design In contras~ing
tlnibel"S to create a semi-abstract picture.
Connect the open-ended pattern
(template 2A, on page 88) with straight
strips of matching timber to form a frame,
as shown in the drawing overleaf.

Method

Place the chosen template onto the

smooth face of timber using spray
adhesive. Drill pilot holes In all the
areas to be cut out.

2 Using a scrollsaw or hand fretsaw,

thread the blade through the pilot

holes and make the internal cuts.
Make sure the corners have sharp
angles. with no roundedness.

Materials
EE\larged pho~opy' of
template 2~, 28, i.c or ZD

(iis prefepie.d: see page S8J

.u

Assorted timbers to siz~ of

template Cot ~!lla~ment~
4-6mm

P~'Airl) thick

(e.g. pinft ivory. jarra,

American hard maple,
hardwood strip)
Repositiona~le

guide to which way they cross. It Is

Important to get the lines right at this
stage so that the weaving effect w!ll be
correctly carved.

$pray

adhesive
Double~slded

sticky. fape

Glue

finish

Tools

SCfollsaw or hand fretsaw

Small chisel
Chip knife or craft knife
Drih with. s~!l drill bit

16

$cg~. ~IQng'. the l~s using

a sharp

knlftt

Cfear wai< poltsh. varnish,

or pref~~~

CELTIC WOODCRAFT

6 Use the chisel at right angles to the

bne and I~ the material on either

side of a crossing band, to give the

appearance of weaving underneath.
Slope It down to about half the depth
of the tJmber. The angle of the slope
wtll depend on how cl<>sely the band&
are to each other - sotne Wt.II nftd.to
be quite sreep to acht~ the depth;
while others can be.mo.re~gradifal.

,,. .,,.
1

." {'- . ~ -.- ~ ....

i _

~-~~~~- ~

r'c-- -----

7 The photographs above show

different, enlarged, template (28)

being used on a piece of 'pink Ivory'
variety of timber, which was used to
decorate the box lld on page ls..
8 [f you wish to make a set

10 Cut out the waste areas.

12 carefully separate the

9 Drill pilot holes through all four la~rs

prece.s

af:td

ciean off any glue residue. itansi'et.

tJte llnes onto the face of~ pt~

of fq\tr

corners. use the same ;sta.ekcuttlng technique .as in the

previous project (see page 13). Cut
four pieces of timber to the
approximate size. of the template
and layer firmly together using
dou ble-slde.d tap~. suck the
template on top usl.ng spraymount adhesive.

Cut round the outside of the-de~;

t 3 score atong the llne.$_

W.ttha sharpknJfe.
I 4 Lower the '.nfiit~fial .Ort each stde of

the croS$1ttg :~mi to create the

weavtrig effect_
;
1s

$eal the QVei'lays using i:lear. waxpollsh, varnish, paint or any Pth~
cltosen ftnlsh, before gluing u:f ybiir

c:hosen obfed.

KNOTWORI' OVERLA'VS

17

lNITIAf_. memo boLOeR

MatertaJ~.

P'ftotqopie!t~ let~l

tef'l)p'i.;itesA~$

r~~iredr(~~~es S<?;l,l3i,!
~larg~)i, Izsf&

Fo:r _:ach 1n1r~\:~,~ faie, dl'

tlrri_lSe-r app~x, ~-x 1m x
2$nm (~ Jt~~ 1c 1iry)

(Some ~tiers rrufy~ulte l~

v.ider. p;'~atJJJWe;"Jb b~r)fr1

P1'e
-0f wiR""" 7'm
..c.:
...
~--

,._

~_

(2'1~)
:.~~~

8Sl

have demonstrated the

method
of
carving
knotwork in a fretwork

Thi~

projd $hows; you ,how to

N:.l

l~g, 2mfn U~) dia~~ett

Srnal! ~led~

he previous two projects

!>-~~

style.

c-aiw krtotWbtk fi:i: low relief; thafls, on:ro:

GJ\w'

the; surfa<:t? pf the tlml>r. Th:lS: tehniq

:wlfl be mploy~ (n ritanY ofthe:prof~~
tM:t follow.

~tposit~a~~.pr~i
a.uhestv:e-

1n1ttl;l( .len:r1>ow:eye:~w~~tethf.'
manusci'fp'is prOdu#cf by :'CeltJc arttsts;

:rs~~~h~:~~=i~::~~=--

Tools
~~ro11~~ er -frc~~~

d~n Wfth 2rrim PA~lfl) bit ;

.-

Pliers
S~allc~5el

di!P-. Arv1nkntf~ ' ii' d:aij'

kJff{- _ ~A:;' r: .if:i

letters:

fmaglnabfo~ l~

-some are so

that 11 c:an: 0' dlffiettlt for the:

Wttralnecl eye, to d~)f'her them. Jn
inaituscrlpts rudras: The &rok:'b-f kells thts,\V<lS: alroQ'St Jffi!{y.\mf, 'SlhCe: 'the artist
~labt.'irat

could Jnd11lge l:n ~tunning ~lgpts qf

fantasy when

decofatt~g ~tters,

sure In

the knA\V~clge that the -scllolcirly reader

WOU]d be vecyfamlli.9J with the text.

18

l:ULTIC WOODCRAFT

/nit/a/ letter A In the stykcf The Book

-0f Kells

Ornate Ciipn.l

5 Carefully

lower the background

around the knotwork to a depth of
l-2mm ('A-'kln).

loc.1 :.e a p.aro;:u

~

lh..

small

cal ' 'Shdppl

>r

r iey

couW,; U
ie::oratt

6 Score the crossing lines of the knotwork

to half the depth of the raised bands
using a sharp knife. Slope bands down
at right angles to the llnes on either
side of the crossing points, as In the
previous project (see page 16 step 6).

II

7 To assemble the clip holder, fasten the

Method
1 Photocopy the chosen letter apd s~
It to the Umber with spray adhesive.
If necessary, drrll a pilot hole for
blade access to cut out the cenue of
the letter.

crocodile clip around one end of the

piece of wire, using the pliers to
achieve a very tight flt. Make sure that

the dip .cannot mo\le around

wh:e~

on me

using a dab .of:glue!/~

top of ihe Jetter

using the 2mm ('l,&aln) drlll..btt. (Jf~
piece of wire Is of a dlffeJCnt ~ie.t.

8 Drlll a hole In the

2 Use a scrollsaw or fretsaw to OJt out

the letter.

use a drtll bit that coi'mpehdS t<rii.)

~ign to

the wood,
place carbon paper between the

3 To transfer the

trace

ptaln end ot the Wire In the

drilled ho~ uslntra small amount of
glue to h9lq. It.lrr place It ne<:e$Sary.

Score carefully along the outsJde lines

10 Stal d:\e. '~With .~ .or varnish as

template and the wood and

round the design.

4

of the design usfng a sharp chip knf~

or craft knife.

9 Place the

pmtr~

INITIAL MF.MO HOLDER

19

l.;Q.V~s~n ~~e:sig.ilil

Qften fnco:rporate
ce.ltlc :kll<>twor-k iitlong; th~ handle,
arid I .hav.e :d~wlo.ped this ld.e.a
further by .a dapting th~ tra:ditlona I
Claddagh design from Galway.
claddagh Is a .small vJIJ.age on the
co~s.t of :~lway Bay Jn Ireland, and

tM.

he tradition of giving

lovespoons Is alleged to
have originated Jn Wales
during the seventeenth
century, when a young man would

carve a piece of wood Into a spoon to

give to his love as a token of courtship.
1t Is possible that the degree of
Intricacy In the carving reflected the
greatness of his love.

20

CELT1C WooCICRAFT

~ltit1,n~lve

Claddagh design Is
s~d '.ta: tta~: be:en: developed by a
native ~i the. vJUa.ge; Richard Joyce.
who fashioned gold rings.
The heart, hands and crown
re.p resent love, friendship and loyalty.
The legend Is that when the. Claddagh
ring Is worn on the right hand with the
heart pointing .outwards, It shows that
the wearer Is unattached, with a free
heart. If the heart.points Inwards a love
Is betng constdered. Worn on the left
hand with the heart pointing Inwards
means .two loves .have become
Inseparable.
There are many suitable timbers
that can be use<l tG mJke the
lovespoon - here 1nave used American

tul!pwood, which is fairly ea:sy:to c.atve

wfth the most ba$.lc of tool~, Y.ct1 can
see from the ph'afugraphs that gOOd
results can be acliteved uslng; e~n
the lea~ exp.ensl'.ve of ~raft knifes.
As always chough, use the .toots that
you are most comfortab~ With anq,
most ln:ipQrtantly, always keep a good
sharp edge.

Method
1 Pn!pare a good~ surfac:eon ~
bade and front on yolir timber. use a
plane If it is very une'Ven, then sand
with medium ( 120 grade) to. fine
( 180. grade)

sandpare~

templa~. to the ftont

Pl~ . the
of the th'rfbf.r

using spray ~heslve.

pilot hole tn .each at the shaded

areas to allow .access for the
frecsaw/scrollsaw blade

2 Drtll a

3 Make all the Internal cuts first~ by

threadtng-the fretsaw/scrollsaw blade.

through the pilot hole, thn c:.umng
round the Internal llnes.
4 When all the tnt~rnal cuts are
complete, cut around the out&lde Of
the lovespoon. Remove the template
and transfer. the. gldellnes onto the:
wood as shown.

~~die'
section, use a sharp chip kiiltei craft
knife, or chisel to score ~n11thel1n11:s
Where the bands will .a t)$$ over and
under. It is essentialiU).keep these In
the rfght order so th~ weaving. worb
correctly. Score to a depth of about
2mm c~min) to begin with, then using
a straight chisel at right angle~ t9
each Urie; gradually reduce the WOod

5 Starting with the central

at each .side of the weave.

6 Next round over the edges of the

b.inds using a knife or chfsel,

taking care to also round. the
corners where the band appears to.
cross under another. Round off the
bands all the way round the wp
and down as far as the point where
they meet the cuffs above the
hands, then reduce the area behind
the cuffs by a mlllfmetre or two to
make the cuffs more prominent.

Materlallli

or Pt.!etocopy or
teMplate 4A (see. t'ag~ 94),
en1argect'by rtl %
Ti'aCilJi

PJece of timber, 230 x 70 x

I .Zmm (9 x 2 )C hill)
(Arjt~rican ~llpwood)

R'posltlOnable 51pray
adhesive

Wax or other- j>f~errcd

finish

Tools
Pl1e foptLmi;tat If the
tiinber Is very uneve.D)
~ndpcg>er~

If reqtlfred

Sergflsaw, t18s~ fitted

with scrplling blade or

band~w

orm fitted whh

small

wciod bit
~Ip knife

or craft knife

I 2mm (~hfii') chisel

Rorary tool fopttonal) or

g!1ugc fQI' bow~ shaplrJg

Round pu~h and hammer

C LADDAGll lOVESl'OON

21

1 Shape the back of the spoon Into a

convex shape, tapering the pointed

end more steeply towa.rds the fron~.
([f you need help with the s.hape, use
the shape of a sl>oon from th~
' catlery drawer as a guide.)
.
. . t used ..a
tungsten burr bit fitted on :the
Dremel to remove .the bulk of the
waste, followed by a sanding drum .
but you could use a gP.uge to shape
the back lnttead.

about 4mm ('h,Jn) in

diameter. make a series of circle

12 Using a punch

shapes all round the outside and

down the middle. I Improvised as

you can see. by taking a ball pen to

pieces and using the metal ferrule as
a punch. Fortunately ii survived the
experience and lived to write
another day.

of
punched circles, then score it with
a sharp knife or V-tool. Cutting from
inside this line. angle the blade and
C'\.lt away some of the wood to give the
appearance of puffy material. Create
some creases at the bottom using
either a V-tool or knife.

I 3 Mark a line around the Inner edge

the

s SCQOP- ~u.t the Inside bowl of the

spQQ.fl!': carefu1!y ch~ing . the depth
a:s. you go along and matching
.the.wpJngyou. have given the back:
~I'll to ac!ileve an even thtckness over
the whole Of the.boWI of the sPQOn.
Ag~n tu~ the bremel for this, but a
gouge can ~, u$e.d If preferred

9 :!9.un~ gy~r ri.t~ ~~s . of the .c.uf.f$

and mmds, then.taper the ends of
the fin~rs and thumbs down, so
th.11t they tlppear to be holding the
heart from just behind. Next, score
along e.ach sid.e of the ~and.s at .the

wrists, taper ~own ~-~- wood

on both sides of iheSe, then round
over the edges, of th~ b;ind <J.~shown,
Re-mark the guldeJln~ ~;. tlle:frlll~
on the cuffs and the fingers.

you ha\te one, td

make the lines be~~n ,ire tiJ{f$
and flnge~ othe..Wtse .a ~ft krl1fe
or chip kntfe can be used. Round

10 Use a V-tool, If

over all the sections Of the cuffs..-.nd

the fingers.
I I Now shape th~

crown.

Fl~t r.e~t.1q.e

. the dept~ by abcut 2m:m 0n'2fn) and

' use a 'chisel ro.btVel It down where
. ;It meet$ the top b.a nd. Notch the
:'V' of the lite.le t.r.langular shape at
. ~the top,. then curVe Just thfs part.

22

CELTIC WooOCRMT

Ii

Sand If necessary, then apply a coat

of wax (or your preferred finish). l ftnd
an old. soft toothbrush ideal for this,
as it can get Into most of lhe nooks
and crannies of the carving. When
dry,

buff with a

llnt~free

cloth.

lovespoon, di1U a small

hole In the back of the crown. -Asmall
nall or tack In .the wall Is all that Is

1.5 To hang rhe

necessary to hook It onto.

OouBle pboTo p~me

.

his project introduces the

Celtic zoomorphic motif in
an

ek111entary

form.

combined with the style of

knotwork used for the Initial lvlemo
Holder

(p ..~gl'

18) . The serpentine

body of

a dog forms the borders of the frame.

L~Ompleting

1.vith its hc;:id and tall

the

design. The ear lappet extends to form

the knoiwork on one si e, with t.he lail

dividing to 111~1kc tlw knotwork on the

opposing

.side.

As

i~

comnwn

in

zoomorphic design. the tongue also

gives rise to a little nourish of irs own .
Normally a dog design woul d have at
least two legs visible, bl1t I wanted to
keep the outline of the irame fairly
simple. so this hapless cre<.,tme

\Viii

have

lrel,111d, Dubli11 , have n1.1ny exquisitcly

to n:rnain J victim of artistic licence.

There w,1s great bclid ,1mong the Celts

that tlwir deities were c,1pable of shape--

crafted filigree panels of interlaced birds

and beasts.

shifting or meL:1111orphosis. laking on the

1\nimJI $ were revered by 1he Celts and

guise of animals and birds. This gave rise

symboliied the power of nature. yet 1vcre

to the mnny zoornorphic forms to be sctn

often cL1mpan~d to hum.1ns in terms of

in the ea rlitst Celtic Jrt. A panel on the first

the ir qualitk's of loyalty and bravery. It is

century nc Gundestrup Cauldron depicts

this

the forest gpd Cerunnos with antlers on his

qu,ilities thar m,1h~

head and holding a sn,1kc that has ram s

de-signs

mdding of human and animal

so

the zoomL'rphic

fascinating.

horn s. GL1th !h<C ,1ntle1s and snakeskin arc

I have ddiberately u!;~d 25 mm (I in)

symbolic of regenerCltiC1n . as rhey can be

deep timber to make the frame. so that it

shed and re-grown . l\'u merous other

will be frl'E'Sla nding whe11 finished . Ii you

examples of zoomorphfc design appear in

would prefor ir to be less chunky. then

manuscripts such JS The tlaok of Kells .:ind

all mc<ms use thinner stock and make thl'

the

tht

rebat e shallower, then make either ,1

magnificent /\rdagh Chalice and Cross of

supporting stand for the b,1..:k. or attach a

Cong. housed in the N,1tional Museum of

h ..rngt'r Ill the back for wall ha riging.

Lindisfarne

Gospds.

and

by

-''-'

Method
Ensure that the face and b1.Kk of th e

timber are periectly E'ven and smooth.

planing

if necessary. then sanding

with medium or fine s,rndpaper. Stick

!he templ.:lle to the face side of the

'
timber.
using spray adhesive.
2 Cut round the outside of th e design on

Materials
Photornpics of template

RepllSith.>11c1bk !lprcly

l-'iele

1.1f

prt'fer hand

tools, use a fretsaw .

.51\ lsc-c page 9 5)

adhcsi

the scrollsaw or. if you

J Drill a pilot hole in Cdch of the thrt'l'

shaded areas to accept the scroJlsaw

timber 2 20

x I 50

)( 25mm (8'/.I x 6 x Jin)

or lrt'tsaw blade. then cut out these

internal a re as.

(syc.:lmorel
4 Carefu ll y lift off th!'.' 1empl.1tc and
2 piece's of b.Kking timber

r 'move any glue re sidue from the face

appro x. I JDrnm x !OS m m

of the timber by sanding with fine

(SA x

~'I.in)

{plywood or

MDf)

2 picccs
I JO

sandpaper. Replace lhC' template on

the wood, slip some carbon paper

l1i

acetate approx .

105mm (S

,~

4'/1 inl

(option,1 ll

beneath it and place

,1

litik masking

tape al rhe side to hold the ttmplate

in pl,Ke. Trace the knotwork design
onto the surface of the WOl)d.

Sm.:ll! t.;icks or glaziers

points

5 Before starting to carve, turn tht' frame

over .and make lhe rebates kir the

Tools

photographs: mark a line approximately

4mm f'/dn) in from rhc cutOlJts and

l'l.;;ne (if reqLliredl

then rnake a reba!e with th~' router to a

s.111dpapl'r: 120 grade

(nwdium) and 180 grade
(fine)

depth of I 2-15mm !'h- 'A: in). (If you do

not have ;;\ccess to a rouk'I', thl" rebates

can be made using a chisel.) You will

need ro make several p.1sse. 1vith

5crol!saw or fretsaw
Router '"-'ith 4mm (;;,Jn)

st r.,ight bit (optiona l}

Chisels ,111d gL)Ugcs

Cle.ir w.ix polish or

preferred finish

the router. about 3mm ('kin) deep

each successive lime. 10 avoid putting
('XCcssive pressure on rhe cutting bit.
6 To make the backing pieces th.;it hold
the photographs in

pl.1cc.

lay the

frame foct side up on the 'I mm ('/,in)

board and draw a line round the

Crail knife or chip knife

inside of the rebate onto the boc1rcl a s

shown. Cut these Lwo pii?ces out
using a scrollsaw or fretsaw.

7 Next. turn the frame face upw.;irds.

nnd score .:ilong the Jims oi the
knotwork using J chip knik, craft

knife or chi sel.

B Using the chisels

,111d gL1llges, remove

the material between the bands

of

knof\vork.

,1i111ing to

cut

tht-

background to ,, depth of 2-3mm

( ';., - ;~i n) to allow for definitiL,n. Some

of the sm.:ill .-ircas to be removed an::'

besl tackled with rhe point of J chip

knife, or a sc.:ilpt' I can be ust'd on

softer timbers.
9 When all the background has been
lowe red . begin to m,ike the weaving
effect oi the bands. Make sure that

the crossing lines have been scored,

then lmver the m,1 terial on either side

of each crossing point using a

str,1ight chisel. working at right
angles to each band. \l\lhcre a band
crosses .;mother in dos' proximity.

the gradient of the cut must be foirly

steep, but can be more grc1dual

II

where the crossing point is further

.:tway from the next.

then round the sides of the eyeball
10 Where each of the bands comes to a 11
end, form it into J bJ/I shJpe.

by

cutting rhe scored lines down at an

angle. 1v1ark out the sm..ill circle at the

ccntTe of the e-ye.

I I Reduce the depth of the body on

either side of the head by abolf!

l-2rnm ('/i,.-'h,in) to enable the head

I 3 Complete

the fr<imc by carefully

sanding where neccss.Jry. then apply

to be carvC'd. Round off the !op of !he

at teas! two coats ol dear W c"IX pollsh.

head and reduce the level of the

or a finish of your choice.

II

material around the jaw line and up

to I he car lapp<'I. RoLmd the edges of

14 Cut ~1our photos to size using the

tlx' check . jaw and snout and give

bading pilces as a template . li you

ddinition lo tlw tongue and te::cth.

Wish to make

a protective front for

f\.1ake a groove ior rhe nostril with a

the phot og raph.

knife or V-tool.

acl'lille the s<1mc size. Put th e

cut a riece of

acc1,1te ,rnd photograph

12 Shape the eye

by marking out the

frame. with

lines with a sharp knife. Remove the

behind, and hold it all in place \>./Ith

trlilngul.:ir shape behind the eyeball

sm<1ll tack or glaziers ' points.

in the

the backing pil'ces

--

--

'

---

- - - - --

Q_Gle wAl.l plAque

Materials

Phocornry of tc-m pJ,1t(' 6A

lst'l' rage 961 . en larged to
I 76'Ki

In The Book of l<dls the eagle appe.:irs

m uch

x 2smm

115 1<.x ti h x linl (lime)

lkpositionabk sprcly
ad hesive

mo re

frequ en tly.

gi ving

till'

appea rs m.:rny rime s ln

opportunity for a iar gr eater variet y of

m a n uscri~>ts

designs. Some eagles are depic ted wi th

il lumin.itcd

Tim ber mcasmin g

.3 90 x I 65

he e a~~ll' is ,1ssod atcd w it h

strength .in d \\isdom. It

as an evange li st symbol for St lo hn.

al though in The l:klLll.: iJf D11mw the eagle

fuu r \,vings . and one ha eve n bc c~1 given

a h"m d w ith which to hold a book.

is used to repre enr Sr M il rk. In Durrow.

Along wit h the three other ev.:mgdist

the eagle is very stylized. having a

symlxi ls, licn. calf md m.Jn, the symh1..1ls \l.l('re

pe rfectly roun d head and eye facing righl ,

l.Jken as a refcrcnl-e 10 Christ's incam<11ion.

with ,, illrW<ird fac ing body.

lhl:'

soaring eagle rtpn.,senting the i\sc~'n~ion .

Ckar w ax or p 1cfcr red

fin ish

Tools
Scro!Jsaw or fret :;aw

Rotary tool (o pt ional)

Craft kn ife or chip kni fe

En,1:k in

1/1, ~ tylr of The B"ok ot Oum.1w

Method

6 Round over 1he edges o( the chest,

the enlarged template onto the

back and body down towards the

timber and cut round the outside

legs. Rol111d the legs and taper in

using .:i scrollsaw or hand fretsJV./.

the Jnklcs.

I Paste

Take particular care .:iround the head

and ied and make s ure the comer

cuts are nice and sharp.

7 Take about 2- Jmm e;.;-'4in) off lhc

depth

of the whole right-hand

wing, belo\.\I the topmost feather

2 Transfor the lines of the design onto

and large curl.

the timber, but don't transier all the

chest feather details at this stage. as

8 Keeping the over<Jll depth uniform.

they would dis<ippcar during the

round over the top ,rnd bottom

initi.:il shaping.

edges of the neck-ring and curve it

around the neck.

3 Begin roughi ng out the shape of the

eagle, reducing the depth of the

9 Once all this basic shaping has been

front leg by abour half and the back

.'.lchievcd, add the finer details. First

leg by about a third. Reduce the

step down the wing feathers from

depth of the left-band wing by <ibout

the top row, neare.;t the body. to the

a third, working around the neck-

wing tip. To achieve this. pencil in

ring. To save time I rt>duccd most of

the lines for the top row of feathers,

the bulk using a structured tungsten

then scor~ around them with a sharp

carbid~' bit

Dremel. but it

chip knife or craft knifo. Create the

could also be carved with chisels

step- down effect by reducing all the

and gouges.

material behind the lines to a depth

in

my

of

' ,.:.:
<S:P-

2mm

(1/,, in),

working

in

the

4 To allow the neck-ring to sit proud,

direction of the wing tip . Once the

reduce either side by 2mm Ch:in}. and

first row of fcather5 is complete.

then round over the sides of the neck

mark out the next row, repcating 1he

and head . Reduce the t1No head

process and stepping clown each

feathers at the same time by about

time by about 2mm ('/,,in).

6mrn (1/.in) .
10 Work the long lateral feathers in a

5 Reduce the beak by ,1bout 6mm ('!,in)

as you round off the front of the head.

II

simil.1r way, stepping them down

from top to bottom lengthwise.

Ill
II When all the long feJthcrs have been

16 Round the two fe,1t hers at the back of

stepped down you will notice that

the head. making the t e rmirh~I Into a

the previously carved feathers have

ball s hape as shown .

been left \Vith irre.gular depths. and

these can now be sloped down

l 7 Reduce the depth of the tail feathers.

towards the bL'ltom of the wing to

behin d the two rings. by aboLJt .Smrn

regain uniform depth.

(',{,.in) as for the body, ,1nd then round

over the sides.

I 2 !found over the top

runs

the

length

feather t IMt

of

the

wing ,

18 Mark the line in the middk of the ring,

reducing the tip as necessary to give

notch a

an even depth .

over the sides of the rings. Also shape

the ring

I J Smooth the chest of the ecigle and

along chis line and round

around the bod}' keeping

the depth uniform .

taper the body where it meets the ring

of t<1il fc-Jthers by abotrt 5mm ('l..in).

I 9 Mark in the two lines along the length

Round ii over inio the back at the

of the tail feathers and notch a 'V' into

same time.

them. widening the

towards the

tip of the feath ers. Round over the

14 Draw in the feathers on the ch est and

side edges of e,ich feather as before.

then score along the lines. Work ing

from the neck end towards the tail.

20 Round over the sides of the legs and

define each fe,1ther by lowering the

toes but leave the cla\vs as high as

adjacent feather where it meets, but

possible to allow for sh<1ping. Milke

keep the tip of the next feather at its

each claw appear to grow out of its

original height.

cuticle. by notching into the base of

Make sure that the original shape

the dmv to create a crease.

oi the body is maint<Jincd while these

feathl'l'S are being carved .

21 Taper the tip of the claw downwards

and round along its length . Next. make

I 5 Round over the edges oi the large curl

two creases behind each culide by

at the front of the right wing. to make

marking out with a curved gouge and

it into <J dome shape.

!hen undercutting behind the curve.

ID
r r\GtE

\.\I.Al I

l'L/\Qlll"

29

22 To finish the head, reduct thL' 101,vcr

26 The diagonal lines along the wing

thC' bc,1k by scoring ,1long

the mid-line and ra ring .l\Vay ahLUl

right ,111gles with a str.:iight chisel. or by

2mm l '/.>in).

using a V-tool to mark along the line.

half Df

RLu nci over the cop

edges of the beak .

J nci

fcatht'r" <1rc made by cul1 ing duwn at

luwer
27 If nCCl'SS&iYy, sand lightly. ;.111d then

apply the iinish of your choii.:C'. l used

the point whert:' the

forehead ornd dieek meet the I c:ak to
give gn:'cltt'r rJefin it ion.

2J Undercut

a clear w.:ix polish .111d thi:n, lo give

the c1ppta ran e of age. I went over it

wiih a d.1rk wax polish. 1 wiped this

off before it dried. so that it stayed in

24 Pe1Kil in the eye , then use .1 goLtge

with the same sweep oi rnrve to

mark

it

out.

keeping

tlw

lh

)L)I

at ri ght .~ngles 10 till' h c,~ d .

28 To allow tlw e,1 glc to be hung on

.:i

25 Sh.-ipc

lil1l'S and creases, tlw11 applied a

further L'(1Jt of clear wax polish.

the eyc- by chamfe1ing intl the

wall. drill a 2mm ('/,:i nl hole in

the

b:ick.

slight ly off-centre

tLl

marked line with a shMp k11ife.

countl'Tb..'llance the difkrerKc in size

leaving

and sluipc

the

centre

of

tlw

eye

dome- sh,1ped
1\.-lark the mall circle in the

l)f

the \Vin gs. This c..~n

th en he hooked over ,, sm,1 11 nail

c~

of the eye with the tip of a knife.

ntre

tapped into the wall. so that it . its

flLrsh agai nst the wall.

Materials
PhLtocory oi templalL'
tnlargcd to

page 97) and

if dcsir1.d

71\,

I H80o (sec

rn. c or D.

(SL'l' pagt> 98)

Piece of tirnbtr measuring

100

x :?.90 x I 2mm <15 ' x

11 .6 x !in)(lirncl

Pii.'cc

L)f

MDI measuring

't00 x 290 x -Jmrn (15'., x

II '.I'.

'/,.jn)

Rcpositionable sprvy
.Jdhcsive

Carbon paper
Wood glue
v,1rnish
he border on this mes ~age

The message bo.nd itself is a blackboard

bck1rd introduces a

11l'I"'

for good old- fashioned chalk. which can

styk of knotwork. lnstc.:id

be cleaned .-ind re-wri tten . but alternative

of

Lhe

opcn-wt'ave

knotwork of the previous pro jects.

surfaces could be use

board.

u.,;cd

with

her(' it is closely intertwinL'd so th,H

whitt'board that

no spaces are vi sible between the

wipc markcr pens.

or

can be used with dry-

The wording ill the top o( the bo,1rd

can L'a -ily be ch.:inged for something that

has <1 personal
11ec1.:ssarily have

Cl111ccrH1a ti on is ,1 lso the key to

cho:.;l'n. i\

me,rning;

it does n't

to be ,, place.:'. as I h<Jvc

singll-

wurd

works best.

-uccc sfu/ carving in this project. in

hmVCVL'r. sc) th<1t the letters can be jllincd

order ro m.1imain the currcc.:t wcaws oi

and cut

the bands bL1t. once you master the

ymt. you could do w >rsc than choosing

technique, the effect is very pleasing.

iust the word messages'.

vLI[

Toe> ls
Scrollsa\~1

bands. II is still ~'ossiblc L 1 trace the

mor"l' conccntratiL)n .

Bia kbo.Jrd pJint

such as a cork
rushpins.

p<lth of each b,111d rhat makes up each

eternal knor. but it reqLtire s jLtst a little

Primer

as one. If nothing inspires

or fretsaw

Drill
Router

lif avai/,1ble)

Sdcction L1i chisels and

Chip knife or craft knife

JI

mu ch

After

deliberation.

chose

Whatever one chooses to believe, there is no

of G!astonbmy in

Glastonbury as rny header. Glastonbu ry

doubting the imporuncc

in Som erset. England. is a mystical and

folklore. and ln the continuing fascination

enigmatic rlace . .:ind the Tor rhat rises

with its mystical associations.

from the surrounding pl<iins h.i s given

Method

rist' lo m.:iny myths and legend s.

The early Celts regarded high ground

<i s

,1

sacred place. and revered it as such.

The

Celts

s.:n..v

1)crsonificati on

their

oi the

gods

as

natural

the

fo rces

Stick photocopied template 7A onto

the face of the timber, using spray
.:idhesivc. Cut around the outsidl'

\Vi th

a scro ll sav.. or fretsaw.

around which rheir lives revolved.

The Tor Itself was believed to be

2 Drill a pilor hole in the cl"ntral wast e

secrel entrance

are<i 10 ,1llow the blade to pass through .

IL) I he Isle of Ava Ion hidden in iL side.

Cut out the internal waste, carefully

Av,1 lcm was the re.:ilm of King Arthur

follmving the curves ~>f the design .

m<igic,illy holl01.v. with

,1

\v ho. in the sixth century. ddcnded the

Celts against the 1\11glo-Saxon invasions.

3 Transfe r the design onto the face of

following the withdrawal of the Romans.

th e framework , using tracing paper.

End I 'SS myths and legonds have grown

up around King Arthur and his Knights of

II

rfo~ r~ound r~ible, and niany places lay

5mm

claim to being the site of his court.

section. Use this as a guide to make a

including Cornwa.11 and Wales. The truth is

4 mm (51J, in) deep rebate.

that as a great king he would have had

,~..:l

4 On the reverse, rn.irk a straight line

If

f>li.inl away from the cut out

you

want

to

mJke

pierced

many strongholds up and down the

lette r ing rather than r<i ised lt>tt01ing.

country. Clastonbury 'JiJr being lxH one,

make the rebated area rt'ach within

albeit

Smm (';,,.in) of the top of the frame.

a signiiicant one. His iamous

111agid.111. Merlin. was credited with laying

following the arched shape. You can

out a huge ten-mile wide zodiac around

then cut letters out so that the black

the Tor. using fc.:itures in thio' landsc.:ipe.

of the b.Kking bo<ird shows through

\'

.'

"~\

1. I

The Tor is also reputed to be th e burial

(see step I 2). If possible. use a router

a it er the

to cut the rebate - otherwise use a

c.rucifixion. Saint JosE'ph of Arirn<1th eil is

chisel. and squar~- off the bottom

said lu have brought the chalice ti sed in

corners using a small chisel.

place

..

of

the

Holy

Gr.iii:

the I.as! Supper to Glastonbury. and

buried it on the Tor at Chalice Well.

5 Cut out a piece of the 4mm ('h,in) thick

MDF. to fit in the routed area. The

11

easiest wily to get an accurate iit is to

lay a sheet of tracing paper on the

board, trace the routed shape, then

use it as a template. When cut out it
will be used to make the ch.:ilk board.

bur it ciln be pur to on e side for now.

6 Score along the lines of the design on

the ftice of the frame. using a sharp

II
32

(LITl C W Ot'OCR 1H I'

chip knife or craft knife.

Ii
7 If you think you may h.ivc difficulty

13 Protect the frame w ith a cl~<Jr v<irnish.

in identifying the thread of the

This is part icularly important ii it is to

we.we during carving, try shJding

be sited in

the arec:is that have to be reduced

wirh J p~'n or pencil.

behind. ;ind make a dt p 'V'

b~ tween

kitchen.

14 After priming the MOF backboard

<ind

8 LO\ver thC' bJnds where the~' wcJve

cl

two

lettering.
of

coats

at

lcasr

blackboard

p.11nr

apply

to both.

bands that pass alongside each other.

I 5 To Jssemble the message bo<.JrJ, glue

9 Use an inverted curved gouge or a

the backbo,~rd and lettering in pl,1cc.

knife to rmmd the long edges oi each

band. to form a rope-like shape. Th is

I 6 As an optional extra. you can make

will help separate the bands and

define the knot\.v ork .

,, chalk holder for the board. To do

this . take a piece uf mJtching sGap

timber mNsuring 10mm high x

JO Where a band turns sharp ly back on

50mm wide x l 8mm deep ( \ 'h

itst'lf. use the point of a knife to cut

2 x ;/,in). Cut it to an 'L'

the tiny triangle

leaving the back 4mm f/d n) deep

ell

the bend.

sh,~pc .

and the bottom leg aprrox. Smm

11 When the entire knotWlJrk fr,1me has

(';,. in)

dec1 .

Make

concave

been c.1rved. reduce the area at the

groove along the top of the leg as

top. between the two bands, to

shown on the right.

depth of 4mm (>Jdn).

I 7 Cut a 4mm ('k in) rebate into the b;ick
l 2 Using a scrap of 4mm p;, in) plywood

of the frame, at the bottom where

or MDF. cut out your chosen lettering

shown, for the chalk holder to sit in,

templa te. D1ill smal l pilot holes where

and then glue it in place. V.Hnish the

necessary to make the internal cuts.

chalk holder to match the frame.

If you prefrr

10

have the letters cut

out, as described in st<'p 4, do th.1t <it

l 8 Ttl ensure that the message board

lhis stage. Rear in mind that the

doesn't move about when in use.

throat of your scrollsaw needs to be

fasten it to the wall using adhesive

1..:irge enough to accommodate the

foam pads.

len gth of the board.

'TRee OF l1Fe'
seeO keepeR
/

Materials
Photocop y of lempl.Jtc 8;\

ex 8B (rage 99 or 1OO),
and 8( (page 101 l.
cnl.:i rgcd by I 25S&
Suita ble timber measuring
2 70 x 160 x I 2mm for

ba ckboard ( IO"h x 6 /,

Ain l (lim e)
~l ,1t c hin g

I 2 mm

recs

timber 270 x 60

for shelf ( IO'!. x

Repositio nab le spr,1y

adhesive
2 brass SCl\ 'WS
Wood glu e

fL11

particu lar

The mNif Jppca rs in The /fool? (If Kells

the Cel ts,

several tirncs. the 'ArTc!';t of Chri. 1'. folio

b ran ches

11 '1 recto. being .:i good l:!).'.amplt.> (. ee

reaching heave nw ard and

lntroducrion. page I) . The vin e and

mL1ts fi rm l y plan ted In r-. lo t hcr

grapes appe.irs 011 eith er side of the head

Earth . Trees represe nted not only a li n k

of Christ as well as on th0 co ltun ns .:it

between the= upper and lower world. but

either side of the piclure.

w it h

2'/< x 'hin)
Carbon p<iper

held

sign ifica nee

th ~ir

their

were also a reminder of the etern<il cyde

of the scn sons.

The ' tree-of-life' motif is found in both

p<1g.1n

Gr ap es frequent ly appear in th r<X'S,

whi c h is an important number in Celtic
mythology. .:i s it represents th e trinity.

and Christian art. Jnd stands as a

Thu s in this on~. JpparC' ntly simpk'

5 empty -15mm film

symbl1I of b.1larn.-e .md unification of the

mot ii. many layc rs of symbolism exist.

c.:mi slers. prd<e'rahly hl.ick,

two rea lm s. In ordt~r to in(orporatc the

The cree-of-liic" motif has bl~Cn used

for

seed swr.1ge

W r:ix or Vilrn ish finish of

choice

2 picturt' hangers

'tr~~

of lift'' into m,1mrscripr decoration.

as the basis of th is project. wh id1 is

the d,'sign was often m ad e 10 emerge fro m

dcs ig 11 ~'d

~1 ~'Ot . which symbolized 1vlother Earth.

The tree itself w as mostly portrayed as the

dry. re Jdy fo r sprin' planting. Tlwre cir~

vinl' .rnd ~ r.l pl'S . a symbol associated 1..vith

1wo designs ro choose from . one of w hid1

which rep resents the 1esurrect io 11

and his l'te rnal Ji(c_

is heJdcd seeds ', the 1.1thcr oo..:has.

Christ,

to store St' cds g.ithcrcd .1t

harvest ti me .1nd prescrwd in the d.:i rl< and

which trJn slares from the Irish into 'Hope :

II
I chose the word because I feel th c1t when

3 Ne xt. trim along the pattern lin es to

JI! the

we 1ilant nc\v seeds . we pl<lnt ho pt for the

produ ce clean vli'rfic.1! side s to

iuturc. continu ing the circle oi life. Both

bra nches. kaws and gr;:ipcs. This

designs ure made in the same \V,~y ,1pa r1

will ensure th<it you have ,1 good

from chunging the letters.

t'Ven design to work wilh w hen you

Tools

Scrollsa1v

frets,1w

Dr

For the project shown here, I Llscd lime

1m111d th e br.:rnc hcs. I used .1 chip

wc1od (basswood). The film can!stt'rs used

are bl,Kk so thal lhe seeds can remain in

kn ife to score .1long th e lines. and

the d.~r k owr win ter. If prefern.:d, they can

. ni.111 chisels and go uges. Trim a long

l1rill wil h bit to matd1

be painted on the outside . but in that ca se

the inside of the raised bordl'I' in the

br.iss

k,we the art1 where the lid

sn~1 ps

()11

then cleared the waste away using.

s.~

me way.

olhtr

storag~'

usts, such

..:is

papN clips.

push pins. sewing pins, golf tees, or even

4 Sh.1 pe the pot from

tree grows

which

the

by l'L1Linding th e sid es

bit

.12mm (I t,in)

ilat

1\'LK1d

bit

k1r h1..ik culling

and bowl.
CrJft kniic or chip knife

J'.imm fil m s. For so me of these it would be

useful to use clear plastic film canisters

SLTl'WS

Collntcr~ink

unpainted. to ensLrrl' a good fit.

The project c,111 easily bc ;:idapted for

Chis('\s .md gouges

5 lkgin

shaping

the

branch1.'s.

,rnd in any case you would. of cou rse.

nted to choose ,, more appropri,1tc word

c111erg"' fro m th~'

than seeds' ro identify the contents.

towards tht' ends. Thi s way you c,1n

sta rting .:it the I oint w here they

f L~t. and w1.1rki ng

gr,1dually reduce tht' branch depth ,1 s

Method

you go along.

Place carbon pilper bet\wen your

chosen templa te and the larges t piece

6 At the point wht-re branches wc.:ivc

of timber ,1nd trace the design on to it.

under Jnd over. score J long the lin l'S

thM crns . then USt:' the chisel .11

Cut round till' outside lines.

rlghr
2 Careflilly reduce all the backgwund

angles to grade down the

rn,11 erial to give the appearance of

weaving under. Only l'OUlld th e sidts

from around th <' 'tl'ee-of-lift' ' design

to a depth of 5 -6 111111 (';.,-'/.in). I used

after you ..1J'c sati sfied with

a rou ter fitted wi th a 7mm ('/d n)

L1f the weave.

th e dept h

s1raight cutter for most of the 1vJste

remova l. then used a 2111111 h'd nl

cutter tu get to the smaller areas. If

7 As )'O u co me to a leJf. reduce the

dt'pt'h of it

by .1bow half. and sh.lpe

you don't h,wc .1 router. tht' IVJst e C'Jn

the ste m into it. for ming

be removed using chisels and gouges.

v where it meets rhe leaf.

,111

invertl'd

'T1 <1 I

o r L11 c '

s ~r

~l t l'~ll

.35

:-: . 1!......

..
~

'

.. -.'

...

As you come to a bunch of grci pes,

redL1cc the depth by only l-2mm
( ',~o - '!d n)

to size ,~iter CLttting. This is easily done

with a small sanding drnm.

and re-draw the three

circles. Cut out the small tri.rngle

I 3 The shelf. ready for joining to the

formed at the centre of the circles

backboard. is shown above. Che~k

using a chip knif<' or craft knife

the holes for si ze.

then round l.'ach of them over to

form a ball shape. Again. sha re the

14 With the

shelf held at righ1 angles

lo

str--rn into the grapes . The grapes

the bottom of the b,Kkboard, where

can be made tcJ look more re.J listic

indicated on the template. cfrill rv.10

by

underc utt ing

slightly.

pilot holes for the . crc\vs. Use a

to rt-move ,,

countersink bit on the back of the

little of the material all round the

backboard so th.H the screws ca n sit

base of eJc h cluster of gr.oipes.

flush with the bJck. I !old the shelf in

using a srna II

them

gollgc

place in a workhend1 or vice. apply a

9 i'v1ark the curved lines lll1 each leaf.
Llsing a small gliugi:- held vertic.illy.

layer of wood glue along the edge.

then screv the b~ickboard to it.

IO Tidy up the lettering. making sure

Is Finish the piece using cirher wax or

1ha1 the sides are vertical. I have kept

varnish. lf the seed keeper is going

the letters at their full dtpth. b111 you

to be hung in an outbuilding. a

can reduce them

if you preier.

\Vaterproof varnish would be the

most suit<1ble finish . Attach two

11 Next, make the shelf to hold the

picture hangers to the back of the

ca nisters. Stick templ.~te 8C onto the

seed keeper. to ensure that it ha11gs

smaller piece of timber, using spray

firmly as the canis ters are taken

adhesive. and cut to siZl'.

in and out.

12 Using the flat bit,

CLlt

out the five holes

as shown. The 1.Jrgest flat bit avail,1ble

16 Make

,1

se t of labe ls ior the

canisters to identify the ~'.ontents oi

is 32mm (I 'J.inl. which is jL1st slightly

each. and stick them onto the

th~

can isters near thC' botlom , where

too

small

for

34mm

(I '!..in)

diameter canisters. so sand them back

they can be more easily read.

bmo Q)IRROR

his hand mirror introduces

,, new clement of Celtic art,

that of the spiral . The

spi1al. m triskck. is made

up ot three legs or curves thal radiate

from J common centre, and is thought to
represent the sun and the movement of
heavenly bodies

0th <: rs interpret the

three coils as representing the three

elements of hecwc11. eanh and \Varer. and
a safeguard against evil.

The spira I motif appears in very

(',uly pagan Ctltic .art: one of the oldest

examples is on the entrance stone at
Newgrange i11 Count y Meath. Jrel<rnd.
which

dates

back

to

3000L1c.

Newgrange - a p.1ssage-tom b and th e

alleged bt1rial place of the JIKient Kings
\

of T..1ra - is one of the most famous

prehistoric monuments.

Spirals with two coils appea r on

e<irly Celtic jewd!cry. such as bron zc-

,1ge tnl"tal clo,1k f.i steners <ind th irdccntury Iri sh horse orn<iments. These
mot ifs are also found on ston e crosses
carved by stonemasons worki ng in the
sixlh century.

'

Spira ls appc;,1 r in pictorial form in TIJe

Book of Kd/s, where the Celtic cul isl look

the

simp le

sriral

and

introduced

fantastic variati ons by adding anim,11

clnd bird features.

The mirror ieaturcd in this project
follows the tradition oi the ena melled ..~ nd
engraved bron ze mirrors prL1du.:ed

by

nJitsmen of the pre-~oman i._dti c i.wrkd

of British culture.

The Celts were p.:irticularly co11sck1u~

of their .:ippcara 11 ce. especiall y th1:ir
cloth ts and hair. so m irrors and combs

Matcri.-iJs

were

Photocopy of rcmplat('

ve1y

impona nt L)bjccts.

M<1!1)'

Pictish stone carvi ngs beJ 1- .1 mirror ;.ind

l)1\.

on pcige I 02. cnlMgtd by

comb motif. In this dra1V i11g of Jnorher

125%

oi the i\berkrnn o stones. the mirro r ,i nd

r/1t' double-sided cross
churchyard_ i\11g11.~

Carbon paper
Rl'positiona bk

1lbalrm110

comb can bc seen in the luwcr righ l -

hand corner.

spr..,y

The actual design on !he bark o( the

mirror has been adapted from rhc cent ral

<1dhcsive

motif on the eighth-century High Crnss of

Timbl.'.'r. at lc ..~st 160 x 260

sla l> -~lt>m /11

12mm (o/, x 10; ,

1\bcrlcn1110. Scotla nd. : hmv n bek1w.

x 'tin)

Two legs from the Jowe1 spiral s brL.1k

(European oakl

away t\.) create the knotwork

011

th~

h.;ind k-, for ming an eternal knot.

Round mirror. I 25 mrn

For thi s proj ect. I ust'd Europe.:111 o.1k

(Sin) in dia rnL'tl'r

for strength . as the handle hJs ti'.' be strong

Gluc SLlit.:ihle fr.'r stil'ki ng

enough to support the 1.w ight of tlK'

glass to timber.

mirror. O.:ik is not t he ec"l ~ ieq of woods to

carve. as thL' grain is quite coarse. but lhc

Tools
Scrollsaw or hand fr('tsaw

Stirn r at A/Jale111110

fini~hed result makes ii worth the effort.

Ro111cr wirh straight CLllC"r

fllptk1 nall .1 nd 1K1n-slip mat

Dre1ncl \vith cutler

bit

Nl1

9936 (upt iL1n,11)

c..uving ch isels and guugl'S

Chi1 - carving lrnift
(optil.m.11)
Clear wax polish . or firn~h

of your choicc
U.:tai/ 011 th, dghtl1-ccn/11ry lli>:/1 Cross of 1\bcrlc1111w

{
.

a
Me th o d
Either trace the dl'Sign for the b.~ck of

u~~d to guide rh e

basl' of the rout~ r

9A)

i nstcad of using the h.1ndks. As \Vi th

l he

any routing operatirn1. ensure that the

timber, .:ind cut <iro und tlK' outside of

base i kept level at all times. so that

it, L1r sl ick the tcmpl<it e onto the

thl' cutting bi t cuts .:ii an even depth

th e

mirror

thr 1ugh

frame

carbon

(templ ..1te

pa per

onto

timber for cutting out usi ng spray

throughout. Use .:i 11011- sUp router

adhesiw. as shown hen.. I prekr the

111.1t

la11e r method. as l find ii easier to

during the routing oper.~tk1n .

foll ow

black

lini;-

c111

under the

wL

rl<

t ll

l1L1ld it in place

white

background. but it me.ms that thic

-I J(oLind ufi the mttsidc edges. also

11-.~ccd onto the

using the rnuter fitted \Vith ,, round -

design must then

be

timber .1frer cutting out.

O\ er

bit. i\ 'ain. if no router is

..w ailabk. you c,111 use ..~ gouge,

2 Turn 1hc mirror frame over. and

chisel. or a rotary .::.1rving tool.

posit ion the mirru r cc ntr..~ll y on th e

larw' circle. holding it firmly in pla ce

with one hand. ur.:iw 1ound the

5 Working still on the m irror side.

shape th e handle

by rounding

il .ind

mirror to mark w here the rebate

slimming down rhe '\.vaist ' where' ir

needs to be cut.

meets the l.;i1gcr

~irc l e. This c.;in

bl'

quickly .:ichicvcd using a stru cllll\.'d

3 The rebate is cul to lht.' depth o( the

tooth tungsten c.:irbide bit in a rotary

plus an extra millimt> tre to

,1llow tor glui ng .ind tin,;d sanding. A

tool. but only if you arc well ~ractised

in its use .111d are smc of vour
ahilitv
,
,

router is the ohvi~1~1s choice for th i~

ro contro l the cuttl'r. Othen.visl::', use J

mirror,

Of'eration. but

if

you

,1ccess to a rou!C'J' L r

dL)

not have

rLiuting facility. the rebate can be

made

usi 11g ch i~eb

gouge or chip l'.:t1ving knife.

<> Dre me I witl1

and goL1g~s,

6 Next

bl'gin the carving on the reverse.

lk'forc starting

Io

carw the spirals,

making su1-e l'h,1t the base of lh~'

the ce11tr<il Jinl' must be scored. There

rebate is s.moolh .:ind even.

arc several ways lf doing this - the

Nlost st.111d,1rd roulers will have

bL' used frceh.:ind IL

cw

to

the ci rcle. as

the diam C' tc r is roo . mall to be cu l

us ing th e

centr.11 pivo t meth od. Th is

is not a problem if both hands ~n

choicl' is yours: you can cut the sh.:tpe

using

.:i

gouge o ( !he same SWl'CP oi

curve. he ld at right angles ; mJrk !he

line with i.1 V-tool. or score it with
chip knife or craft knife.

.:i

Tire rdmi. wt It) /rl lf1< mirror. mtd l/tf

rdgc.< nl!1mfrd

7 Deepen a \I-shaped grl1ovc between

the coils

by removing material evenly

on either side

(1f

the sco1-ed line and

11 Using <1 fine 5mm (-'A. in) :;t raight

chisel, redt1ce tht' r<iiSel bands

011

either side of each crossing point to

cu rve OVt'r the top of e.Kh coil ,ls it is

give the effect of them weaving under

formed. Work Jt right .:ingk's to rhe

<1nd over cJch other.

cenrrnl line. unle

s u. ing .J

\!-tool.

I 2 When <1 11 the c.-irving is complete.

8 When .lll the spirals are complete.

sand as appropri.1te and apply the

remove the areas between them

iinish of your choice. I used a clear

(shown shaded on the template) to

wax polish. as the colour and grain of

an even depth.

depth

Try

to make th i s

the same as the depth

between the coils of thi: spirn ls.

the

wood

needed

no

further

cnh.:inccment.

Do not apply .my

fin ish to the ar

.:i

where rhe mirror is

to be glued, however, as it may

9 Reduce the outer ring to the same
depth and round

prevent <l good bond.

over the large coil

th.-it is left rndosing the spirals .

13 GILi(' the mirror firmly in place on

the reverse side.

10 Work the knotwork design on the

handle in the sa me rn.-inner as in

previous chapters. by scoring the

lines then reducing the backgrou nd .

his

rro;cct

i ntroduccs

symbol. and became part of tiK' \\/clsh

a zoomorphk design in J
different material: ,1 brass
dragon inset into the lid of
the box. For once. there is no <.Klual
carving to be done, since the pattern is
woi-ked on the scrolls.:iw (or fretsaw) and
with an engraving tool.
The dr..:igon i~ a mythic,11 bea t that

1\ recurrent theme rhroughLlut the

history oi lhe dr<1gon has been one L'f
guardianship, The dragons of f.iiry tales
famously guard caves full of treasure. so
what better symbol tl.1 protect the
cht?"rished possessions within yom box.

appears in many shapes and guises in

Method

Cl'l!ic folklore. Dr.:Jgon pairs, 'S' sh.-tped

fl<ig in the mid-twentieth century,

U~c

BC. mainly 011 meia!\-vork objects such as

to
attach the dragon template JOA to
the f,1 ce of rhe brJss. If the brJss is
thin. it (',111 be stuck lo a piece of

sc,1hbards and spears, This signifies the

SCl'up plywood lo

and placed back to back, ;ippcar in Celtic

art from as early as the fourth century

pro1cctive role they played .

The symbol oi the dragon has
particular signiiica11ce in 1he Cdlic
lulture of the Welsh. Since J 901 the red
dragon has been adopled as a national

doublc-sid,,d st ic ky

make

l<1Pl'

cultin~

and

handling easier. If not, slick a layer

or two of masking t.~pe lo thl'

underside of the brass 10 prevent

ll1 the s.11w tabk and to m,1ke
hJndling easier.

J.1mag~

4t

Materials
2 Drill pik1t holes in th e sh..ided

Photocopies of kmplJtes
IOA .1nd JOB. on p<1ge 103

the

dragon

design

10

o.=tn'<l S

.:illow

of

the

drawi ng pen. When this is dry. it is a

necessary to apply .:i co.:it

L)f

l.icqw~r to

prevent oxidiz.:itio11.

intern.:il 'Lits to be made.

Piece of brass me.1suring

90 x I SOmm (3'/. x 6inl

rimbcr. 100
(4 x 6

x \ 50

3 Using

x 40mn1

speed, cut out all the intern.ii w,1stc.

8 Use double- sided tape to st.Kk lh c

omm ( 1.tinl piece of rirnber onk1 thl'

10mm (I '.!:in) piece oi timber.incl

x l'f in)

Timber. IOD x I SO x 601m

{4

iine-tLx1thcd bl21dt> .:ind half

.1

x 6 x 'Ain)
x
x () x '/dn)

4 Whe n all the internal \vastc has bee n

the n stick the- box tcmpl.:ite. IOL\ , onto

re moved. cut aruund The outside oi

the top osi ng spray adhesive. Cut

the drZJgon motif.

,1 round the outside of the box.

2 pki:es of timber, 100

150 x 4mm / ..\

Double-sided sticky

5 \:Vhilst

tape

Wood glue
General-purp~) S1..'

glt1c

thl~ template is

still .ittachcd

9 Separate the t0p from

the botWm,

to th e brass moti f. use thi.: small

peel off the tem pl ate. and re-apply it

engrJving bit iirred in a rotary 100110

to the top of the '10mm (I 'hinl dl'ep

cardully cngr-ave th < lines that make

piece oi limber. whi ch will form th e

up the rest oi the design_ The

bod y of the box.

eng1avi11g bit w ill cut th rough the

~u-.:h as Bostick

paper

onto

tht.>

brass.

I ut the

of tlw p<1pe r 1vill stop the bit

Fast-dry enamel. matt

presence

black paint (uptkm.:ill

from slipping.

IO Drill

pilot hole inside the innt'r line:

th read the saw blade through, Ihen

.:ut around lhc- inner lin e. ki form the
straight sides of the box.

Clear varnish

6 Remove

and file .1ny sharp edges as necessary.

Brass polish and lacquer

Repositionabk

11 Place the body of the box 01110 c.:ich

oi 1.hc 4mm ('/.,,Jn) p ieces of timber

"pr.1y

7 Polish the brass and. if desirl'Cl. define

m.lhesive

Tools
S1..rollsaw or frc1s.1w

Drill fitted with 2mm

('A in)

the tcmpl.:ite and st1cky tape

bit

Rotary 1001 fill 'd with

small t'ngr.:iving bit

.r

in turn and dr,iw round th e i11 siJ1.. of

the cngr,wed lines by going uver them

the box to m a ke

1\1th a ii11c, blZJck, W<1tcrproof ink

for the lid .

u base and a reb:itt

I 2 Glue one of the pieces into the base of

the box .1nd leave to dry.

I 3 To make the lid. place the br.:iss

dragon m0tif centr<1lly on the top of

the lid .:ind draw round the outside.
bu! don't go into every indentation.
make the line ,, smooth , gener.:il
outline.

I 4 Reduce the depth of the wood inside

this line to matLh the depth of the

16 When dry. glue the brass in place in

the reb,1te.

brass motii. This can be done \Vi!h a

chisel or gouge. or a router if you

17 C:luc

the

remaining

4mm

('1U n)

h.-iw one. Make sure that the surface

timber shape to the und~rside of the

is ldt smooth and L'Ven .

lid to form an artificidl rebate th.1t

will hold it in place when ii sits on

15 Paint the inside of this l'cbMe matt

top of the box.

black to create a strong contras! to

the brass. If vou 11.we chosen a dark

limb('r this may not be necessary.

I 8 Tc.1 complete thl' box, ;ipply two coars

o( clear varnish. inside and our.

II

[)I~ ACit PN TRrN to;('

til>X

43

kNoiwoRk
JIGSAW Boxes

Materials
Photocopies of templates
11 A, 11 B and 11 C on pJgcs

104-6

I 90mm (7'hin) square

pieces of MDF. I each of

4mm. 6mm and 30m m
C'hin. .~in .md l 'hin)
hi~

Spare 4mm C'h1in}

thickness MDF

Duublc-sickd sticky

tap~

Repositionable spray
adhesive
Carbon parer
Impact adhesive

MDF primer (see scage I JJ

Emulsion paint
Paintbrush (I 2mm/ hin)

C.lndlc and 0000

sandpaper (opcionaU

Clei!r wax polish

44

Cr: TJc \'l<H'flC R.11 1

challenging

piece

comprises J set of five

Several t' l.Jborar(> book covers and book

shrin es also

feature

this design

in

ltdded boxes. which link

embossed metalwork ,1nd the notable

1ogethcr

cross slab-stone of Ulbster in C<1ithnes s,

in

cl

jigsaw

f.:ishion . The greatest challengt' is to fit

Scotland, a Isa beMs the same P<l llern.

For thi s project \ have: used a m.:in-

all the boxes b.:ick togethe r in tlw l r

materi,1 I,

medium

densi l y

correct place. \virh their matching lids.

rnade

when th e project is fin i sh~ d .

fi breboard (1vWF). I chose this pcirt ly

Once all the boxes arc set up

because it is rc.:idily availc1blc in l ht.'

togetht>r, the knotwork decoration on

th ickness ncedt'd. partly bec ause it ls

the lids forms one continuous th n:-.:id

extremely easy co work, and also

weaving

so

becJusc I wzinted to use a paint finish.

reinforcing the link . The continuity is

J\s always when using rnan-madt.>

from

box

to

box.

materials .

intention<il. a symbol of 'ternicy.

The

equa l-a rmed

cross

with

pMticu!arly

1\1DF.

dust

mask s must be worn at all times . dL1c

the resins !hat arc used In lhr

interlc1CC is a common C'lenient of Cdtic

10

decoration, .Jl1d occurs on _ewra l pages

manufa cturi ng process. (You w ill find

of Kells.

most prominen tly

advice on workshop safe ty generally.

flanking the figure Df Christ and SI John

includ ing precautions to take whc:n

(sec page viii. facing the Introd uction}.

using MDF. on pages 8-9 .)

of The Doak

Method

Cl11lfident enough to t.:ick!e rhe real

I First prepare for cutting, by stacking

thing . Fortu n.:itdy MDF is inexpensiVl'.

the three pieces of MDF and firmly

s~

fixing them together using double-

you do make

it s not the rnd of the 1.v orld if

.:i

mistake.

sidcd sticky tape between the layers.

Pl.1ce the 4mm (-.1i,in) piece at the

5 When all four arms have been

bottom. the 30111111 I I ',{,in) in the

separated from thl" centre blix, mark

middle. then the 6mm (' /,in) on top.

Tfwse \Viii be the box components of

each part of C<lCh box with the S<lll1'

letter or number. This makes it easier

base. body and lid respectively.

to identify thl' com.>ct pieces whL'n it

comes

to

reconstructing

it

nil.

Carefull y sepcJrate the three layers of

2 Stick the box rc1nplnte 11 t\ onto the

i'v1DF l)n all five bOXL'S.

top using spray adhesive. The boxes

are now ready lo he cul out on the
scrollsaw but. before l:ieginning. use a

6 Tilking the middle section of each box.

set square to check that the bladc is

mark a line 4mrn Ch in) in from the

pE'riectly vertical .:is, if it is even

edge. The cenrre will be cLlt out to

slightly out of true. you will only be

make thl' box c<ivity. The four arm'

slide the boxes up or down in

boXL'S can be cut following the whole

able to

one dlrc:-crlon instead oi both .

squ.;ire and do not attempt to

cut into the protruding circles (unless

3 Cut roLind the outside o( all the boxes

first, before attempting to scp.lrate

you're

the jigsaw shapes.

Tt'm plate 11 B. on page 105. shows

complete

m;:isochist ).

how it should look.

4 Wry c.lrefu lty cut Olli the jigsaw

Drill

pilot hole in the middle

th read 1he

scrolls.~w

shapes. Each has to be done in one

waste area,

sweep to give a good clean single cut.

bl.:ide through and cut along th~'

so !Jke care ncgotii.'ltl ng the corners

ma r-ked line.

and curves. If you Me not completely

about

it.

practise

Scrollsaw or hand frC'tsaw

Small chist>-ls and ~otigcs

box shape, but for the cl?ntral box just

cut

confident

Tools
Dust mask

by

Make a rebate to hold the lids in place

pare 4n1m ('h,in) MDF

making soml:' spare template copies

from rhe

and cutting them out using waste

Using lht' box body as a f('mplate,

pieces of MDF. You will soon become

dr.lw a line round the insidt' of the

!Jrill
Craft knife or chip kniie

cavify onto the MDF, numbering

the rebate to lhe underside of the lid.

each piece to its correspond ing box.

m.:iking sure that the lid will sit

Cut th ese out usi ng the scro ll s,1w or

c~1rrcctly on the

hand fretsaw.

fin.ii pressure to the join. Above you

box befo re ..111 lying

can ste the four section of th(' box

8 Assemble

each box. using i mpact

glL1ed and ready tl' .:isscmble.

Jdhesive to give a strong bond. App ly

a layt>r of glue. 4mrn ('Jijn) wide. to

9 Assemble- the five boxes into their

thL' edges of i he b:rsc to correspond

to the walls of the box , and to the

design can be transferred to I h<.> lids.

underside of the middle sectio n.

The Lwsr way to do this is to stick

Press together when

dry. according to

the manufacturcr s instructil)llS. Gluc

finished sha pe, so t ha t rhe k notwork

a p hotocopy of template

11 C

sonw c JrbL)ll paper using spray

adhesive. then cut round the outside
of the design. Use masking tape to
ho ld this in place on lhc boxes and

trace the design o nto 1he lids. Lift

th e template in -~ few pl;iccs l o
make

sure

transferred

the

dt.sign

successfully

has

before

removing it comp lc t.d y.

10 All the carving is done wh ilst the

boxes are joi ned, so that lhl' lines

of tht' knotwork follow smoo thl y

from llne lid to the nex t. T,1ke a

sha r p chip kni fe or c raft kni fe and

first score ,1long the pencil li nes.
Next, very carefull y rcdL1cc th e

b,1ckground between the 11bbons.

using a small gouge. Ideally. the

background should be reduced to a

dept h of 2-Jmm (l,;;,-'J.i n) .

I J Paint all the parts of the box wilh

primer. 1\l\vays use

<1

primer that is

compatible with rhe fin.al finish- Wlwn

the primer is dry sand it smooth, .-:is it

v..rill have raiS('d the iibres of the

MD~.

Apply two co,1ts of cream emulsion

paint. or whatever base colour you
choose. \Vhcn this is dry. apply the blue
paint (or what~vcr colour you prcier) to

/.

the bad ground.

M If your skills 1-vith a fine p.:iintbrush

arc

limited.

you

may

find

the

following method useful: take a w<ix

c4lndlc and rub it over the raised

surfaces of rhc knotwork. mJking

sure all areas are fully covered .

11 Once .1JJ the background has been

r~duced, crt ate the weaving eiiect

oi
by redLlcing the
ribbons on either side of each
the

I 5 Next.

interlacing

rain! in between !he knotwork

without worrying if you get paint on

th~ top surfaces. When the paint is dry

cro ssover point. l\lv,1,1ys be mindful of

n~rnovt~

the way the ribbons weave regularly

a very fine grade of steel wool.

under .:md over.

the wax by rubbing down with

prdN,1bJy 0000. This should k,we the

two colours separate. with a slightly

I 2 In the photograp h above you can see

the progression

oi the

di s trcss~'d type of finish .

carving,

clockwise from the top: the design

J6

Apply a th in application of dear v11ax

has been scored along the lines. ihe

palish to all the our_ ide surfaces. so

next lid h,1s hJd the b.1ckgrou 11d

th.1t the boxes slide

ap.ut easily.

reduced, ncx! shows the weaving'

completed, ,111d the final lid has been

All that rema ins is for you to pLlt the

sanded and is ready lo be painted.

boxes back together Good luck!

Celnc CROSS

he design of c.lrvcd stone

evolved

crosses
thousands

amalgam
.:ind

concepts

()VCr

of ye;:irs,

Jll

of

rniny

cultures.

There

arc influences from the standing ston~ s

of so!Jr cults. frum the cross carvings

stones dating back to

France. through to chc

on 'ancestor

10.ooonc

Christ ian iz.Hion of the \Ne st in the sixth

century. AlthL1ugh the cross shapt.> is
most

obviuu sly

Ch ris tianity. the

associated

\Vith

Callanish Stones in

Scotland MC arranged in the form of

a Celtic Cross, {a cross with a rin
surrounding it), and pre-dat<> Christianity

by at le.:ist 2 ,000 years.

The ringed cross is a particu larly

stron.' and striking image in Celtic <irt. It h
thought that"the design came about when
early missionaries carved crosses onto
standing stones, which had betn pagan
objects of worship. rather than alienating
their potential conwrts by pulling them
down. From

there. slab-stones were

purposely carv d to take cross d esign s.

and then rhc slab-stones thems Ives were
carved into cross shapes.
The roadsid.:' cross-slab at Aberlre mno.

Scotla nd !see top right). is a fine example

of an eight h-ccnrury ring cross carved
onto a s:to11c slab.

Elaborate knotwork and spiral designs

Cross-slal tit 1\hcr/cm110. Srntlmul

began app0aring on the cross faces, then

later 1rish crosses depicted scenes irom
the scriptlircs, which would h.Wl~ been
useful tcad1ing aids in a world when:~ the

written word was not familiar to the

masses. Pictish sla b-stone crossts ()ften
depicted battle scenes on the bclCk. The
great c-ross-sl;,.~b in Aberlernno grnveyard

in Scotla nd is s.1id to he a depiction d the

Rattle oi Nccht<insmen:: that had been
fought nearby in A0 685 {sec below lefLl.
Sevcr:tl stont crosses haw bosses
carved on them, which have no fL11Ktion
other than to represent n.1il he,1c.1s that

would have bCl'n on wooden crosses. I

have incorporated a small boss
centre of

<it

the

my design.

The frcl'slanding. ringed cross design

St M11rti11 's

dcvcloptcf in Ireland. but is found in other

Celtic societie!S, ;.rnd m<iny fine examples
cJn be St'cn in Scotland. St Columba
tr,welled from

Glencolumbkillc on the

northwest co.:tst of Ireland in the sixth

century and established a monastery on the
small isl,111d of Iona off the coast of S<'L1tland.

Many elabor1tc stone crosses 1wrc C.Jrved

.:it

this time, bllt tragically. puril.anical /.~a lots

of the sixteenth ccnrury destroyed a huge

number, with over 150 being thrown into

the seas off Iona and other islands ,1lone.

The rin~ ('lcrncnt of rhe l'ingcd cross
is 1,vidc: ly rec"1gnizcd as a solar sym bol.
lvlany interprct.1rions have been ascribed
to the de-sign as ,1 whole, one oi which
suggests th.-it the four points at which the
cross and ring inr.erscct represent the four
seasons, which the Celts knew as Jmbolc
(spring), Bcltainc (summer-). Lugnasadh
(autumn) and Samhain (winter) . This firs
in neatly with tht' solar symbolism of the
circle motif.
The stepped base is similar LO the one

supporring St Martin's Cross on Iona

(shown far right). and I h<wc made it
deliberately rugged to contrast wilh the
detailed symmc-try of the cross its!.' If.

Cross-slab /It Abcrlcm110 gmveynrd

Cros.~ .

Iona

Male rials

In this project the cross is ca1ved on both

4 Draw in che Jim's where the cross

Phow..:opy of 1emplc1te

the b.ick .ind front bees. so that it ca n be

intersects the ring, on both back and

2A on p.~gc
by I 251'.Jt,

viewed from both sidts, hLit you may

fmnt of the cross. using

prdcr to carve just rn1e face-.

accuracv.

107.

enl.irged

T imher for cross: 280

180 x at lcasL 25mrn

llJ x 7 x I inl Oimel

Timber for b.~se: I 10 x 90

4Smm (4'/: x 3;,

x 1JAin)

(lime)
l~cpositionable

spr.ay

.1dh<'sivc
Carbon paper
Wax polish. or

pnierrC'd

finish

Wt.iod glue

ruler for

5 On the outside edge of the ring. dt1W

Method
Ensure Ihc11 both sides ~if the timber for

two lines around the ci rcumference.

the ao. s .:ire perfectly smooth and

i:ach :- mm ('/".in) in from the front

even - if not. plane whc'rc necessary

and back

Jnd

Indicate the depth to which the ring

sand

with

medium

or

fine

as shown.

Th ese lines

sandpaper. Stick the temp1<11e onto one

must be rcdLICl'd, so that t ht: cross

side of the timber using sprcly cldhesivc.

sl;:inds proud.

2 Drill pilot holes into c.Kh of the centr,11

sh.~dcd areas of the design lo allow blade
ncn'ss. and make the lntl'rnal cuts.
Maki: sure that the points where
the ring and cross me('! art> shclrp. by

To reduce the depth oi the ring by

th is

amount, score c1long the lines on the

face of the cross. th en use a chisel or
gouge to remove the waste from the
front cJnd back. as shown.

cu lting in from opposite diri;:ctions do not cut the corner in one sweep.

clS

this w 1uld round it.

7 Trace the cle!>ign onto the arms of the

cross a11d ring on both sides. using

Tools

c.:irbon paper between the tcmrlat0

Plclnc (optional - if required)

Mcdillm or fine sandpclpcr

(I 2.0 or I 80 grades)

Scrollsaw.

helve been

and wood. You will find it ecJsicr to cut

m.:ide. cut met around the outside and

out the ring sections of the temp!.1tC'

thtn remove the tem pl.1te.

before tri'lnsicrring them .

3 \<\!hen all the internal

CLllS

fret~aw or

ek'ctric jigsaw
Drill \Vith wood bit
M~tal r ule

ShMp kniic

Chisels and gouges

II
so

,1

Ci i l l (

\i\/(ll) DCR~ fT

'\.

...:.-

-...,r- ::;-., ..

8 Use a metal rule and sharp knife to

sec re along the str.;iight lines.

12 Complete the tenon at the bcN;' of the

cros:;-, by taking 5mm ('.\.. in ) off the back

an i front oi the bottom e:i..'tcnsion.

9 Scort'

along

the

lines

of

the

kno1work design. 1hen reduce al l the

I .3 Use the remaining piece of timber to

background m.iterial to the s:ime

make th e base. Cut in two steps on .111

depth. This can be 1- 2n1m ('/i1,-/',, in)

fom sides and then round off th e

as preferred.

shoulders of the steps.

10 Create

the

weaving

effect

by

reducing the materi<JI o n either side

of th e crossing points. as in projects

the top oi thf:' base. cut iri a

mortice ioint tlw "imc size and depth
as the tenon.

14 On

3, 5 and IL
15 Gluc !ht cross onto th e base and.
I I Next. round over the sides of the

central boss.

when dry. finish with two or rhretc'

or JS prcfcJTl'd.

t:L1,1ts of wax polish.

The: 111ot1ict 1111111..,1011

tlir cro5$ 111 tlr<' l>ase

joi111 11s(d to joi11

J=uN pboTo FRAOJe

Materials
Photocopies of templates
13A. 13B and 13C on page
108

Suitable timber measuring

160

x 110 x 25mrn

{6 '!. x

1'i-x lin) (sycamore)

N.B. See notl' <ibout

,wing Lacl<l ed some of the

direction C.'f grain in Stage I.

R~positionable

prcviou s

spr<iy

adhesive
Carbon paper
Approx IOOmm Hinl of
nilrrow cord or string

Acetate if required

lmp,1ct .ldhesive

you

some iun w ith this small ,

chunky. photo fram e. I have b.::isl'd the
design on a dog. which

appe.H:> in

various forms in Celtic art .

Dogs had great symbolic significc1nce

in Celtic folklore: they were associated

wilh healing and protection and would

invariably accompany their masters into

Clear w01x and baby

battle, or on ianlastic journeys. SLKh

toothbrush. or preferred

was

finish
Tacks

their

importance

Cf-. 1 1 IC \V O L'IDC~ .-\ FT

tha1

they

appe<ircd in almost every type of Celtlc

;in <lnd legend. including epic tales.
illuminared manuscripts. metalwork and

sto ne carvings.

:;2

projects.

c.:in now rel,1x ,1nd have

TooJs
Scrolls.:iw

l'r hand frctsiiw

Drili for pilot holes

Long-nosed pliers
(option,1 I)
Tile <:i,<;hl/J "'11t11ry SI 1\ nrlr~w s s11rwphr1>111s in

small gougt's, chir carving

Fift. Swtlmttl, slmwi11g stwrnt /11111ting 1/ogs

carved it/ lrtg/J rdie/

knife. or

Cr.:111

knife

Ci rving tools or rot,1ry

In th~' design

used for this rrojL'C!, the

arms of Lhe dog arc fai rly normal , not

intertwined as might be expected. bLJt the

The chunkiness ~1( the' frame cn<1bles it to

bt> fr<.'estanding .:111cl self-supporting.

Router ,rnd ~lraight cuttl'r

I u ed sycamore for the project, but

legs are something dsc altogether. The

It works w ell if yuu use

interladng of the lt>gs is t;iken over by

timb<.>rs for the dog and fr,1n1(', as )'OLI

cords to which the feet are au.ached: 1hese

in tmn d.:rngle over the lop of the photo.

cmly jarra was used ior the dL)g, and

and it Is almost as if the toes are pointing

syc,rn1me for the frame.

t\VO

tools and cutlers

foptionall

contrasting

can see on the facin g page. where dark

to the pkture contained in the iranw.

Method
Stick the three template s L>nto the
timber using spr<1y adhesive. ensuring
tlMt the grain runs vertic<1lly. The feet

need to be con iclerably thinner than

the frame and dog. jL1st 3-4mm

r~~-:

at 25mm ( I In) thick from y0u1 block of

wood. then slice off two sections the

I1

l.

('4 ':.',~in) thick. so you could cut one foot

'

~ - -

required depth with a fretsaw.

'------- __)

2 Using a scrollsmv or hand fretsaw, cut

out the dog. frame and foot.

3 Drill small pilot holes for the blade to

m.-ike the intcrnJI cuts for the <.Jog
(template 1313). The area.s of the dog to
remove arc the rhree shaded are.i_s on
the ternplJ!(' between the

.~

r,1il. the

two

s 'cl ions sep.irating the legs and the

gJp in the belly.

4 Drill pilot hoks for th e intcrnJI cuts !n
the frame (template I 3i\).

T/11 <0111po11e11!.< rnl out r~111(1 lo

1/1c sllllfif!g

b1gi11

l' LJ.~ l'HOTO FR~MI

I I

~J

Slip some carbon p,1pN between the

B Remove .-ibout smm (-';;,.in} from

template .:rnd the wood and lr.:insfcr

the remai ning design li nes onto the

the leg that is ne.'.lrcst the centre.

at the point where it meets tht' back

su rface of the dog.

of the dog. Gr adually slope it back

6 Begin shaping the dog: reduce th e

depth oi the tail by removing Jbout

tOmm ('4inJ, kaving a dL'rth of about
I Smm

L~ inl.

For

this

I used

up towards the rump. curving the

sides at th e same tim e. to m<ike it
look as

if it is weJ.ving behind th e

back of the dog. Then re move a

similar

c1 1l10Lll1t

of material

from

be used

belov.: the other leg to make it

clppear to we.:wc i11 front of th e body.
Keeping the base oi the kg ii.i t,

l'ffcctive ly. Kee p the tJil area flat for

curve the sides of the leg and body

now. as this m ake!' ii easier to crcdte

in betwee n the legs.

structure>d -too th

tung sten

cilrbide

cutter in a rot.lry tLK>I. but sm.:ill

chisels or gouges could al

L)

the weavi ng l'ifcct later. but curw the

area of tht body where it meets the

9 Score along the line that sepa ra tes the

t.1il to give a nice rounded b,1ck .

snout from th e head. <ind then red uce

Continue c11rving all the edges oi the

the snout by ;:ibout Jrnm {',~ in) <ind

body except th e b<isc. wh ich needs to

cmve over the edges.

be kept fla1 for attaching to th e fram e.

10 Curve the edges of the rest of the

7 Re duce the depth of the top arm , so

that it .:ippca rs to be b~hind the lmver

Remove some of the; material below

J. rounded look . This c.:in be done wi th

either small gou;~e s. a knife - su ch as

the ear .11 the back of the nt:>ck, to give

it grealer definilion. Curve the top

a cfop carving knife - or even a craft

edge of the ear and taper the tip

kniic. R.ernovc a little of the body

down slightly.

the

lower

ztrm

to

cre<i tc

something of an armpit for ddini!iun.

11 Ensure that all the r~maining edges

and aga in curve the ar m into a

of th e body have be en curwd over

smooth rounded shape. Reduce the

to give a reall y

depth of the arm tow;:irds the wrist' so

including the section of lhc belly

that the I

CELTI<. \ \'OOOCR1HT

>V<lS

arm, and curve the edges over to giw

below

51

head, incl uding the step tha t

created wh en redu ci ng the snout.

clW

can be given deiini tlo n.

smooth

that has been cut out.

finish.

I 2 Now .::.:irve

the knotwork on the t.:iil.

Transfer the guiddines onto the 1,1il lo

and through the undt> rside or the belly

cutout at a point belD\\I the

centr~' le~ .

m,irk the \Ve,win g. Score along the

about .5111111 (-_;,,.in I in from the t.'dF,L',

lint's using either ,1 knife. or a ~ot1gc

the line.

The photo below slKiws tlw position of

the Jwk'S , both on till' protrudin~ le~

and then reduce the material on

and through the base immediately

t'ithcr side uf th~sc lines, as in tlw

bdow th is.

1h ..1t h.~s the s.:imc curve as

pre-vious projects.
18 Cut l\Vo pieces of L'L11d approxi rnatLly
t 3 Make rhc end oi the tail into J hL'.1rt

shape. by redudnt; down the l..1sl

secliun of tail bdurlC it goes inlL' the

he ..1rt sh.:ipe. and notching,,

v shJpe

.:it this roint. Curve LWt r all the side s

along the length of the tail.

14 The ft'et need 10

bt shaped by curving

and to es. but r,1ke .::.:ire

with your fingers, as they are very

ovt.'r tlw sides

tiny pieces 10 \.vork \Vil h - a p.Jil' of

40mm l J /:in) long

glue a fLlot to
one" end oi each. Assess the fin.;il
len)ilth of the cord by holding it against
the 1.fog. ,1110\ving ;;1 small piece ex tr.1
to fit in1L1 the drilled hole. then cur ro
length. 25-J2mm ( 1-1 '/.in). Thre<id
L1nc curd through tht> hok i11 the b.:isc
oind ~,luc i111L1 pl.:ic12 in the prL1truding
leg. Gluc the other pil'cl' of cord into
and

the" hL;k L'>CIO\\' the centre- IC>g. allowin~

it to dangle in the groove helow.

k1ng-nL)sed pliers c.:in bt used to grip

prekrrt'd.

the" ket. if

19 Nuw work L11l the frall)e. Begin

d1".11;1.ii11~

15 Bdore

adding the final features,

give the dL1g a good sandinf!, to

111 ..1ke

a line on the b ..1ck.

hy

5111111

( '.I.in) in from the eJgc of the cutolll.

Th is will be the rebate

10

take the

ii really srt'WOlh and cuny

photograph. Rcb.:M this edge to ,,

Dr.:iw in the eye. mouth, nose ancl

shoulder curl lines firs.L and ! lwn

ckptll oi I 2mm (',<;in I. lo bring the

photugraph closer tu the front of tht.'

il1dL'nt along t ilt' lines.. J us\.'d

fr.:i me. If you have ,1 router, fit a sm,111

ri

snwll V -- tool k)r this. but a chip Lil'

st 1.1ight cutter and,

craft knife could ,1ls1.' be ~IStd.

fr.1111e firmly to your workbench. rout

the rd1arc in a seril's

iinal iob is to make,, shape in the

bJ$C fL,r the cord of the leg to wcilve
iorward. Do this by cutting m11 0:1
sm.111 sem[-c irc ul.:ir share .1t the
bollum of the boJy, directly belmv the
(:-t:ntre Llf th..:- le~ .

16 The

I 7 The l'Ord for the legs is iust pressed inlo

the IJL1les. rathe1 than thre,1dt'd tl1rL1ugh

thC' wood. Drill the holes with

the

.:i bit
diameter Lli the

CJ st I mm

(';;,.i n), and make

corl'espo11ding
CL)fd,

in this

them

only

about I .Smrn (approx. 'A'..inl

dt'l'p. jusl enough IL glue lhe cord into.

Drill <1 hole in the top edge Di each foo1.

securing

Jmm l ' ,~ in) off at a 11mc.

thl'

f cuts. taking

One \Vay of making sLm' that your

route r stays level is to cut out the

shape of the frame from the centre

of a piece oi 2.Smm (I in) MDF. slot

the fr,1me .i1110 It, tlwn cl.:imp this to
the cvorkbench.

If

you don 'l h.we Jcccss to a

router. then it is possible lo use a

rourer anac hmcnl .:md straight router
hit ior the Drcmcl. F.lilin~ either oi
these

pt ions.

)'OLI ("111

form

,1

rebate

using a chisel.
20 Cut,, backing pit'Ct> to hold the photo

in place in the rl'bate - rhe e.1s iest

way is to draw arow1d the rebate onto

the ba king piece. If dcsirC'd, you can
also cur a piece of acC'tJte the ame
size to go in front of the photo.
21 Curve the front edges oi tlw frame

2J Give the compktc-d frame a suitable

finish: I applied a clear wax with .:i

and cutolJt SC'ction, and sa nd to

soft baby toothbrush. to get in all

give ~1 smo1..1th finish.

the Ii ttle crevices.

22 Glue the> dog in pl.ice on the to1 oi

.)6

Cf-LI

IC...

W1..Hll H." l~1' I I

24 Put

yollr chosen photo in the

the frame. with the lt>gs dangling

rebate . with acetate in front ii being

over the front. I USl'd <in impact

u sed . then fc'.lstcn the backing piece

adhesive for this, as it nteds to be a

in place behind with a small tack

really strong bond .

top a 11d bottom.

GJlRROReO

cmOle SCONCe

t i$ said that rhere circ two

l<notwork links the mirror~ at the sides,

ways of spre.1di11g lighi. 10

and the spiral motif brings together the

be the candle, or the mirror

three

that reflects it'.

number three \.vas very sig11ific<int in

This project L1scs mirrors to reflect the

candlelight

can

be seen in th e

triplication of m.1ny stonc-cMved deities.

as well as on the decorc1ted pages of

Tools

manuscripts.

Scrolls.:iw m fretScl\V

.~s the candle

rhe

.~s

larger

nd,

times;

Celli<.: .irt.

sconce. Tht'

mirror offers a continuous reflection

J

many

elements of the

bl1rns lower-. so the

lower mirrors rdlcct the flame. This

way. one

sm.1 II fl;rn1c can spread its

light in many directions.

lust for go0d measure. then: is al so

sm;;11l

amount

oi

,1

an.::hi tectu ral-style

carving involved in the arches. which

Candlelight docs more than di spel

show up to goLx1 effect \Vh cn the candle

powerful

ls lit. throwing ~hadows on to the curves.

symbolism in m<1ny faiths . C indl es arc

Christmas tree candles .ire ideal for

d<.irkness:

it

represe nts

Ii 1 for remembrance. for worshir. tor

1his project.

purity and to represent Chrisl as th e light

perfect size. but also because th ey burn

of the world .

without dripping wax.

1101

only beouse of their

Chisels and gollgl'S

Drill
Scalpel

Crail knife or chip knife

foptional)

Mdterials
Photocopil's uf templates

I 4A Jnd MB on page-s
109-10
J~crosit iv n.~ble

spr<iy

adhesive

4 Cut round the rectangul."ir outside

Method
Timber measuring: 230 x
170 x IOmm for b.Jck
(9 x 6";,, x / in) (lime)

-10 x 4Ll x I 20mm for sides

First make a carving

pg.

edges o f the mirror frame..

to rest the

sidepieces on whilst they are being

carved. The- jig can be madt> out of

5 Turn the piece over

and

position the

larger. rectangular. mirror owr the

arezi. OrJW .1rou11d the

scraps of limber or ~-!OF as follows:

cl'lltr.~ I cut out

cut four wedg6 of IVL10d "1pprox. 4 5 x

( 1"/i,, x I'/,,, x 4'l<in)

30 x 50111111 long (I'/. x I'/. x 2inJ ,ind

mirror's edges. then use 1 router or

{sycam1.1re)

make a slope of 15' Oil L1n c side along

~:hist-I to make a rebate for lhc mirror

170

x '10 x IOmm for shelf

(6',~,

x I'/. x ;..in)

Sp.1rr timber for carving jig

I mirror measuring 160 x

68m m (b'/. x 21sin)

8 mit'l'or s1.1uares mea~ur in g

18

I Smm (';, x ,.'.inl

12 ruund mirrors I 3mm

( f in) in diamc.>ter

1h ~. length . to 111..:ikc a wedge shape.

to sit in. Check for

Take a piece oi bo.m! .:lpprL1x. 280 x

shou Id be flush with the outt>r frame

200mm ( 11 x Sin) and mark .J line

when in position -

down the centre about 200mm (Bin)

mirror safely 10 one sid1.'.

long. Clue the wedges in

pair~

v shapes into which the

sides can sit. Gluc and nJil a piece of

~<..Tap

2 lake the piece of timber measuring

x 170

.:rnd stick template

with srikc: in base

14:\ onto it u.;;i11g ~pray <.idhcsivc.

._k.Jrproof vJmish

Stone glL1e (or similar

Sllit.Jbk to glllC

x 10111111

the wood. slip in so1nc

c.:irhon

pJpcr.

then rr,Ke on the design.

7 Identify the ten rriangul.u ~hapt-s at

1he Jines. Reduce the depth of eac h

tri.:inglc

by Jmm ('l inl, keepi ng

th e

sides wrtical to ensure .:i uniform

slope. O nce you have carved the b.:tSL'

J Drill ,1 pilot hc..ile to allow for the interna l

cut to be made. C~1t out the shaded
arc.J. keeping

good sh<Hp edges wht-re

the circle comes in 10 .1 point.

g l..'ISS to

wood)

Wood

Position template I 4A 011 (he..' front of

the top of the .=irc:h .:ind score .Jlong

230

11 min c.li.:1111eter H x '!'. in)

wood acrc..)5$ lhl' l'nd of one \!-

shaped block to form an end stop.

l\rletal tr<..'L'-1.a ndkholdl'I

1ree-c:an dlt' IOOmm Jong x

then put the

at

either end of this line..'. so that the

slopes fo rm

iit - tht- mi rro r

gll1e

8 bras .. screws

l br.:iss pkture hJngrr and

2 small brass screws

--~-~-

triangle. you wi ll have- the line to join

up to the top of the slope.

8 Lightly s.:-ore a line from the corner

Lli

each triangle out to v.ihere it meets the

corner of rhe next lricrnglc. This will

give

guide for wlK'rc the slopin~

.:i

edges will come together. Ch~1mfcr

down from ihc line of the outer triangle
to the b.1sc of the inner triangle to form
.:i

uniform slope all round. folk1wing

the sweep of the curws.

9 Lightly score the two lines at the base

of the cutout an.:a, and then slo1x'

across the base down 10 -'Imm ('Jd n)

from tlw back.

to Slope thl' sidts in the sam e manner.

part-cin..:Jc

11 Slope the inner edge of the

at the rop of the .:utout .m~a.

I 2 Cut out the small triJngle above the
cen tral spira I. sloping <ill th re'' sides
in to1.vards the centre.

13 Carve

the spir.:il by srnring along the

lines using a V-tool or

,1

knife. thrn

makt> them into valleys.

14 Three spi1al legs \Vil) sta nd out from

ml

the carvl'd v.:illcys, which can then

t\.1u11d~d

be

over to complc:te the

spiral molif.
J 5 Carve the two smaller spir.11 motifs in
.l

similar way. but reduce the Ml' a

betwern the trumpets ,1nd spirals by

about Im 111 ( _,;,in). These two motifs
.:ll'C

qu ill' small and I k1und it 1;:,1si1;:r to

use a scalpel to shape 1hcm.

16 Pri.>p,1 re

the

diagonally
length of -10

sides

by

cutting

th rnugh

rhe squ.ue
x 40mm limber. Th is

can be difficult ~v' ithLlllt the right

saw. in which case tht' altern,1tive is
to rest a squ.~rc st>ction of timber in

s1/ml molif i$' $/101111

tire l<>J' of lf1t 11itt11rr 011 Jhc kfl

, \ C01llJlt1t1/ $ 111111/

the carving jig and plane down to

rrt

I
I

'

form

triangular

shape.

Two

lengths oi timber will Lw 11L'eded for

th is.

Cut

e,1Ch

side

to

length.

ma tchin g the length of th e carved

,ZJ Carw t he other sid e in th\C> s.:imc

way,

making sure that

it slopes

in the opposite direction from the

first side.

b.1ckbo ard as far .1s the lin e at the

b,1sc of the carving.

24 Glue all the sm .111 mirrors in place in

rl1<.'ir rebates.

r 7 Place one of th e sides in the c.Jrving jig

for support and, u~ing carbon paper.

25 Drill a hole in the sh elf for the spike oi

transfer the design from 1empl<1tc 14B

the candlcholdcr. I h.:id to offset mine

onto the surface. Begin the .::.arving by

tow.irds the frl111t. as th e dianwter of

rn.~king four. squ,m~

reb<Hes for tht'

the cancHeholdcr was wider lh.:m the

mirrors. T he depth oi the rcb:.'ltes

shel f. If th e '>rikc is longer tha n 10111111

should be J 111111 ('/ieil1) greater th.:in the

( 4.in). cut ofi

thicknL'SS of the mirror til e.

ihL' underside of the shelf.

18 Reduce th e b.ickgrl'Lmd armmd the

knotwork <ind Ollt:icle of the spir.il
motif by

I mm

26 The

.:my

surplus flush 1,vith

compon ents

can

n1.1w

be

asse mbled.

('/, inl. leaving the

narrow outside border raised ,1lso.

27 Gluc the shelf in place ar th<' bottom

.ind use two screws through from the

19 Creat e the we,wing dfoct on the

b,ick to hold it firmly.

knot\VL)rk in the USLIJI manner.

28 Gluc rhc two sidepieces in place .rnd

20 Position the smc1 ll round mirror in

between

th e

knotwork

whe re

use screws from be hind <1nd bek)\V to

hold them firmly.

indicated on I h L' te mplate <ind draw

round them as a guide.

29 Varnish the timber using heatproof

varnish for s,1ft'ty,

21 ~,1ake J round rebate equal to th e

de pth of the minm.

30 On the back of the sconce. cut a

rebate behind the hanging plate to

2 2 c.~rve the top spiral in the same way as

ior the backboard (sec stages I 3-14 l.

,1Hmv it to pass over a screw, zind

1hcn screw the h.Jnging pl ate in
place, making sure that rhc screws
used are shortl'r than th(' carved
depth of the wood.

31 Fina lly. glue th~, remaining l.:irger

mirror in place and place a candle in

the holder. /\s the candle hums

down, its il,:irnc will be 1cfl1?cted in

the lmver mir rors.

Zooa)OJZPblc
lovespooN

m the Claddagh Lovespoon

featured on p.lgc 20. I put

my

Ol'-/ll

interpretation

(1f

h,1t

Materials

started .:is a very Welsh rradition. I hope

Photocopy

I cJn he forgiven therefore for- taking

15A rn1 pa~w 111, C'Tl !argccl

by 125%

.'.ln Irish theme into

the-

pn.xcss

introducing

one

step

1A.1

fLlrt her

by

zoornorphic th eme. There

;i

.:ire very few projl'CI patterns availab le

rhat

bring

new

approaches

ro

old

themes, Sl' I hope rhis will open up new

ot Ct>mplatc

Timber measuring approx .

260x6Dx Jlmm (10 /.
2-',~

x 'Ain)

possibilities for people wanting 10 create

Rcp1..1sitio11abl~ spray

Celtic designs.

adhcsivt>

The bird in this design is t,1ken from

Tire undis{arnc Gospels. but simHar bircl

ornamrnts appear in The Book of Kells and
perceived

Fine grade sandp.:iper

(I 80) or fine stt.'d wool

Carbon paper

un Pictish stone CJ rvings .

The Celts

( lim~l

the

d iffe rent

cl.Spects of bird s' abilities clnd behaviours

,ls symbolic in various ways. Birds could

Wax polish or preferred

finish

be the bearers of messages or the

pmtents

L'r

possessed

omens good .:rnd bad . They

wide - ranging

tr,1its.

from

beautiful singing and g1.iceiul swimming.

lo dcstrnction with talon and bcal<.

The <tbiliry ro fly was somcrhing thar

early 111Jn cou ld not ('Ontcmpf,11t\ so this in
itself g.:wc rise to many mythological beliei .
Only birds could bridge the space between
th e world s of hc;:iven, earth zind \V3ter. Jnd

they were rcwred for th;:it rl'ason .

Tools
Scrolls.nv or h.:md fretsaw

Rot.:iry tool fittt'd with no

9936 nremd bit !option,1 I)

Chip knife or cr<1it knife

Chisels and gouges

,\/let hod

4 Sh.-ipe the front of rhe spoon bowl in1o

tcmplalt' to the prcp..:ired

smface o f the timber. using

shJpc. using the dotted line

Stick 1111.'

J concave

smooth

as a guide to 1.v here to start !he

the shadtd .:ircas of th e templat~ to

ck,wnward "lope. J\t this _tagc I prefer

to just give the b.1sic shape to the bvw[

allow tlw scrollsaw blade to enter.

and return to the fina l finish \-Vhcn the

spray adhl'Sivc. Drill pilot holes in alJ

rnd then make lhL' internal cut~ to

re.st of the spoon i. carwd. The simple

remove rhc waslt'.

reason for this is 1ha1 ff I make any

irreversible errnrs, then .:ill the rime

2 Rcrn(wc rhe te111pl,1tC' and sand off

spent on the bowl is not \.\f<:l sted.

any glue- residue using fine gr.:ldc

s.:rndp ap~r.

then

reposition

the

5 Begin to shapt' the bird by reducing

template, slip some carbon p.1pl'r

the depth of the knotwork design at

undernC'ath it . .:ind trace the ci1?sign

the neck. I Llscd a st ructmcd tungsten

onto !hc timber.

bit in my Dr('md to remove the bulk.

then

3 Shape the spoon by curving the

back into a convex ~hapc. I ust'd
structur"'d tooth bit in

fini~hed

make

off with

slope

.1

gouge. T1y

where

the

t(l

tW<.)

nt>ckpicccs join the body .::md head,

my Drenwl.

but keep th<' re-t of the knotwork .;irea

as flat and even as possible. If y1;1u

but WOLild only re(tJmrn e nd duing

so if \'OU arc experienced i n its use.

roJJow the bands of the rattern you

Otherwise gouges will do lhl' job

will notice that the ear l.:lppct actually

perfectly well.

becomes thL lL1nguc.

6 Using a sharp ch ip kniie

ir crait knife

SCL)rc along tilt' wing from thE' large

circle to the tip. Shape the leg and tail

by reclucin ~
by 2rrnn t-'ldn) owrall , then
alklvving it to rise up ag.~in towa rds
fe..1thcrs below this point

the depth

the spoon bowl. i~ound the sides of

the lc.>g ,1nd toes and llSl' J \1-tooJ to
111Jrk the divi~k111 between the front

two toes. makln~ the front Loe slightly

lower th.~n th e rc.1 r one. The toe .;it the
b,1cl< of the foot has to appear to

IN(;'.:ive under th e m.:iin t.1il feather.

over the middle feather then back

I 2 Tract' on the knotwork design of the

under the re ..1r fc.:ither. Do this by

1wck and SCl>re alLlng the lines in the

reducing the m.1reriill eithl' r side of

usual 1.v.~y.

II

e.1ch weave, as in previous projects,

but make the side oi tlw tOL' rounded

13 Reduce- the woo d 011 either side oi

.1nd keep the flJrhers flat in contrast .

E"ach b.:ind where it we<ive s Lmder

7 Form !he claws by cutting a groove

has been completed . round off the

another. When all rhe kn o twork

into the line

of c-ach Cllt iclc .:incl

sides of the bands.

curving the cl.1w .1 nd surrounding toe.

The. e can be exaggerated to make
them effective.

l 4 Shape the head by reducing th(' depth

of the !OJ beak. so that the head can

be curved. and reducing the lower

8 Score .~long th e line th at endc1ses the

t>ody

beak behind the tongue. Rou nd r..1ff the

feathers, then reduce the whole

edge: o( the head to make it meet up

section inside the line by 2111111 f'liin).

with the curves of the neck and car

[nsure that the surface of this area is

lappet. Qr.:iw in the eye and line of th e

smoorb, then tr.1nsier the design for

iaw. and curl of the car. then mark

the ft<:1thcrs back onto the wood.

them our with a V-tor..11 or sharp knife.

ScorE' along th ~' straight lines bet1vccn

the layers oi feathers then use 41

curved gouge at right angles to score

I - Compkt t' rhe carving

011

the bLW,d of

the spoon. then sand . mooth.

th e bottom of L'ach feather.

16 Wax 01 oil the fini shed lovcspOLlll. as
9 1\4ake th e vertical line between the

preierrnd . I gave

mine

an

aged

feathers using .1 \I-tool. sharp chip

appear.;incc by ,1pplying ,1 dark WcW

knife-. or er-aft knik.

on top of a c!E"ar

wax. th.:in wiping ft

llfi before it dri es. The dark wax st.:iys

JO Remove the small t riangks oi material

between thl' bottom of the fo'<l thcrs.

in

the

grooves

after

polishing.

accc-ntuating the dl':iign .

11 Rou ncl off till' front chest of th e

I 7 Drill a small hok in the bad in

bird, .11!owing it 10 mel't up with th e

ordC'r to h<rng the lovespoon on a

n<1il if l'l'quired.

curve of the

kg.

Ill

Co~sTeRS lN bc1LOeR

Materials
Photocopies of templates

16A ,:ind 16H (page 112),

Jnd designs I 6C- t 611 as
required. on pagC' 11 J,
...n!Jrged by l25 l}iJ
Piece of timber .,~.,prox.

b30 x 100 x 6mm (25 x 4

x '/.in) for coaster o,~ses
(l\tncrican tulipwood)

Piece of timber approx .

110 x 110 x somm (4'!.. x
4'.A

x 2in)

for holder

If you do hJve .~ lathe. use the usual

(beech)

his set of six coasters is

made up of knorwork and

turning me1hods to produce the tiases

Contr.1sting veneers. at

;;pi 1,1I dcsi:rns.

and holder, then make th e veneered

lcJst 100 x IOOmm (4 x

carving Involved. lnstl' .ld

with

rw

4inJ. two per design

of using three-dimensional technique s .1

Wood glm

in

Repositionablc spray

prtviGus

projects.

have

used

patterns as shov.m.
Using two contrasting veneers for e<ic h
de~ign will produce

rwo version s of the

contrasting veneers to give life to the

s..:ime design reversed. This means that a

designs. which

set of six coJstcrs can be mJdc using just

arc tlwn ser into a

adhesive

recessed base. I have included a wooden

three of tht designs. or two sets of

Fine garnet sandpaper

holder to store the 1.'.o<isrcrs.

coasters could be made with six differing

White spirit amt lintfree

coasters and

specifically

contrasting with the other. The patterns

cloth

designed 10 show tha1. ii are is taken,

chosen for the coasters have beJ?n kepi

Waterproof ink dr.1wlng

roLind objects cJn be made without the

simple, to rcdllcc the number oi cuts

use of a lathe, 1.vh ich woLild be the more

needed. to c;itcr

obvious choice of power tool for this

used veneers be-fore. When the tech nique

The method I have uso.>d to make the

pen (fine )
Doubk-sidcd ~!icky tape
I IC'atproof varnish

holder

is

designs in

each

set.

and

eac.:h

set

ior those who have not

prnject. l have used power cools suc h as

has beL'n practis~d and mastered on !hes('

a scrollsaw and router. which nor

everyone w ill h,we acct'ss ro. but all th<..'

simplified designs. you could go on to

make yolll" own dt'signs using more

steps could be worked using hand tools.

complicatt'd pattern$.

~
'

\\ '

Method
Sa nd both sides of the timber that will

J If necessary, tidy up the routed edges

with ,, :;harp knife. It is a goocJ idea to

be used for the coaster ba st s <1 nd use

rout just inside the final linl' if you .Jre

oi compasses to draw out six

in any doubt .:ibout being .~bk to CUI

coaster ' , using template 16;\ .1s .1

accurJll'ly co the line, J.nd yLiu (an

gu ide to help you set the radius of che

then cut b.Jck to the line with

J pair

.J

kniie.

inner and outer circle .

4 Cut out the: six

2 Set the router at a depth to match the

depth of thl' veneer. plus a little extra

to allo1.v for glL1i11g and sanding. In
my case it was 0. 7mm in total. Ii
it is not possi ble to use a circle guide
with yom router bcc ..n1sc Llf the
small circ umforcncc. hold the base
plate of rhc router instt>ad of the

discs. following the

outer line. using a scroll s.:iw. jigsaw

or fri,tsaw.
5 Choose one oi the motifs ,rnd make

two phowcopies. Stick .1 remplate to

caC"h c.,f two contrasting cc.,loured

veneers, using a spray .1dhesivc.

handles to gain m0re con trl1I . RL1ut

6 Using a sh.irp craft knife and culling

out the central section of each holder

bo.Jrd. c.-irefully cut round the de_ign.

up to the inntr line. It is easier to

but do NOT cut any of the crossing

rout the b.1ses before they Ml' cut

lines of the knotwork patterns.

As l'Kh section is cut. cut the some
sectkm ~11 clic CL1ntrasting Vl'neer <ind
gradually rebuild the pallern by

out individu "1 lly, as shmvn, .~ s this

gives the muter b.:ise a bigger are.:i

ior support.

Tools

Scrolls.:iw or hand frets.-iw

Router wilh straight bit or

chisel
ShJIT craft knik scalpel
or chip carving knife:

Compasses

II

swapping the cut pici:es. The cuts must

10 Cut out two or five more designs in the

be m..~de to folk.'!\v the linl's of the design

w,1y, depending on whether you

want se ts of three or six different

,1.:curatdy. so

that the pieces will iic

swappC'd.

b<ick together perfectly whL'll

same

patterns, then make into coastc1 as

explained abDve.

7 Spre<id a thin. even layer d ~lut' into

the routed are<i of the co ..1ster base

11 To make the holder for th(' set

~1f

and carefully st ick rhc rc-asscmbk'd

co<istcrs. take tht' remaining limber

p.:ittcrn into place. Somt' v.:irk tics of

and cu t a "i -6 mm {'/ ,in) SL'Ction

wood veneers c<111 cock!.;- quit.;> easily.

the bottom.

fr~\!11

for exam ~;lc the burr wnc~r used in

If you do nL'l hdvc tile facili ties tu

the spiral motif. so .1pply prt.>Ssure ior

do this yourself. your kx ..11 builder,

ris long as nei:cssary to 111 ..~l<L' sure :ill

mcrch.ints

the parts of the vencl'r stick firn1 ly.

probably oblige. Stid< this piece b..Kk

wood

y.:ird

will

to tht' bL~!torn - tising ckiub ll:.'- si dcd

8 The fine corners

breakage

are

1Nha:-11 lhl'

susct'ptiblc to

grain nms acrnss

the dL'sign . which i~ una voida ble.\ so

make

stk:ky ta~ie - ready for st.1ck cutting.

any necessary repairs

10

chc

veneers using sm.Jll offcuts.

D on't be put off if !ht' co ..1stcr looks

12 Use compci sses ro draw tcrnpl.:ite I 6B

for the coaster-holder onto the top

of the timber. again using th(.' template

.:is

a guide for the radi u. oi the two

!ht

t~mplat c

a little disappoint ing at chis stage.

circles. Alternatively.

Le.we it to dry thoroughly !hL'n ge11tly

ca n bl' stuck directl y on Ill the timlwr

sJnd it level tJ sin g fin0 g.mwt p..ipcr.

if preferred.

Cle<in w ith a little whitL' spirit on ..

lint-free cloth and rlw fr~'sh rnlours oi

the veneer s will Lx' rcvc.~lc ci.

I J Cut

around

th e

oulsi e

cirdc

of

the template then separ<rtl' the tw.._,

pieces .

9 Draw in the n:'m<iining lines of thC'

design us ing a fine. w.:ilerproof ink

14 1 ~1ki ng 1he largt'Sl lop section only.

drawing pen. then give 0<1ch coaster

dri ll a pilot hole in the n1iddle. then

two coats

heat-resistant v.Jrnish.

cut round Lhe inner circle using a

rubbin g down gently betwe~'n coa ts.

scrollsaw or frets aw . Gluc this .._1nto

VarnisJ1 the bouom .ind sides as well,

the base and leave to dry.

Lli

to prevent ,1ny mowmcnt of the wood.

I 5 To hcil iwre removing the coa. rers

from the holdt'I', cut OLlt a section from

the side of the holdt'r m1.'..1s11ring 35111111

(I 'kinl deep

by I 5mm

('~{in)

wide. and

round it at the bottom. as shown.

16 If liked. tlw top uf th e holder cJn
also be round ed ~we r tu giw a

smoo1h finbh. Vilrnlsh in the c;ame

way as the co<1sters

(St'l' stage 9)

then. once lhe vMnish is dry, place

the coasters in the h~1ldcr.

TRIVCT

he knolwLirk katurtd in

The knot\VL)rk design for the trivet is

this project shows how a

made up of two bands. one which

ci rcu lcir pcHlt' rn c.in be

IVE'.:\VC'S

into

il.

IV<l)I

Ji"L)LJnd the

design

without .:rny knots. <ind a second much

the

busier ba nd that h.:is ~11 the work to do.

Celts. not only because it is a solar

looping back on itself a!I the way Jround.

incorpor.:ited

design. The (ircle was important

symbol.

but

also

because

IL)

the

unending line is a rc rnind1n of thL'

continuou s circle

L)i

lifo.

th(;'

shape

adopted

,1 Jt ' rnative way

for

ll)

highlight the

knotwork bc1nds is to paint them in two

differl'nt

Going b.Kk much further in time. it

w.:is.

An

CL lour~

with diluted emulsion

paint before varnishing.

The feet of tlw trivet

lhe

cll"C

similM to a

construction oi many megalithic sitl's,

lion dl or-.1tion from The llooh of Kells .

Stonehenge being pli'rhaps one of the

HE'

~L'cnwd

sul'h

c'I

humble

and

most famous circles of al! . E..1r!y huts

subscrvirnt

wcrli' round. cis were hill fons. because

deserwd a bit of recognition. even

cr..-atllrc.

the circle was !hL)Ught to be prottctivc

thou~h I h,we

both physi.:ally and spiritually.

iurthcr suhservicrKl'.

thought

lw

put him in a position oi

!.h1 11 d~<"(>f1//io11 l!i /hr

style of

l'hl' l\ook of Kells

67

Tradition.,lly, the lio n represen ts st n~n gt h

and majesty. and in Celtic art it is the
evangdi st sym bol for St M.1rk (.:i lthough
in -U1c 1'00/1 o[ Oimow it was used as a
symbol

for

St John}.

T he lion

was

so metimes given wings to emphasise its

divine nature.

Method
U se spray adhesive to stick the trivet
tcmpl.:ite. I 7C. ro the la rger of the two
p ieces of timber

L)J'

yoll

ca n. if you

prefer, trace the design onto the

surfoce using c.:irbon p<.1per between

tlw t~'mplate and timber.

th e outside of 1h e
design using a scrollsaw or hand
iretsaw. If necessary, cut in .:it right
angles to the po ints wh ere the

2 Cut

Materials
Photocopies of templutes

I iA. I 7ll and 17C

Lll1

pJgc

114

knotv.,1ork \Vi ii wc<.wc , to be sure of

Tlmbel' rnc<.1suri11g
100

160

.1 pprox.

a sharp outli1ie.

IOmm (6'1, x

6 ;; x ',\\in) (beech)

.3 If not already done at step I. peel off

the design and tr,111sfcr it to th e face of

Timber measuri ng .:ipprox.

200

x 70 x 25mm

(8

iJ'/,in) in diameter
l~i:-posltionable

spray

.Jdhesive

Heatproof polyurerhane

l~out out the circle to h Id the cork

lcvd with the b.:ickground \vhen the

coaster. Make this the depth of the

carving is complete.

thickness of the co.:i stc'r. plus 2mm

('h in) to allmv fo r thi::- depth of the

Tools
Scrolbaw or iretsaw
~out~r (option al)

Chisels and gouges

Chip knife or craft knife

Ct 11 ll

\Vt>Ch:~ ... rT

6 Reduce the small tri.'.lnglcs b~tween

LIS C

the knotwork to a depth of 2 mm

chisds and gouges for thL. if a router

l'.l,zin).) found c1 sharp chip knifo most

is not available.

suit.lble for this.

kno two rk

varnish (clear)
Emulsion paints (optional)

and the coas ter by

2mrn ('k inl so that the coa sler wi ll be

Cork coa ster. 95mm

5 Reduce the are,l between t hr.: Inside oi

the knotwork

the timber as desc rib ed.

x 2 Yi

x Jin) flimc)

6S

roL1t1d

..... .

l'.'.Hving.

You

can

7 ScL1re along the lines rh"1t cross th e

kno twork

then.

nngles.

reduce

towar-ds

thC'

1wrki11g at
the

cut

timber

to

give

work . C.1rvt' the tail inwards to make

right

it appe.1 r to .:-ome from behin d the

down

legs. Slope 1hc end of the back leg so

tlK

that it tucks in behind th e front paw.

appearance oi 1,ve.wi ng under. Repe<H

Round the sides of th e bcick ,ind front

the process ior all the crossing points.

legs and p.1ws.

8 Gluc the coaster in place in the centre

I <I Reduce !he 1ri.1terial around the b.Jse

rebate.

of the tail on the lion 's left side. and

carve a

berv..1een the back leg clnd

9 M.1ke a ca rd tern plate of the lion

chest. curving them inw.1rds. Make

mo tif I 7"\ .:111d use It to draw three

the tail appear to wcavc bthind the

lion shapes.

legs by sloping it inwards. Slope Lhe

end oi the back leg as on rhe left side,

10 Cut out each lion cm a scrollsaw or

to tuck it bt'hind the front paw. Round

fretsaw. then cut oLrt the sma ll areas

over the legs and paws.

under the chin and lx'hlnd the 1.1il.

11 Transfer the designs onto bo1h sides

of c.:ich

lion ,

either

by cop~ting

freehand. or tracing from the template.

I 2 Ornw the following lines on the front

edge oi each lion : down the centre of

the back legs: 8mm P/oin) in from th~

edge of each fronr paw: Smm C1..in) in

from each side of thC' forehead: and
Smni l'loin) in frnm each side oi tht

IE

Progm~s ivr

singes

of car11l11..i: l'!Zch si1h-

of tht Ihm

snout . as shown.
I J Score along these lines, and along the

lines of the design on both sides of

each lion . Reduce the materia l aroun d
the end of the tail on the lion's right
side 10 make it stand ouL, then carw
Olll

the waste between !he !ail and !he

ba~' k leg. curving tht' edges as you

TR IVEl

69

15 On 1hc front edge cut a

between

trivet will be fastened. Dip the chest in

the back legs along the scored line.

below rh e arms .:ind shape the mane

and round over the edges.

and iacc. If any sanding is

necessary.
t'ye.

S<>nd before finally adding the

l 6 Cut out the space bct\vccn the front

nose <ind mouth.

p.:iws. t.:Lltting it right back Llntil it

nw~ts

tht ar~a th,11 has previously

19 Glu e the three lions to tht~

under-side of
~'qu:il

been ell! under tht <:hin, in steF' 10.

the

RLiund L1Vt~r thl' sides of the p.:iws.

distcinces ,1pan ( I 2ln. sLi rhat thC'

edge

I 7 N.1rr<:1w the he<1d from each side

up to

the scored lines .~nd round the edges.

trivet.

p l;i ing

them

of the trivet is touching the m.rn,'.

Place a weight on the trivet Lrntil the

glue h<is

iirmly

set.

k'aving thC' mane full 'vvidth .

20 Varnish the trivet and lions with ti.vu
18 Shapi:- thC' back and shoulders but

le.:iw the top fi<.~t. ,~s this is where the

or three coats of cicM polyureth,im.

Materials
Phok,Cl\pics uf temrl.ites

IS:\, 18H and 18( on

page~ 11 5-117,

enlargcd

by 142'\6

Carbon paper
Timber me,1suring 380 x
360 x 3lJmm (!5 x 14 '/, x

I 't:., in) (sycamore)

4mm plywood. 320 x
320mm (12'.t.x

l.2 ~{; in)

Mirror, diameter OSmm

( l 2 in)

he Cladd.1gh motto is

'In

Cladd,1gh, Jll?M
Ll~J

,a lw.:iy in lrel .~ 11d. Here

love. in friendship. let us

he set

the
h istL1r>' of the C!,1ddagh

;ewellery. ;md designed the Claddagh

reign .

d1.: ign hc'.1s been

little

rderrcd

ro

of

in

the

Claddagh l.ovcspoon project (page 20).

now I'll cx plc1in morL' <1bout its creJIL1r,

ring.

The

his 01vn business making

hec,1me

rings

popular and were passed as family

heirloom~ from mother to d.1ugh1cr_

The design

f the Clackf,1gh ring

became known ~icmss

Ridiard l<.)ycc.

immensely

the 1.vorld as

Richard loyce had b.:en taken captive

emigranls left Ireland at the lime the

in the .MC'ditE'rr.:incan by Algerian pirates

great famine of I S'f?-49. Man\' more

.rnd sold ro a

goldsmith. 1,1,rho

rings were ldt ,1s security back in

trained him in mctalWl'rk and set him to

Ireland . .ind used 10 raisl~ [ht' fa re to

bccJ nw king L)f

: ngland in I 689 he secured th, relc.1se of
.:ill his subil'C ts held captive by tht' 1\foors.
work .

v\lhen

~1oori s h

William l!I

escapL' the fam lne; poign,1ntly. many

were 11eve1 recla imed.

Rich.:ird royccs master tried to pl'rsuadc

in the design is the height of thl' crown: a

him to stay by offering his d.:\ughter's

high-dL1rncd crown

h,1nd in 111orriage,

bur [(1yce rrckrred to

rct urn to his n.:i.tivc

(ishing village.

WL'rn

by

Glazier s points l1r t<icks

Picture rings and wire

Tools
Scrol Js,1w. jigs.:iw cir

frc1s,1w
Router (option,11)
Rotary m ulti-tool

!optional)
Selection of woodc.:irving

One v.;riJ tion th;.1t sometimes .1ppears

\\'L~tdd

CkM varnish

have been

tools
Chip knife or craft knife

queen ancl a low-domed

crown belonged to a king.

i"l

In rhi s pr-oject the Cladd.1gh design forms

4 Apply glue to the ct ntre base of the

part of the frame. which i$ remin isce nt Lif

tim her. att.ich it firmly to a pieCl:' oi

th e ring shape. t\ n clcrn., I knot \VC'cWC'S

J

round the border.

scrap wood. then either clamp the

base to tlK' worktop. or use a routing
mat 1L1 hold it in place.

Method
Pho1ocopy the three rempl<ites of the

5 Att.ich .i trammel bar to the router

design and cuL along !he dolled lines.

Jnd locJte the pin in the centre mark.

Tape them together Lo form the

Cut round the circle as far as the cuffs

complete design, making sure that

of the

Cbddagh

design.

making

the places where thl' .Ktu.11 design

several pusses, each 3-4mm C!i.in)

meets arc firmly joinl'd and taprd.

dcq1cr than the last, until the full cut

is made.

2 Cut the design out, including the

small g.1ps between thL' hands, lw.m

trace the
tcmp l,::i tc sh.~1 c L1nto the face 1..1i the
timbc1. usin~ carbon p.1per.

and

crown.

,1nd tlwn

6 Reset the router tu cut the inn er circle.

aga in cutting as for a the cuiis oi the

Cladci.1gh design.
At this statje, whilst the router is

still set up for lace cutting. the two

.1 Th e mirro r fr,1111l' can now bl' cut 1..1ut .

Yuu can do thi s with ,, scro lls.1w,
iigsaw or fretsaw but. If you have
access to .;i router, a far ri1ore .:iccur,1te
part-circle can be m.lck'. If YL1LI wish
ro Lise a rouk' r. first loc.."Jll' the ccnt1c

fine

lines

on

t.'ach

2mm (',.;,in) straight router bit. lo a

depth llf 2.'.Jm ('.~ in). Routing gives

very

even

line

and

is l1ptional. as the lines c.;in be carved

using a chip-(arving knile and gouge

thi s accu r.1tdy.

.11

step l 2.

-~

' ' \.
\ \

\ i

\\ \

.I

\i

,~,

~11 lllf co1111>nss1s nt just over

two /ims ()11 /he

im>irle of Ille circfc m<
s ltown

Dr1lh'

72

( I i I IL

\\1(1~ 11ICl~.'\I- I

the

circle on yoLll" timhl'I'. The

lht

1-101v to fi11rl ti!" rcn lr1 ot' 11 firdr

(II

make.

knot1vork carving easier. but thi s tep

II

of the

diagrams below show )ll'LI how tL1 do

oi

/;,-

side

knotwork can be incised. using a

Ila/(

tl1c S.:11gth of Iii lines . Pia tile

1>oi11l nl nth: ,nil'"'" n1c11L i11sitlt
1111d rutshl.- t/11 li111. u.p,111 011 111.

MIS of (f0S51'S. TJr,, u11lrr of

tl1e circk is al t/,.. /JtJi11! where

01'1cr /iii.

tht>se two li11.:s cross

Drnw

tr

litu bl'lwa11 Ilic two

7 cut out the small gaps be l'\M?cn the

hands. heart .:md cwwn and then turn

the work over lso that the back is
uppt'rmostl, in order to rnark th e

posi1io11 fo r tlw mirro r n~bate.

8 Lay th e mirror on the b.:ick oi the

frame so 1h,1t the ga ps bet ween

h.:inds. he.:irt .111d crow n .1re covcrl'd -

this will leave it ofi-centn.', tow.-irds

the botto m.

l)

Dra\.\1 round the m irrnr and 1hen

find th e cen tre of this circle, ,1s
described previously.

Io RoL1l a deep re ba re fo r the mirrnr inside

the li ne, to .1 ckprh of I Smm e1,in). i.e.
half the depth of rlw frame. There is no

need to rou! the centre of the circle.

a. this 1,0.11 11 be removed when tlK

remaining Cl.iddagh design is rnt o ur.

11 Cul out the remaining section of the

fr.:ime. the Llt)dlfagh design. using a
. crollsaw. trl' tsaw or jigsaw.

12 0n the front ol Lhe frame. dr.:iw in the

line

IVhL'f'C

th e cuffs meel the frame.

Using a str.1ight chisel. bevel th e

fr.1 me down to abol!l 2-3111 111 (i/'..i n)

below the lcwl of the cuii on each

[4;.:' - ::~.:

sk1e of th e fra me.

I J Transfer rhe kn~i t work design onto the

frame using .::arbon paper and reduce

the bJckgrOL1nd around the knolwork

by

.3111111 ('A; in).

th e

t\VO

II

Thi s \viii bl' l'J Sier if

gL1idi11g b<111ds were 1u1ted at

stage 6. Tlw outside edges of the

knorwork can be removed by cutting
down vcnkally w ith a sm.111 chisel or
gouge

and then liftin g the

vl.1stc out.

I 4 The small .Hcas between rh e light

bends can be rl' moved with the sharp
poi 111 of a knift'.

111

Ill

the same time'. round it over tO[' and

botton1 to gel rid

L)f

tlie squ.:ired-off

look . Sh.:ipe the hands hy reducing

the dept h and angling the fingers

dow11wc1rds.

1 7 Curve the

ski.;-::; oi the heart down to

meet Lhe fingers al the sides. Round

1hr thumbs .:ind make a dip al the base

of the thumb. Use your ov.m hands. or
those of ,1 1villing friend. to see the

sh,1pe they mJkc in this position .

18 Curve the edges of the roll JI the wrist

I 5 When all the background h.1s been

and round owr the botwm edges of

removed. score all the crossing lines

.rnd lower each !->ide to giw th e effect

the hand. Shape the top oi the heart.

curving it in bclL1w the bottom edges

of interweaving.

of the crown.

16 When ~haping l he Claddagh pa rt

of the design . ii is Jdvisablc to do
the b<1sic sh.:i1 ing of one hali first

as a guide. then you can sh.:ipc the

Next. dr.iw in thl:' line"> for the

fing er"> .:rnd frills on the cuifs.The

cro1-vn ailcr the h.mds and hean have

di1rk rnMk on

been completed.

is from

by <rngllng the cufi down in

towards the roll at the wrist. and

matching the slope on th e other side.

CELTIC W L'L11'<. Jl,\11

m~1tch .:md, whe-n it is completely

even and b.;1la11ced. sand it smooth.

L1the1- side ki m.at.:h it. L.::irvt' the

L~egin

74

19 Carve the other side of th<.' d<.'sign to

the

fingers in th e ~ hoto

knot th,11 I thought I 1vould

just miss - I 1-vas wrong. That's wood

for you. It does, howt'ver. serve

.:15

useful reminder that you should t,~ke

of knot:> ,1 nd nacks wlwn

from the hand to thL' n.:11 . Take it down

JlL)\l'

quite deep to give good definition. Al

choosing timber for a project.

20 Score iilong the lines. then cut a deep.

steep-sidL'd groove in bctwet'n the
fingers. R<. und over the sides of the
fingc-rs. then shapc the frills of the

cL1ifs In ,, similar 1.vay .1lthoL1gh the

grooves ,1 re not made as ck:q1.

21 To shape the crown. first reduce the
depth by 2-3mm ( .f.in) ovCt"all. so thJt

Ell

it docs not appear JS high ..1bovc the

heart. Transfer the design onto the

crown .:ind score along the str<.1ighr

horizontiil linc.

22 Round Lwcr ihe edges of the straight

section, top ,111d bottom.

~-

2J Score .1long the t\Vo ,m:hcd lines

and tllt:'r1 slope the pa!le-rn down by
.:ibout

2mm

('I.in)

to leave !hi::

'pacldtd Cllshions un tlw crown

raised Jt thL' botto m.
24 Re-draw th e lines and. at th e top of
the

..uche -.

bevL'i

tht

cushions

to givt a soft. rounded

appearance. Cut some creases Jr the

inwards

bottum of the cushions and round

over the bollom edge,

25 Slope in the bottom of 1hc- t~ardrop

sh.:ipe .1l tlw top

or

minimise

any movement

lif

the

!he ..::101vn and

wood. co.it thl' fr,1me \Vith al ka st

carvC' ou1 the little shape in thl' middle

two coats oi v.1rni$ h. to ensure a

by I mm ('l..inl .

really good seal - this will also help

prcvl'nt the mirr-cH king cracktd

26 Decorate the arches of th e crown using

a punch. I ,1ctually deco11ted mine
using an old posidrive screwdriver.

tut

a round punch could be used.

27 Cut a backing piece ior the mirror from

by

movem ent in the wood.

29 Place the mirror in the rebate wilh

the 1 lywood b.Kking behind . Fasten
it in place using glazier's points L'I'
tacks.

th e 4mm ('1.U nJ ply1.vood . DrJw round

the mirro1 to get the correct size.

JO Screw two small picture ring$ into

the

b<ick of the fr.:itne. level with each

28 Since

lh~'

frame is 111,1de from J

other 011 ei ther side of the 1ing. c:ind

singk picct' of timber. the gr..'lin \Viii

run in .111 di1cctions m~ind it. To

thrtad a piece of pk:t ure wire through

Ill hang tlw mlrTLll.

STAlNe-0

GL\ss upl1GbTeR

A ll'i11do 11 of tit<' 11111/rn/a1ory.

St Oswnltl '. Clmrr/1.

'"'"''''I

~~~~~ ccasionall}'
across
in the
place.
vislteti

.:i

one

CL")mcs

n"1ttm.' of stJincd gl ~ss means th.it few

t111expected

people hav~ the opportunity to see it in

I did wh en I

all its spkndour tmk~s they .:ire .:iblc to

visit the chun.:hcs, and photogr<lf'hic

111L1st
c1S

d1urch at Ashton-in-M.;ikcrfield.

1K';i1 Wigan. Lancashin~.

in this mcditJm . Unionun.Jtcly. thl:' vcr~'

hidden :;.11ictuary

to view the llarry

re p1L~ductio11

is

rarely

able

to

~fo

Clarke stained glass windows. I was

justice !o hi s jewel-like colours L11H.i

pr~'p.:ircd

stunning designs (see leit).

to be in awe of the windows

thcmsdvcs. having already seen some oi

his work, but ! was iakl'll by surprise ro
find such an oasis L'f c,1!111 jL1st a shc1n
dist.rnce from

.:i

roaring mown,va\'

For anyone who is not fomiliar with

th~'

n,111w L>i H.:irry Cki rkc. hl' \Vas

undoubt edly

one

L>f

the

twentieth

As a s m,111 tribute to H.Jny Clarke. I

have induckd .~ rainted glJss panel in

this uplightN. The u plighter is dl'sig1K'd
to hang L\11 a wall and gives off a soit light
which rn"1kcs the panel gk.1-..v like:- ,1
stained gl,1ss window. The fro11t ls
removabk to allow <Kcess to the light

C<.'nturys greatest stained glass .Jrtists.

fitting and it hns a carved zoomorphic

w ith a skill and vision rarely encountertd

design

a1

rlw

b.1sc.

1\RRY

HORN

CLARKE

IN

WAS

DLJ~LIN.

,\!though he suffered ill hc.:ilth for

most of his short

life. he prodLICed

.1

THI~

vast ,1mount of wo1k ior churdws not

SON OF /\N ENGLISH

only in Ireland . but also in Engkrnd.

IREU\ND lf\.I 1889.

fathL'r and an Irish mother.

His work Wcl~ strongly i11flt1cncc-d

hy the work of 1\L1brey f>eardslcy. as

Scotland, \Vales. AustraliiJ and ~cw

Jersey. USA.
gl,1ss

1lis c:irly wo1k in stained

can be SCl'll in his !llustrations ior lhc>

was CXl:'Cuted entirely by himself

literary \vorks of au!hors such as

but. m; demand 111cTl'ascd and his

Edgar

i'lll<in

PL1~'.

Sa111ucl laylor

hc.:llth

dctC'riL)rated,

his

stuc.!iD

ColNidgc, W. B. Ye.its. A!ex,11Kkr

undertook 111L)rL' of the 1>vurk. but

Pope 0111d l lans Christian Andersen.

alw~1 ys under his Sllpcrvision and to

His reputation as J stained glass

.1rtist w.:is firmly csrablfshed through

his high stJndards.

I l;.1rry C/<1rkc

died in Switzerl.rnd in

his first llliljor commission, to design

19JJ,

and m.:ike the windows of the l-1L1nan

sucn1111hcd to 1he luherculosis 1hat

Chapel in Cork. lrt'land .

he h<1d battled with for so IL1ng.

at

th.:

agl'

Li

41 , 11.Jving

SI Os1v11/d's C/111rdi, 1\s/1fo11-i11 -M11kaf1dd

Matcri.1ls
PhLltocopics of templates

a nd 191\. on pages

J <JA

11 B-19. bolh enfarged

by

113'~1'. and of J <JC on

rage

J 20

1\IDF mC'as u rlng: JOO x 355

.-: 9mm I 11 "1,. x ! 4 x ' . :i nJ
- milin front scc1iL)n
28 ~

x 70 x Ymm

( 11 '/ x

2'1. x

' k in) - small front section

IJO

x 2i2 x 9mm (5 ;. x

10 '/ 1, x ' ! i nl - ~ pieces.

for sides
40.'i

x 300

x (imm ( 15 ;,,.

11 " ! x '/tin) - b.Kk

I :2 1

2~2

I 2mm (r/. x

11 / x ,:.in) - h,1,;e

Continued rwr/m/

Sn1m.11 1,11\oS UPLIC.11111<

77

Materials

contlnu~d

DMk b lue J nd

Timb1:.'r measuring 210 x

:;o

1urguo 1sr m i.wd

x lOmm (8 1, x 2 x '.!,In)

fur carving <lime)

Do ts of s1h'cr or
gokt 1m1l;itil'n l<'Jd
o utlincr

ClcJr Jcrylic slKet

mt.<.:isuri ng 290 x 200mm
(ll/,x8inl
3mm self-adhesive
le,1d strip
llf .,1115'' ,rnd -

Tube of silver i111ira1ic.111

T 1ryu0i sc

-14 - i -

ydkiw rn l>:cd

...._ Pu rpi<' (d,,rk

blue , r1d red
mixed>

lead liutlin er

C r~i.'11 (bl!Jt'

Glass p.1ints in d.:irk blue.

a nd l'e llow

m1xcdJ

turquoise, red. orange.

yl'lkiw/gold. green
Wood

Or..1ng~

~lue

l'dlu1v

2 m.:ignetic catches with

flat mNal pl.:ircs

Method for the lighthox

2 Clean the face of the ilcryllc sheet. and

t\egin by making the painted stained

then lay strip~ of sdi-Jdhcsive le.JL1

gl.1ss panel. as this will be used to get

cilong the lines of the design shO\ving

Strip light fitting. ~63mm

.:rn .:icn1rate ir,1mc for the front of the

through from undc-rneath. pet'ling off

( IU ;,,,in)Jong. with 211 mm

uplightcr. T.~ke the cl e.:ir acrylic sheet

the le.ad-backing .:is you go. If you arC'

using the type of lead that comes in a
double srrip. cut ii .1long the middle
iirst. LI sing uclirniry household scissors.

All-purpose glue

(8 1. .inl. 30w light IUOI..',

<rnd tare templa1e I 9/1. underneath

mains iining

so thl' design shL1ws thmL1gh from

Acrylic primer

bt.>low. Cut round tht> outside llf the

design u~ing a scrolls<1W at slo1N

White paint

spcc..d. or use

Metalli.: blue Cl1 .lmc:I p.~int

(or

~(,Jlour

of your

~-hoke)

frC'tsaw. A slow

frt-t:'aw
Drill

Router (option a I)
Carving tuuls

the

manufacturer s

cutting speed is llt'CCss.iry to avoid

instruc tions, use the tool supplied

melting the plastic .1s it is being cul.

with the lead strip to press it down on

th e sheet il nd sea l the edge . m.::ik ing
sure no gap~ .:ire left for the paint to
scc'p through .

whi ch might jam tht bbde.

Tools
Scrulls..'!w. jigs.mi or

3 rollovving

4 The sm.:ill lines of the face. scrolls. the

diamond shapes at the ror. etc .1re

drawn on using the imita tion I 'ad

outliner directly from the tube.
5 When the o utlin er is

dry.

fill in rhe

design with the gl.:iss paints. using

this colour chart as a guide.

71!

C1-111c W1' t>DCRA 1 1

arch !' hapc by mar king off points

60111111 t2 'I.in) away irom the dr,1wn

line all the way round to where it

meets the sidt'S. Join up the various
points. w for-rn the ,irch and cut
around this shape.
10 Drill a pilot hole insidL' tht' previous
line yLiu drew. k)r the ~c:rolls.:1w (or
fret. .1 w) blade to pass through, then
cut out the remplate shape. Offer up
the p.~intcd panel to rhe fr.:ime. to
check rh,1t t ht' opening is ihe correct

6 To m.:ikc the hills look moonlit, paint

sizC'

bi.:fon.,

proceeding. Make

<i

in a lint' ufciark blrn." .ii che bottom

rebate in the back oi th<' frame - the

whilst the turquoise is still wet Allow

s.:irne depth as the acrylic sheet - for

it to blend in.

tht stained glass panl'I to fit in. Draw

round thl' panel to gt't the right shape

7 When th~- s~:.:i

h<1s been painted. buc

for the rcbJc e.

before ii is completely dry. etch out

the lint's of I he 1.vaws using a wooden

II Cut

toothpick. or round end of a small

paintbrush . The

linl'S

will

tlw two side

rempl,1tr.:> I CJ[) (on

p,1n~ls

using

pag~' 11 9).

show

through ,1s a silvery light when lit up.

I 2 Cut the sm.:1ller lower front panel to

Do the s.;ime ior the st.1 rs in the sky.

the size indicated in the materials list.

and tht-n angle the top cdgt::

8 Once thli' glass rain! i. completely

d(Will

tow,1rliS the b;ick to march the anglr.:>

dry. usli' scissors to cut .a\vay the

creared by the notch on the

twl">

surplus ,1rl'a around !he outer edge of

sidepieces. This can bt' done using .1

the template. beyond tl1c outside edge

plane or sander.

oi the le.id. Dc1n 1 worTy if the panel

outline changed when the lead strip
was <ipplicd - it may well end up
slightly different from tht original line
of the template - as it will provide you

lJ

lark thl' b,1ck piece to the size givt.>n

in thc rna1crials list. use> the front as a

template to create the s,1me arch

shape .1t the top, thrn cu1 it ut.

with a wry .Kcurate template to ust'

in the nex1 stage.

14 Drill two holes in the back near the top.

which will be used lu hang the light on

9 Cut the rim I er ior the main front

the 19,~ll. Use a drill bit l.1 rgl' enough for

ize i11dic<1lt'd in the

a sci-cw hl',]() to pass thr1.x1gh. and then

piece

(L1

the

matc-ri.1ls list. Placc- the rem plate you

drill a srnaller hole above it lo create an

have just re-sizl'd on 1he timber,

upside down keyhole sh.:ipe th,1t the

pattern side up, positioning it about

screw will rest on .

60111111 (2 lk.in) irom c.~ch side and

tor . and zibout JOmm ("1,in) irom

bottL rn . Draw round thc:-

the

ternrl.:itc, and then nrnke the top

I 5 Cut the base 10 size and cut out a

small squJre at the back to allow the

light c.1bk to pass do1v11 .

phot..)gr.~ph

5how. al l the
the light box. except
for the hack. which is longer than lhe

16 T his

19 Screw

rhe

metal

plate

ior

rhc

compL)ne nt s of

n1 agnetic cMch to the inside oi e,1ch

front and without the ho le.

dow n from the top. Screw the other

side, approximJtely 70mm ( 2 'i,in)

part of the ..:.1tch to the inside of th~

,:ill the pieces \>1.-'hi tc,

front piece to match up with the

wh ich will help show off the stained

metal plate. Thi~ will hold the front

gl.:iss w hen tlw Ji oht i. not on.

_ecu rely in pi<Ke. bL1t ena ble i1 10 be

I i Paint th e i11 side

L)f

removed , for access to the ligh t.

I 8 When dry. )sscmblc as follows.
count<:'rsinkin8 ,111 rh c screw head s:

20 Check th .oit all tht' joins arc lightproLlf.

the

pa rticul<irly wh ere the main frLint

a lo ng thL'

piece rest s o n the sloping pa rt oi the

length; glue .:i11cl ~crew the ~m.1ller

smJJI, lowct front piece. (Ii you h.wi.:

screw the s1rip light i itting o nlL1

base. placing it centrally

fn)J1 1 pit'Cl'

to the fro nt of 1h e b.:isc.

Glue .111d screw the sides

10

the

base a nd shlirt front piece. Gluc

a nd screw the back to the base and

sides. ensuring that the light c.1bl1:'

iits down the h le be.tween the b.?isc
and the b.:ick.

difficu lt y wi th thi s, you can glue

any light tscaping. after It h.as .111

been p,1i ntl:.'d .
21 Paint the box <15 desired . I used four

coats
give

19

. I
\

oil

strip o( fell behind the join to stop

ci

o( m etallic

blue enamel paint to

deep richnC'ss to the bo x.

22 \Vhen the paint i - dry, glL1e the

painted p.rnel inro pla.cc in thl' tcbott'.

If the re

any gaps

are

showing

bcl\\'een the outer kJd decoration

.:ind the frame, use the i111it<1tion lead

t.:i

fill them in so that no stray light

wi 11 shmv when it is lit u'p.

Me t h o d for t he ca rv ing
Transkr the template for the carving
(I 9C

on page I 20) onto the rernaining

piece oi timb~r. Cut out thL' internal

sh.ided areas rnd then cut ruund the
L1utside. using

.:i

scml lsaw or fretsaw.

ii S ore the lines oi the deslgn and

then

reduce the wuod where the dl'sign

appears to weave under another band.

,,

iii Round over the sides of the bodies

cind legs. and shape the cl,1ws as for

the eagle plaque <1 n d zoomoi-phk'
lovcspoon (see pages 26 and 61 ).
iv Shape the heads by reducing

.1round

the forehead and cheeks. and then

rounding off the edges. Re luct' the

teeth

by .:ibout I mm below thC' jmv

and round them over.

v Gluc the dog motif onto the front panl'i.
vi Finally. hook the upllghtcr over two

wall screws .

T/1r ,-m1111/cwl dos: 1110/if

S1 . 11NEll G L~ ss u ruc11 Tr R

SI

Mare rials
Photocop.ies of tcm p l.~te~
201\-201. on pagl'S 12!-25.
Enl.1rgc 20F by 111 %
Timber measuring

1'15

x 1100 x

15'!.

x 43 x -'A in)

11::\mm
(pine)

Timber measuring

x 240 x 18mm
( 11 ;., x 9 h x '/. in) (pine)
]CJO

TimbC'r measuring 800 x

50 x 4mm (JI '" x 2 x 'kin)
(1\111crican h<1rd m.ipld

Wood glue
10

x wood !'news.

countersunk

x cross-slot chipbo,1rd

screws. countersunk

his final project is in.:idt up

6 x pl.Jstic screw covers

oi lhrcc bathroom fitt ings toothbrush holde r, lowcl

I x lOOmm nail (4in)

Sprung toilet- roll holder

Cl.lss or plcis1ic

\U mbler.

approx. 56m m ( 2 '/1in)

di.1meter at base

ring and toilet roll holder which

Emulsion or gloss p.;iint in

1wo contrasting sh~des

Clear varnish

with

fish

.1nd

inC'rm aid morifs.

Fish apptM on Celtic metalwork

s uch as coins .rnd cauldrons . and on

many

Wood primer

are decorated

Pictish

stone

~.1rvings.

panicularly in the form of a salm on . In

Celt ic
mythology
the
s<1lrm1n
represents knowkdge and wisdL1m . In
Irish mythology. 1 p.ir!icular Boyne
l~iw r

salmon

wa:;

said

tll

be

empowered with great wisLfom and

whoever \Vas first to cat !ts fl e. h would

82

c I I. r I (

\'\I LIL l

ll L. ,,

r r

gain grt'c'.11 kno1vkdge and havl? th e

(till' arms of the towel ring) .:ind 20E

power

(the k)othbrnsh

tL1

fc..)relell future evt>nts. Whrn

holder) L)n!o lh e

Finnegas the bc1rd caught ii, he gave it

l'L'l1Bining

to his ''PPl'l' ntice Finn 1VlcCL10I to cook,

timber. CLlt out the sh<1 rcs. using J

with strict instnictions nut to t.1st c the

scrolls.~w

I 45mm

(S '/dnl

wide

or fretsa1v.

flesh. As 1hc fish W..1.S cooking. Finn

prodded it with his thumb .:ind burnt

2 If

yoLJ h.we .:i router, re Lit a dccor<itive

hims elf. Ht instinctiv~ ly put th' thumb

edge on the face

into his mouth ,;rnd unwittingl y became

pl.:ites and the arms of the tollet roll

L>f

the three back

the pussessor oi the gn~.~t kno wle dge.

hi..ilder and towel ring hokier. I used a

He went L111 ro become a great leader.

6mm ('.<iinl diameter ovolo hit. If you

and legend has ii that every lime he

don 't have access 10 a router, the

faced a difficult decision. or w.rntcd to

1tdglS

L'.L~n be rounded over using .;

sec into thL' fulurc. he would suck his

s,111ding drum anached to a Dremel or

thumb tu ~all llf~Oll hi s magi c rowl'rS.

other rotary loo!. or

by using a

1m'dium (I 20) grade s.~ndp..1rer.

In Celtic mythology. km,,Je dl'ities

were .:issoci.11ed with fresh Weller, and

natural springs and wdls were often

3 MJrk !he position of the rebates on

the iace of the three back plate~ and

believed to h<ive healing powe1s.

The image Llf the nwrm<iid as h.,lf-

arms c.if the toilet rnll holder. This can

woman. h ~If-fish appears in Till' Hool< of

be do ne either by drawing ar-ound thl'

Kells. ak111~ with

outside guidelines of templates 20G.

,1

niermc1 n. ThL' 111errn,1id

carving on

20H and 201. or by culling the shape

one of th(' tv1cigle Ston es hol1Scd in the

out oi the card template and drawing

i\.1eigle lvlltSL'L1m in Angus. SCL1!],1m1.

roLmd rh e cutout.

in this project is b.3sed on

.:i

Rout the rebates to a depth of 4 mm

She .-ippt>ars on a small fragment of

architE'l'lur.:il

frieze.

betvWL'll

(1.. Jn). If you do not h,we a router.

two

Tools
Sa0llsaw. or jigs..1\V .ind
fretsaw
Ori II and sncwdriwr
Router (optional) or

SJndpclpt:'r

SCOf'L' around the outlinL' with a sharp

..1nimal s.

knife .:md remow the inside waste

With the coming of Christianity. the

Carving tools

using a chisel. See the three photos of

iish became a symbol of Christ.

1he ,1sscmbleci pans, on page 86.

Method
1\'lake L'L)pies of templates 201\-2L1F.

paste 1hcm onto thin c~1rd and cut

them out.
Take templates 20A fback p!Jte fm
the toikt mil holder l and 20B (the
back pbte for both the IOL1t/lbrush

hL)lder and towel ringJ: draw around

these ontu the I 45mm (5'!.in) wide
timber-.

m,1king

ti.vu

copies

of

tempJat C' 2013. 011e ior each item. Cut

the shapes out oi the timber using a

scroll s.1w ur fretsaw.
Draw around templates 20C (the
arms of Lhe toilet roll hoi<.forl. 20D

II
R '

111 uth 1t\1

S ~r

SJ

4 Cut pil'Cl'S 20C and 2DD in h,1lf down

B Cu1 1he lw.1d and point off the nail to

the ccntrt2 line. wherl' m.1rkL'd on the

leave it 77m m Din) long. This can be

template s.

dune usi ng

.1

cut- off disc in a rot ..iry

tool, or a hacks,m'_
5 O n the n:m aini11g pie1.c of

('/,inl

timber.

dr.:iw

l 8rnm
L'irdc

9 Drill a llL1k Jt the centre of ecich

in

inside face of the towel ring arn1

diamc.'tcr. rhen d1J1<\ ,111uth N l"in.:I~

pieces. t~111plate 20D . to a ciepth of

I 8mm ('1<in) inside that. Llsl' tc-mpl.:itc

6mm (',,<In ).

222111 111

approximately

(8"1iin)

20F to give tlw top h,1pc.:'

l.lf

the ring

where inciic"1tcci by the lcmp l.:irc. (If

necessary. erase the do!!l'd line

tL1

avoid confusion whe n ('Ulting out.)

Cut the piece

l)Li!.

could use it to get an accuratc sh-1p('

the

mug .111c1 toothb rushes, w here shown

L)l1

fe l1l f'l.1te !OE.

using .1 S(Toll s,1w

or fretsa1,v. II' you h,w<;,> .1 rl1ut~'I'. yuu

for

10 Cut out the five ho les. for the tooth

pdrt-circlc.

follo1vin~

the

11 Using a countersink bit in the drill.

111.-ike a depression on the inside
t'ild1

Lli

toile t roll hokier arm (templ.:ire

instructions for the Claddagh Mirror

200. Position the depr'ssions 35mm

on page 71 _

( J ';,in) from the iront of rhe arms.

6 Round over the front and rl'ar iaccs of

I 2 Drill pilo1 holes through the back

the ring. using ;,i router if .w.1ilablc. If

pl.:lles

not. the corners can be s,,ndcd o(f.

le;,iving the ring in ;:i more.' squared-off

allow th em !o bc screwed lo rhe

of

the

toiler

roll

holder.

toothbrush holder and towel ring. to

finis hed. Position

the

shape. Keep the two ends Llf the tof1

wall

whC'11

extrmsion square. where It will Sil

hL1lcs

nc<H tlw top. on e ilhe r side of

between the

lh c rebate.

t\VO

arms.

the

1.1 TcJ make the; decorative inserts, nit

top of th e piece as shown. m ..1ki11g

the <Imm ('61inl thick ti mber rough ly

7 Drill a lrnle length wisl:'.' throLigh

i t slig htly l.irger in di ..1rnct<.'r th ..1n

to the

the n ail_

need

length of the nwtifs; you 1vill

l\\IO

of tcmpl.:ite 20G. four of

template 2011. '1nd tlrn~e of templat e

18 Cut round the outside ._1f the design

201. Stack the timber tog1.'ther for e,ich

and cardully separatc the pieces.

motii using ch.:iuble- sidcd sticky t<ipe .

Tr ..rnsfcr Lhe lines onto c..:i<.:h

as described for the Celric l<n twork

th en

Border 011 pag~'

CMVC in

f<ice. and

the usual way.

JJ.

19 i'vlakc thrl'c CLipies oi templa te 201. in

14 Pl<ice the appropriate motif

011

top of

r1ifot holes 10
make the intcrn<1J rnts. Cut out the

the

s.:i m~-

wny.

each stack .rnd drill

i ntl' rna l waste .:ircas J11d tht'n cut

rl1u nd the ou tside

li f

20 Seal the Cill'V~ d decor,~tivc pieces with

..:i cle ..1r v ..1rrfr;;h.

the m otif.
21 Prime ..111d paint the

15 To make the two fi sh (template

b.1ck platL'S oi
the remaining pieces - toilet roll

20G I. carcftil ly SL' parat e the pieces

holde r. !001 hbru sh holder .~ nd rowe l

a11d transk1- the lin es of the de sign

ring - ,)11d the arm s and !OWl'I ring

onto opposite faces of th e timber,

itsdf.

5Ll

th<.H ea (h

fish

facl's

i11

the

orposite dircctk n.
16 S ore

along the lines and rl'dtKe

usin1~

,, darker con tr as tin g

colour in th e reb ..~tc d JrcJs. Parnt th e

face L'f the six screw-head covers to

match the back plates. Ii YL'LI prefer

th e natural IOL)k oi th e wood, the 5 l

either side of the cmssing band s.

can be v..unished instt'ad, in which

!~educe the dept h

case us~ a L~ L ntra sting dark VJ rni sh

L'f the iins on the

body and t.:iil. Hound over the sidt>s of

for the rdJ a tes.

thc bands and he..:id . and m.'.lrk in the

eye. Us a sma ll chisel to Sl'ore linr:s

on thl" iins.

22 To a. srn1hk the set. screw llw arnis

of the tL1ilt?t roll hol de r on tL1 the back

plate
I 7 1<_1 make the four mermaids , first
make the inttrn..:il cuts. and us~ a

make the
hoks in tlw tight c:urls oi th e lt>gs.

small 2mrri ('ld nl drill hit to

from

behind.

lea v ing

dist.inn' of I 2Jmm (-t 'A in l bL' t\Ve en

them. Place the sprung holder in
bct\\l('en.
IL)cating
it
in
lhe
COL.lllf('!'St!l1k

holi;s_

m,~~------

~< ,~
-~ _J,

Tire nsscm!i/cd com/'(111e11/s fw c.nrl

1mrt a{ llu: sci

Screw the toothbrush holder onto the

- f.King forward - on the outside of

back plate from behind .

ead1 .:irm of the toilet roll hL1lder. the

Pass the c ut- down nail th roL1gh

three fish motifs at the rop oi <?ilch

and the four merm,1ids ,1t

the top of the towel ring bdorc

b<1ck plate,

placing an arm

ecich side of tooth mug holder ,, nd

011

each end of the

nail. then screw the arms in pl,1cc

on the 1cmaining back pl<1te. Th~'
towel ring shou ld then swing llllt
freely on its nlL)lllll.
Glu e all the decorative ~'i 'ccs in
place. positioning the two fi5h motifs

towel ring.

23 Screw each piece to the b.:irhmom w.1 11

through the pre-drilled holes, using
the cross-siot screws. l~re a painted
screw cover LWer each screw hea d.

The PROJeCT Oes1GNS

ht.> designs needed tl' make
.1/1 the proje1.:ts in this book
.ire induded here, and they
hould be phot<.1coplcd or
traced off. Llnlcss otherwise st.:i1ed. the
designs are drawn to the corrC'Ct size to

Areas that Me to be cut out inside

the designs ure shown In diagonal
sh.1ding on the designs. (Noc all the st~p

by-stcp phOLographs show this shading.)

Arens that need cl.:iriiying ior
.my other reason - for example where

mak<.' lhc rrojccts. \.Vllcrc a template

b.-ickgrl)LJnd has to be reduced but not

needs 10 be enlarged \vhen phl)IOCopying.

completely rcmowd - are indicated by

thr size of enlargement is given.

vcrtic.-il shading.

Celtic knotwork border

s ee page

12

Bi

------ -~---------~-----------

Knot\vork overlays

see pngc 1;-;

28

2C

20

In it i a I 'm em 0

h 0 Ider

t:;ce pogc I 8

Tiil~ 1RPll LT

l'l.S .C." .I~

SQ

Initial memo holder

See page 18

38

Initia l memo holder

sec pagl'

1s

3(

- --~~-"~~ ---

-- --~-~-

Initial memo holder

see page 1s

30

In it i a I m em o ho) de r
1

3E

see po,(jc 1s

Claddagh lovespoon

s.:q111gc 2L1

Dou blc photo frame

sei: 11 aw 2J

T 1-11- PRop: CT \;'[SIG~S

95

Eagle wall plaque

see r11 rgt 26

..
.~

. ~:

:~

;~ -: -

....

..

'

- page 31
Message board See

1
lhh- t'J
' b e er J
' np I,lt~ nee d<... 1L
---::---
1 ,1rged by :".t<~ <

---~------~~~
..

Message boa rd

s ee po.gr

......

JI

7B

7C

7D

L-- - - - - - - - - -~- ~~

... .....

-~~-~-

'Tree of _Life ' se ed keeper

SA

sec page _H

'Tree

Of Life' Seed keeper

See page YI

This 1.-mpl.He llL'eds 10 be enlMged by 125 %

100

Cr1.nc WooncRArr

'Tree of Life' seed keeper

s.:c page .H

SC

-~~~- ~--------- --

. .

Ha nd m i r r 0 r

Sec pa.15e J 7

no nol

9A

lj

l'lll Olll ~h.Hli!d ML'.JS

--- .

--~-=---------------------~---------------------:

Dragon trinket box

s ec page

-n

JOB

 ------~----------- -- -----------------------------------------

Knotwork jigsaw boxes

sec pngc 44

llA

------- - ~--

------.......,.---:---

--

-- - - -

Knotwork jigsa\v boxes

see pr1gc

+1

Knotwork jigsaw boxes

I Ob

CHT!c W u0 D ~ "Af ~

sc"' page 44

Celtic cros s sec paf!e -18

i L~

Tll !

l '<U ) h-

T 111 \ IGN$

107

Fun photo frame

sec pnw s2

13/\

1J C

::::;J
13B

.----'~-::... ~

... :.......

......... ~ ~-- -~-

l\!lirrored candle sconce

......::..,_~----

sec page s1

----~~-

14A

Bad

148

I Ill

CELTIC \\I DODCR.-\1[

Sides

Zoomorphic lovespoon

""c pngl' 61

'I

'

L
l 11 r

HPI~<. t l'!:~ll'I'

11 1

Coasters in holder

see page 64

J6A

Rmpl.:ite for holder

16B

ThL'Sc tl'rnplatcs need h> be en larged by 12.'. %

Coasters in holder

sec page 6-J

160

!6[

\
16G

T11 1 1ll~'lcl llCSIG~'~

11

~~-----~---'"'

............

17A

17B
Tc1npl.1 ll' f'r hon k~-1

11 4

C11r1c WL'wDc1;.ur

Claddagh m I rror

see pnge 11

T~mp l ,1 t c~

1~ 1\ . ll Jnd ( ro

b~'

(oined

JSA

This l<!111plal c

lll'l'd s

robe enlarged by 142 ~.

TH 1 - f~:~ JL L

QEs:c ~.1 :-.

I l5

Claddagh mirror

This 1er11 p.11e

I
ned ' to bo:' ml

------~ ;irp:d bl'l42 %

~- --~-.: -::

1 16

c unl

W o l i [lC- It \. f 1

Claddagh mjrror

see pngc: 11

Uplighter

Sre pnge 76

Tmrl.it~

19(

for <.:,1rvi11g on fronc L'I upllghtcr

Bathroom set Secpn,~c8 2

r -

L_ -

- J

,---

t_ - - -

---------~ ---------------~------- ..,-=..,..-----

Tiir.

PIW1h" l

1.'I~ . l[,IJ~

121

Bathroom set

St'<! pagea2

20B

------~~-

Ba th room set

si:c 11 ngi: s2

20C

I
l

l'

200

20E

Bathroom set

sc:c 11n.s.:c s2

- -- -

\
J

I
I
I

20 F

-. ------.,----~124

Cr1.11c W 00D-.: 1;.-'.FT

. ....................

--~-~~------~--~-~~~-

Bathroo1n set

s\c page s2

20H

20G

201

Glossary
Ancl'Sfor stones

i\'1cg.1 Ii I h ic

Fl.1t ptbbles. i11cis<c?d or painted. kiund in

,\ il.:ick ~1f or marked by th e use oi hi~

a c,we in the Fr('nch Pyrenees. which

stones.

\Vl're believed to CL1ntain th~ spirits of the

de.id.

Phylloinorphic

1\nthropomorph k

and plants .

Design based upon th{' form of lea\'C'S

lksigns based upon the ior1111.1f hum,1n s

Recto
Book sh1foc

The front of a folio .

f\ box made of mL'lal. or wood ,1nd JTIL'Lll,

in w hich a !<PSpcl Lk1ok was :>101-cd for

1?.epoussc

pl"lltcction.

Relid design on metalwork r1 roduced

by

hamrn(.'['lng from behind.

c.1rpet page

p.1ge in .1 gospel boL1k

that consists rurcly oi decor,11io11, with

1\n ornamental

11Ll

Triskdt'
Thrcc-lcggL'd spira l motif.

text.
Verso

Folio

The bilck of a folio.

Ont' page of s m,1nuscript book.

Votive
Insular

Civcn in fuliil ment of a

VL)W.

Produce l in Britain or Ireland <IS oppo. eel

to Continental Europe.

Zoomorphic
Design based upon th<' forms oi ,1nim.1ls.

La Tcne
Prehistory periL1(.l, naJTIL'd after a S\viss
archaeo logical site.

bird s

,111d reptiles.

$17.95
Can. $27.95

Uplighter

seepagc76

Tcmpl.:ue for st,1incd gl.iss pand

l 9A

LI plighter

St'c p11ge 7t

198

Th is lt' l11J'l.1tc nt' t'd s to

bt> t'nl.ug.:d by 133.,

Tr&t-

r~L"'ll"" 1 tH !>l\jN S

I CJ