Wood’n Bits Workshop

General Woodworking and the Creation of Miniatures from Wood

Create Miniature Furniture with Handsaws

Larry | April 10, 2009

If you listen to the talk about miniature furniture in Internet conferences, it isn’t be long before someone expresses something like “I’d like to build miniature furniture but I live in an apartment and don’t own power tools.” That’s a shame as furniture is so fundamental to roomboxes, dollhouses and the many other scenes created by miniaturists.

It’s a misconception that you need fancy tools to create miniature furniture. I’m not saying that having a lot of fancy tools doesn’t help. Heck, I’ve spent a bundle on mine and don’t want my wife to think they are anything but absolutely necessary.  But just as our parents managed to cook without a microwave oven, furniture can be made with a few handtools that can be housed in a shoebox with room to spare.

The most basic operations when creating miniature furniture involve cutting wood. You have to be able to 1) create “boards”, the starting point for any cabinetmaker, 2) you must be able to cut them to length and sometimes 3) you want to cut curved shapes for details. So, with those three needs in mind let’s look at some inexpensive tools to get those jobs done.

Creating boards

Avoidance strategy

Sometimes the best ‘tool’ is ingenuity. It’s not unusual for a cabinetmaker to start with boards that are 3/4” thick and 6” to 8” wide, even when they make tables with large, wide tops. They take boards, ensure that the edges of boards are flat and true, and edge-glue two or more boards together to create large, flat surfaces. If you look at full-size furniture you’ll see the results of this process.

Why not do the same thing in miniature. This actually adds a nice detail to your work as the seams that normally occur in wide table tops, etc. are present in your miniature.   Earth & Tree Miniatures sells 1/2” wide (6” in 1/12 scale) mahogany, cherry and walnut. If you buy 1/16” and 1/8” thick stock, you will have boards that are 3/4” and 1 1/2” thick that can be used to make most things.

To join two boards, sand the edges with a large, flat sanding block to square up the edges. Hold the two boards together with a light behind them to check the seam. Add wood glue to the seams and clamp the two boards together.

Sneak up on it

If you decide that you need to rip-cut (cut along the grain) a piece of wood, draw a line where you need the edge to be and use a razor saw, just outside of that line, to make your cut.

Then use a large sanding block to sand the edge to the line. This should give you a very clean, straight edge.

Crosscutting

The most common cutting operation is the crosscut as these cut the various parts to proper length. There are three important goals. The most important goal, of course, is to cut the right length.  I’m going to assume you can measure and mark your stock as this post is about saws, not measuring devices (grin).

Unless you’re going to do some fancy joinery (beyond the scope of shoebox tool kits for the most part) you’re going to want to butt-join the cut edges to other pieces of wood. This requires a 90-degree end that is very smooth and that has crisp edges.

To accomplish “square” (90-degrees to the length) cuts, you need a miter box. It need not be fancy. Excel, Xacto and others sell a simple metal miter box that will serve your purposes.  I described the construction of a better and cheaper miter box in a previous post.

Miter boxes guide a “razor saw” to produce the 90-degree cut.  To get a very smooth cut, use a razor saw with a lot of teeth.  I have saws with as few as 29 teeth per inch up to 54 teeth per inch.  You want to have at least 3 teeth in the wood at all times.  I’ve discussed razor saws previously as well.

There are two schools of thought (western vs Japanese) when it comes to how saws with thin blades are to be used. The western approach is to have the saw cut on the push stroke while the Japanese prefer to have saws cut on the pull stroke. I prefer the Japanese approach for small razor saws as it seems to give me more control. It also allows the manufacturer to make the blades thinner as there is no tendency for the metal to bend as when pushing a saw to cut.

Because of this, I prefer razor saws made this way. Zona is a company that produces such saws and while a bit more expensive than those available from Xacto, they come with nice wooden handles.

Cutting curves

Curves abound in furniture, however, and a razor saw won’t cut curves. For that you need a jewelers saw. These are similar to a coping saw but should not be confused with one. Jewelers saws use a very thin blade with a very high tooth count. They can cut very tight curves and do so very smoothly. They are best used with patience, working the saw with a light touch, letting the blade cut without much pressure placed upon it. This will take longer but it will also save you a lot of sanding time. No matter how well equipped your shop is with power tools, you need one of these for making miniatures.

In addition to the saw, you need a v-block support, sometimes called a ‘beak’. The most common of these is nothing more than a board with a hole drilled in it and then two angular cuts made to open up the hole. This is clamped to the edge of your table using a C-clamp.

While these work just fine, I thought I’d show you mine. The idea actually came to me from Tori West (IGMA fellow) and what I like about it is that it gets the work up higher, closer to my eye. It takes only a few minutes to make, so I thought I’d include the plan here as well.

To make an actual curved cut, you will want a template to follow. I draw them using a graphics program and then attach them to the wood using a “restickable glue stick.” I rest the wood on the v-block and start cutting around the outline. In no time I’ve got the part I need.

So, next time you need a piece of furniture for your project, consider making it. Even without shop and power tools, it’s well within the grasp of people with a minimal set of tools. Besides, the hand tool approach is much quieter and far more relaxing.

Cheers — Larry

larry@woodnbits.com

Lisa’s Casket

Larry | April 9, 2009

In yesterday’s post I mentioned that Lisa Salati was instrumental in getting the ball rolling on the casket project.  I owe her much for her knowledge and patience during the design process.

This morning she announced that she’d returned from her Bat Cave with her own completed casket and I’m using this as an excuse to do another post on the caskets.  This time, since I have a single one to present, I’m going to take you on a trip around the tiny box, letting you see the detail the women are putting into them.  It’s truly amazing.  As you do so, it’s useful to know that this particular casket has 64 stitches per inch…all over it.  That’s a LOT of stitches if you think about it.  Even if you don’t think about it that’s still a lot of stitches.

Casket Without a Funeral

Larry | April 8, 2009

Long ago, in a land far, far away, there was a Yahoo group called the Petitpointers.  Ok, ok, it wasn’t so long ago and it wasn’t so far away.   “It was a dark and stormy night…” just didn’t fit this story.

It all began when Lisa Salati, one of the moderators of Petitpointers asked me to build her a 1/12 scale “casket.”  My first thought was “Did your doll die?” but as it turns out, caskets were needlepoint-covered boxes, often stitched by young women during the 17th and 18th Centuries.  They sat on bureaus and were used to hold stuff, like jewelry or maybe sewing/needlework stuff.  If you are part of the brighter sex you probably know this, but being a guy, it was new to me.

Anyways, Lisa was helpful in providing information and assisting in the design process and so I built a prototype.  She posted a photo of it in Petitpointers, where the women were talking about doing casket needlework.  Things happened quickly and before I knew it I’d agreed to build some more… eighteen in all.  That meant building 72 drawers, installing 108 miniature hinges, using 432 tiny nails (actually more like 450 as they tend to fly off into the ether in my shop), and so now I’m half-blind (grin).  I supplied them unfinished and without drawer and door knobs as these had to be added after the needlework was added.

The table these caskets are sitting on is 7 1/2″ long and the caskets themselves are 1″ across and 3/4″ deep.  They are small.  Drawers, doors and lid are all functional, of course.

I emphasize the size because my part was the easy part of the casket quest.  The rest of this story involves super-heros, doing the impossible, stitching on the head of a pin, fighting the Balrog in the Mines of Mordor… oops… best not get carried away.

The women are working, currently, on the petitpoint panels to cover their caskets.  Imagine creating a needlepoint scene on a casket door measuring less than 3/4″ sq.  Then imagine doing it repeatedly to cover all of the casket surfaces.  Even the drawers that I assembled under a magnifier.  Tiny is as tiny does but geez…this is really tiny stitching.  Super-hero skills required.

Thus far, three caskets have been finished, by Elly Nedaker, Frances Peterson, and Fay Zerbolio.  The results are stunning.  One rule of miniatures is to never photograph them much larger than the actual size but in this case I just gotta do it.  Keep in mind that the photos in your mirror are much smaller than they appear.

Elly lives in the Nederlands and the embarrasing thing is that she speaks/writes better English than I do.  My Dutch is completely lacking.  Here’s her casket.  Be sure to click on these photos so you can see a larger image.

Frances told me she wanted a casket but wasn’t going to do the needlepoint.  This seemed to indicate a level of intelligence that few of us demonstrate.  But, as time went on, and people started sharing stitched panels, she succumbed to temptation.  She started chanting the Spiderman slogan “With Great Power Comes Great Responsibility”, donned her super-hero outfit, and stitched up this gorgeous piece.

Fay Zerobilio was actually the first to complete her casket.  If you go to her website you might understand why.  She is VERY productive.  If you haven’t guessed, I’m somewhat in awe of what these super-hero women accomplish.  Here’s her casket.

I’m going to end this saga with a photo of Fay’s casket in its natural habitat.  It’s just sooooooo KEWL!!

Cheers — Larry

larry@woodnbits.com

Wizard of the North

Larry | April 6, 2009

I’m still whacking away at hunks of basswood, trying to turn them into recognizable objects.  Here’s the latest, a 4 1/2″ tall wizard.  If he takes his hat off he’s about 3″ tall, so I guess he’s 1/24th scale.

I’m particularly pleased with him as he was carved without the support of a pattern of any kind.  I just took a block of wood and removed everything that didn’t look like a wizard.  Hope you like him.

Q&A on Carving Knives

Larry | April 5, 2009

Do you use an Xacto knife?

Several people writing to me asked about the knives I used.  Most simply asked if I used an Xacto knife.  While one could use an Xacto knife, I suppose, a purpose-built carving knife is a superior tool in my opinion.

I’m trying to learn how to do what is called “flat plane” carving.  The goal is to create a caricature style where you create lots of flat facets that create the shape of the piece.  The best way to do this, it is said (I’m a rank beginner), is to use a flat, very thin blade.

Here are my knives – a Helvie detail knife (top) and a Wells knife (bottom).  The Wells line of knives is very popular with flat plane carvers, probably for a variety of reasons.  The large, squarish walnut handle is very comfortable in the hand.  The blades on these knives are very thin and somewhat flexible.  The thin, flat nature of the blade causes them to move through basswood like butter when they are very sharp and it seems easy to keep them that way.

The Helvie knife has a blade a bit thicker than the Wells but it’s more pointy and not as deep.  This allows me to get into smaller areas as you might with an Xacto knife.  While mine has a mahogany handle, they can be purchased  with exotic, laminated handles are amazingly beautiful.

Another tool that gets used in flat-plane carving is a V-tool.  This is simply a gouge shaped into a V and it’s used to create hair.  Most seem to use palm tool (very short) versions of these tools.  Particularly popular are the Flexcut tools and the cost of such a V-tool is about $15.

It seems that most carving knives can be had for $15-30 but there are several ‘beginner’ knives that are considered very functional for less than that.  In short, the cost of getting a good tool “set” for this kind of carving.  You don’t need much.

What wood do you use?

Most people, me included, use basswood (Tilia americana) for their carvings.  Those in Europe might have better luck finding limewood/linden, which is just a European species of Tilia.  These woods have relatively little grain, making carving a joy.  With that said, many of the carvers here in Quebec use White Pine.

How do you sharpen your knives?

Sharpening is one of those words that is not very precise.  Most of us use it generally to describe what we do to get our tools…well, sharp.  But a closer look at the jargon suggests that it really refers to the shaping stage of getting an edge on a tool.  But this is simply one of two steps towards sharp tools.  It brings the two sides of the tool together at a very acute angle.  I use waterstones for this.  Others use sandpaper, diamond stones, or oil stones.  All of these work well if you learn the techniques associated with each.

I mention the two ways of using ‘sharpening’ because, for the most part, when you buy a carving knife, you can skip the first stage and move right on to the second stage which is honing.  Honing is all about polishing that acute angle.

We’ve all seen the barber stropping a straight razor.  The irony is that while we believe our razors are sharp, the blades in your disposable Bic razor aren’t nearly as sharp as the edge the barber achieves by stropping a high-carbon steel blade.  As an aside, you can improve the sharpness of Xacto blades by stropping and the results are very noticable.

Here is my carving knife strop.  It’s nothing more than a piece of wood with some leather glued to it.  While this one was purchased ($12), many people pick up an old belt at a flea market and glue a hunk of it to a board.

The green stuff is honing compound.  It’s really just a mild abrasive, so fine that it can produce a mirror finish on your blade.  You rub it into the strop (a couple drops of oil help this process) and then pull the blade (sharp edge trailing), back and forth on the strop, applying some pressure to the strop.  What’s important is to maintain the angle of the blade consistent.  If you roll the blade (and the tendancy is to do this) you will dull the blade, not make it more sharp.  You know when you’re done when you can cut, across the grain, and get a very clean, shiny cut.

I’m loving the questions you’re asking.  Keep it up.  If you have a question, be assured there are a lot other people who have the same question but are afraid to ask.  Be bold and email me or post your question as a comment on the blog.

Cheers — Larry

larry@woodnbits.com

20-minute work tray

Larry | April 4, 2009

I needed a small work tray on which to do my carvings.   I didn’t want to spend a lot of time making one so I looked around the shop and found a piece of pine – a remnant from one of those glued-up pine sheets that the big box stores sell for shelving.  My scrap was 12″ x 15″ once I squared up one ragged edge.  Then I found some 1/2 round moulding and cut it up with miters in the appropriate places.  Finding the materials (which also included my two neurons doing the design work) and prepping them took me 10 minutes.

I grabbed some 3/4″ brads and nailed each moulding piece using 3, neatly placed nails.  You could use a nail set and then putty over the nails but I thought they’d serve as a nice touch for such a simple tray.

In hindsight, I probably should have glued the moulding as well but I didn’t.

I used a block plane to round over the ends of the moulding on the open side of the tray.  Nothing fancy here.  Sandpaper would work as well.

At this point I had spent 15 minutes and the tray was completed, but not finished.  Normally I’d just slather on some shellac but as much as I love shellac, it is a bit softer than I like for work surfaces.  So, I grabbed some General Finishes Polyacrylic, which I’ve come to really like (and I’ve never been fond of other polyacrylics).

I applied two coats to which I’ll attribute another 5 minutes of effort, giving me this work tray for 20 minutes of effort.  I went shopping between coats.  Now, back to carving.

Cheers — Larry

larry@woodnbits.com

Cutting Up Safely

Larry | April 2, 2009

Wow, thanks everyone for the kind responses regarding my foray into the carving world.  I really enjoyed doing that little dog.  So much so, in fact, that I’ve done little else with my spare time but carving ever since.  I’m really bad at it but that’s ok as it’s REALLY fun.

I’m writing again on the subject, however, because 3 of the emails I got that said, in one form or another, that they’d given up carving because they cut themselves.  That’s a shame. While it’s true of pretty much everything in woodworking that there is a chance of hurting yourself, there are also ways to minimize the risk.  We don’t stop preparing food for dinner because we might cut ourselves while dicing an onion and we shouldn’t decide what we do/don’t like in woodworking that way either.

I’m a bit reluctant to “teach” much about woodcarving as I’m out of my depth in the woodcarving soup myself.  But thus far I’ve successfully kept my head above water and my blood inside.  I haven’t cut myself because of good advice given me by some seasoned woodcarvers.  I thought I’d pass that along.

The first line of defense is protection.  Woodcarving does require a very sharp blade.  If the blade isn’t sharp you REALLY have a danger problem as you have to pressure the blade too much to get it to cut.  That blade isn’t far from your hands and so covering the vulnerable parts is a good idea.

Guard the Thumb

There are only 3-4 different kinds of cuts in woodcarving.  One of those is a “paring cut”, which is the same as what you do when you peel an apple.  This means the blade is being pulled towards the thumb.  This is the best reason I can think of for covering up your thumb so it doesn’t get cut.   You can buy leather thumb guards but I use vet tape.  This stuff is available from woodworking/carving stores as well.

The neat thing about it is that it only sticks to itself (so that it doesn’t stick tightly to cat and dog hair).  So, you just wrap a bunch of it around your thumb and you’ve got a custom-fit thumb guard that can be pulled off/on and it can be used repeatedly.

The Holding Hand

The other potential place that a misbehaving knife can end up is in the hand you use to hold the wood.  You want to cover that hand with a glove.  The glove needs to repel cuts while also providing a good grip.  Most people use kevlar woodcarver gloves.  These only cost a few bucks and they’re well worth it.   They won’t prevent you from impaling your hand if you get wild (best advice is not to do that) but these gloves will prevent more typical nicks and cuts.

Cut properly

This is at least as important than protection.  The two basic cuts used to remove wood are the “push cut” (you push the blade with the thumb of your holding hand), and the “paring cut” (like peeling an apple).  I won’t begin to teach anyone how to do these properly except to say that these are both very controlled cuts.  Both cuts move the blade short distances and one controls that distance by the small movements of your thumb and wrist that provide the movement.  If you fine yourself doing ‘whittle a stick’ movements, with large knife movements and the blade skating off the end of the wood, STOP.  Just don’t do it.

To see how these strokes should be done, visit Gene Messer’s YouTube videos.  Specifically, watch his first video, titled “Carving Review for Beginners Part 2.“  Gene has a lot of great tutorials where he shows you how to carve various figures but this particular review video shows you the basic cuts used in all his carving.

This is lots of fun and with a bit of prudence, a bit of protective gear, and proper technique, you can enjoy it while retaining all of your fingers.  I’ll end by showing the second and third carvings I’ve done.  They’re simple and most certainly suffer from my lack of experience but they were fun to carve.