Neil’s Origins Table – Viewer Project
This mind boggling project comes to us from Neil. Its an incredible lesson in “outside the box” thinking! Let’s hear from Neil:
I’m a South African living in Britain watching your American show – interesting how the world works huh? I’d like to enter a Viewer Project: my “ORIGINS” table. I really want to share this project with woodworkers because it has proven that I have to, like you say, think out of the box. Our schooling and everyday life causes the thought process to become rather closed and problem-oriented, rather than free-flowing and conceptual. It is like nothing I have tried before. Even after three months of making I still wonder how it all came to be.
It began about a year ago with an idea I had for a cabinet. My wife was pregnant and the whole process of birth become a fascination. The idea of male/female, yin-yang, parent and child etc, which I hope is evident in the design grew into the idea of using not only opposing woods, but opposing shapes, textures, types of board/timber. And then the cabinet wanted to become a table that supported a “child” if you will – the bowl in the middle.
Now what I have to keep reminding myself here is that I was trying my UTMOST best to NOT think about how I was going to make it. I’m sure us woodies are all cursed with this, but it has become so important (like with David Marks’ and furnitology’s) to concentrate on design and the “mindset” of the piece first, then problem-solve the issue of “how?” I made 2 HUGE mistakes and almost gave up but decided to go on. I was already on a tight budget for it (the veneers for the top alone cost something like $150!!) but I decided that once you pop, you can’t stop.
I found myself using tools I never had before: a round-bottomed spokeshave to finesse the curves, soil and dirt to tarnish the copper, sawdust and cyanoacrylate glue as wood-filler, a round-bottomed surform to finish the base. I had an idea of what I wanted it to look like, but it was make-it-up-as-you-go-along all the time and that was such a refreshing (though often frustrating) change. I strongly believe now that it’s not what you know, but rather what you want to learn that counts, and as long as woodworking is respective of the beauty that lies in wood, it will always be good :) It’s the ultimate material and unlike other things, it grows on trees!
Here are some construction details: “Female” consists of 27 layers of 19mm birch plywood – each piece individually routed round and then glued and pressed together. The final shape was eventually achieved after much use of a surform, belt sander, chisels and LOADS of 80 grit sandpaper wrapped around a 1.5 inch dowel.
Male consists of two halves. Each is two layers of 5mm bendyply veneered with walnut using contact adhesive (I was worried this would throw the shape out but the 2 layers of bendyply seemed to work well :) Making this was the most difficult part as the two halves had to be joined in a straight line, down a shape that curves in two directions and not only in the middle but where it joins the female too !! It took days of trial and error with a block plane to get that edge down the middle ! It’s still not perfect but hey we all have our limits :) I first made the structure then veneered one side at a time. The compound mitre on the base of the male proved to be challenging too since it does not lie flat on one surface but on an edge.
The cherry piece joining the two was made from a single length for continuity and just cut into smaller angled pieces to achieve the curve. The “foot” that joins the base of the male was done by hand with some chisels and a belt sander. The bowl also came to be using bendyply. Veneers are Maple, Walnut and I think Burr elm.
Once I got the male and female to join nicely with the cherry, and the bowl all fitted, I started on the top. I routed a 3foot diameter piece of 19mm ply and edged it with a 4mm cherry strip. I achieved this using strap-clamps and very straight-grained quarter sawn cherry to avoid it splitting/snapping (Yikes!). Initially it was to be more of a yin-yang shape on top but the waterdrop shape of the bowl called for a more refined curve. I first laid the burr walnut veneer, then the burr cluster maple (quite pink isn’t it?) then I routed the groove for the cherry inlay.
The cherry inlay isn’t conventionally liad. Rather than a thin slice of veneer it consists of about 10 layers of cherry veneer laid on edge within the groove! That proved to be a rather testing time :) After some hand-planing with a SHARP edge, it was flush to the veneer surfaces. I recessed the glass supports into the top and made the template for the glass by tracing on a piece of paper with a pencil (similar to the copper method). I sent it off to the glass-makers and they did a swell job. The glass lid is lifted out using the inch hole.
Now the copper came by accident due to the fact that I had to cover ugly screws sticking out of the female where I had screwed the ply pieces together. I tried to remove them neatly but it turned ugly after a while :) So I decided – as a friend once told me – rather make a display of your mistakes than try to hide them. I think I have realized now how helpful that can be. So I drilled the three 65mm holes 3mm deep around the screws, got hold of some 3mm copper plate and after making a rough paper template I ground them out and shaped them using a belt-sander on edge with 40 grit paper. I then tarnished them by leaving them outside on the lawn for a few nights and beat and scraped them in any way possible to create the aged look. I glued them in with PU glue and sanded them with 600 grit.
The finish: After much debate and much research (including the help of The Wood Whisperer) I finally came to a conclusion. Danish Oil is one of the easiest finishes you could ever apply (I hope Marc agrees here) I have done lots of spraying and used varnishes and oils of all shapes and sizes, but since I had been laid off at work, I had no access to the spray-shop and thus needed a really easy no fuss finish. And I must say – it does take a good 4 coats over 4 days to do the job but it is ever so easy to wipe on. A rub down with steel wool between coats and then some good-old-fashioned beeswax (2 coats) and some elbow-grease to bring out a bit of a shine and I am really very pleased with the finish. I did want to use a polyurethane spray but I think it actually worked out better this way since I can rest assured it is easily re-finished or restored.
Lastly I must say that it really has been an amazing learning experience and I would not have been able to do it without the advice and general positivity of online shows like TWW – so thanks Marc and friends!
Danish Oil on top of Shellac? – Question of the Week
This week’s question comes from Eric in Canada who asks: “I know you like to use dewaxed shellac and transtint for a bit of colour, and finish it off with General Finishes. GF is extremely hard to find here in Canada. Dewaxed shellac and the transtint is pretty easy to get. I was wondering if I can use Danish oil on top of the shellac?”
And here was my response:
The only problem with Danish oil in this application is the fact that most Danish oil contains a high amount of oil. That oil will have difficulty curing on top of a pre-sealed surface (from the shellac). The General Finishes products are mostly varnish, if not all varnish (Arm-R-Seal). So what you are really looking for is a simple wipe-on varnish to put over top of the shellac. Minwax sells a decent one that is widely available. A few light coats should do the trick.
You might also consider using a different coloring agent. Even though I do occasionally use a dilute shellac/dye solution for coloring, its only for certain situations. In most cases, I do my staining with water-based dyes or gel stains. Neither of these really seals the surface and you should have no problem following up with a Danish oil if you use them. So really, the sky is the limit for your combinations of coloring agents and topcoats. But to directly answer your question, you want to avoid putting oil/varnish blends on top of sealed surfaces.
47 – Turning Water into Oil
High Resolution Version
I get quite a few questions about water-based finishes and how to make them look more like oil-based. Its a common problem since water-based finishes are “water-white”, which means they don’t impart any color to the wood. This can be great in certain situations, but not so great when you want your project to have that warm glow to it. In this episode, I use dye, shellac, and boiled linseed oil to try to spice up our water-based finish. I also packed in a bunch of related tips and tricks as I went through each process.
Related Links:
Hock Shellac Flakes
Charles Neil’s Shellac Video
As requested, here is a hi-res photo of the test boards:
Oil finish on cocobolo? – Question of the Week
This week’s question comes from Brad. He writes:
“Hi Marc, I have a question about finishing..I’m making a small decorative box with a sliding maple top and cocobolo sides. I’ve read that it is not advisable to use an oil finish on this wood. Any experience or advice??”
And here was my reply:
“Hey Brad. Woods like cocobolo have a certain amount of natural-occurring oil in them. When you coat them with an oil-based finish, the oil in the wood itself prevents the finish from oxidizing and curing properly. So we have a few options. We can either use something like shellac or lacquer instead of an oil-based finish. Or, we can seal the wood first, preventing the oil from contacting the oil based finish. Shellac is a great sealer for this purpose. A good coat of a 2lb cut (I use Bullseye Sealcoat) dewaxed shellac should do the trick. Sand lightly with 320 after the shellac and proceed with your oil-based finish. Now keep in mind you want a straight varnish at this point (not an oil/varnish blend). But you should have no adhesion issues with the varnish at that point. Hope that helps.”
And for more information on finishing oily woods, check out this article from our friends at FineWoodworking.com: A Finish for Oily Woods
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