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How to create dramatic inlays with epoxy

C H R I S P O U N C Y

Chris Pouncy who originally comes from Somerset in the South West of England started
woodturning as a hobby, 28 years ago. 10 years later, eighteen years ago, he
joined Robert Sorby as the regional sales manager and has grown in leaps and bounds since. Chris is now
the UK and Southern Hemisphere Sales Manager for Robert Sorby
Ltd, and spends a fair amount of time traveling within the UK where
inter alia, he demonstrates the range of Sorby tools in-store at
clubs and national shows. He has also demonstrated across
Europe, South Africa, Australia, New Zealand and North America on numerous occasions.


2018 sees Chris returning to South Africa for his fourth visit where
once again, South African woodturners around the country will benefit from seeing Chris
demonstrating his skills and creativity.

He will be demonstrating Decorating using Spiralling and Texturing, Basket Illusion, the Proedge and pyrography at his upcoming South Africa tour.

Dates:

MON 10 - JHB - 4pm - HARDWARE CENTRE

TUES 11 - PTA - 6pm - POWERDEK

WED 12 - BLOEM - 6pm - EDDIES POWER TOOLS

THURS 13 - PTMB - 6pm - AC CRAMPTON

FRI 14 - DURBAN - 6pm - WAD CLUB

MON 17 - EL - 7pm - CAMBRIDGE BAPTIST CHURCH

TUES 18 - BUSHMANS - 3pm - 8A KIEWIET STREET, BUSHMANS RIVER MOUTH

WED 19 - PE - 6pm - STRAND HARDWARE

FRI 21 - AWSA/WORKING WITH WOOD SHOW -  8am - WILDERNESS HOTEL

SAT 22 - AWSA/WORKING WITH WOOD SHOW -  8am - WILDERNESS HOTEL

SUN 23 - AWSA/WORKING WITH WOOD SHOW - 8am - WILDERNESS HOTEL

MON 24 - AWSA/WORKING WITH WOOD SHOW - 8am - WILDERNESS HOTEL

MARBLED RESIN WOOD COASTERS

To prepare for this project, cover your workspace completely to avoid getting the epoxy on everything.  I used sheets of wax paper.  Also make sure to work in a well-ventilated area, and use proper safety precautions like gloves and eye protection.

Mix 4-6 ounces of Resin by adding equal amounts of the resin and the hardener.  I made 6 ounces so I mixed 3 oz of resin with 3oz of hardener.  Follow the instructions included in the product exactly.  Mix the two parts together for 2 minutes, and then pour into a new cup and mix again for 1 more minute to ensure the two parts are combined well.

After the epoxy has been mixed according to the package instructions, divide it into several smaller cups for dying.  I divided my resin into 7 parts using 6 smaller cups and the mixing cup.

Add 1 drop of pigment to each cup of resin.  You can mix colors, so I added a small drop of white and a small drop of color to some cups, or just 1 color in others.

Be sure not to add too much pigment, it may affect how your resin will cure.    You can also add some fun elements to your colors if you wish.  I added blue glitter to the pearl pigment.  Stir the pigment into the resin until it is incorporated completely.

Next, place your wood coasters on old or disposable cups to lift them off the work surface (I used old plastic cups I wouldn’t mind throwing away) and pour each resin color over the coasters.

The colors will run together and drip off the edge of your coasters.  Keep adding until you’ve used all of your colors.

Pick up each coaster and tip it back and forth slightly to help the colors run together and blend to achieve that marbled look.  You can help them run together more by dragging a stir stick through the colors from one side to the other.

Use a small kitchen torch, lighter or blow on them lightly with your warm breath to remove any bubbles that rise to the surface.   After about 20 minutes,  scrape off any drips that have formed on the bottom side of the coasters with a stir stick.

Allow the coasters to cure for at least 24 hours before use.

The amount of detail on the finished marbled coasters is so beautiful!  Some of the dyes are more transparent than others so you can still see the wood grains under parts of the marbling, and it truly looks 3D.

It’s a gorgeous marbled effect you just can’t duplicate with paint.  The high gloss finish is beautiful as well, and there is no need to seal it.

marbled resin wood coasters

12 Ways To Add Texture With Tools You Already Have

12 Ways To Add Texture With Tools You Already Have


A big part of adding texture to your work with tools you already have, is looking beyond their typical use. Sure, your nail set was made to set nails, but it can also be used to create small dimples in wood. A chisel was made to pare small surfaces and remove small chips of wood, but it can also be used to create slightly faceted, uneven surfaces. I’m not encouraging you to abuse tools, or use them in a dangerous or careless way. Just keep your eyes open to what a tool can do for you in terms of adding texture to a surface.


This list is by no means exhaustive; it’s just a starting point to introduce woodworkers to what can be done if you cross the tools you likely already have in your workshop with a little outside-the-box thinking. I didn’t even mention how spokeshaves, handplanes, carving knives, blow torches and other tools can also be used to add gorgeous texture to wood.
  
Nail Set

waystoaddtexture_1


Best Use: Works well in most woods. Can be time consuming if texturing large areas. Great for creating small to medium sized areas of focus.
 
What to do: If your nail set is old or has been abused, you will have to smooth its sides and end in order to create a cleaner, rounder hole. A belt sander is great for this simple task. Use either a light tap with a mallet or hammer for a shallow dimple, or a heavier hit for a deeper, more pronounced effect. If you’re finding you are getting lots of chipping and splintering space the dimples slightly further apart. Different diameters of set will give varied looks.
 
Effect: Great for creating an even, light texture to fill in smaller areas. Can be spaced evenly or randomly.
 
Carving Gouge

waystoaddtexture_2


Best Use: As long as the gouge is sharpened correctly, it will work nicely in most woods. Heavily figured or very hard woods may pose a challenge, especially if the gouge isn’t extremely sharp. Very soft woods will also crush with a less-than-razor-sharp gouge. Works quick enough to cover large surfaces in a reasonable time, especially with larger gouges.
 
What to do: Though passes generally work best crossgrain, working parallel to the grain is possible with care. If an extra-deep groove is needed, multiple passes may be required. With firm footing, use both hands to control the gouge. Practice will give a good feel for how to produce the size and depth of groove you’re looking for.
 
Effect: Shallow grooves can feel quite delicate, while deep grooves are a very dramatic addition to a project.

Awl

waystoaddtexture_3


Best Use: Works well in most woods. Can be time-consuming if texturing large areas. Great for creating small sized areas of focus where only light texturing is needed.
 
What to do: With awl in one hand and mallet or hammer in the other, slowly add tiny dimples to the wood. Very similar to using a nail set to add texture.
 
Effect: Great for creating an even, very light texture to fill in smaller areas.
 
Cold Chisel

waystoaddtexture_4


Best Use: Works great in most woods to create a textured border, or can be used to texture larger surfaces.
 
What to do: Used similarly to the nail set and awl, except the grooves work best when oriented parallel with the grain of the wood. Cross-grain grooves have a tendency to split the grain and cause splintering. Sharpening the tool may improve crossgrain work. Strike lightly for almost imperceptible results, or heavily for deeper, more pronounced grooves.
 
Effect: Narrow but long triangular grooves are left in the woods surface.
 
Screw or Lag Bolt

waystoaddtexture_5


Best Use: Works best on softer woods, but can be used on medium density species as well. Works great near an edge of a workpiece to produce a border as the head of the screw or bolt will not permit it to be being used anywhere but the edge. Removing the head is also an option.
 
What to do: Hold the screw or lag bolt in one hand and a hammer in the other. Be sure to keep your fingers out of the way of the hammer, as you will likely be holding the screw or bolt fairly close to where the blows occur. With one finger referencing off the edge of the workpiece, slowly move the screw or bolt along, using quick hammer blows to press the threads into the wood. You will likely notice small flats on the threads, where the hammer is hitting the threads. Keep those flats up or the textured marks will vary slightly.
 
Effect: Small marks add slight texture to a surface. You can change the effect by holding the screw or bolt at an angle to the edge, as well as striking the screw or bolt near the center or one end.
 
Router

waystoaddtexture_6


Best Use: Works with all woods, and in many different situations. Can add very dramatic texture over a small or large surface.
 
What to do: Chuck a bit into your router and make multiple passes over the workpiece. There are many ways to proceed, but carefully controlling the path of the router somehow is usually the best approach.
 
Effect: If a circle-cutting jig is used circular grooves can be added in a geometric pattern. A template guide and bandsawn template can be used to cause the router to follow certain paths, creating various effects. Adjusting the type of bit, depth of cut or number/density of passes can create heavy or light texture. There are lots of texturing possibilities with a router.
 
Chisel

waystoaddtexture_7


Best Use: Because a chisel is flat, it’s easiest to use on outside surfaces. It’s possible to work flat or inside surfaces if you’re determined. Any density of wood is appropriate.
 
What to do: Create faceted surfaces with a sharp chisel, working ‘downhill’ to reduce tear-out. Sometimes it’s easiest to create the general shape you want with other tools/methods, and then add texture to the surface with a chisel.
 
Effect: Texture from a chisel is less obvious, and can play a more subtle role in a piece of furniture.
 
Rotary Tool

waystoaddtexture_8


Best Use: To create a subtle, even texture on flat or round surfaces. Texturing large areas will be time consuming. Though results depend on bit selection, this technique works well on most species.
 
What to do: Systematically move the bit over the workpiece, creating small cuts directly beside one another.
 
Effect: Bit selection will determine the type of texture left, but a tight, simple texture will likely be the result.
 
Round Nail Head

waystoaddtexture_9


Best Use: Best for small areas of light texture on softer woods.
 
What to do: Used similar to the nail set and awl. First chuck the nail in a drill, pull the trigger and smooth the nail head with some 120 then 220 grit sandpaper to remove any inconsistencies. Light hammer taps are all that’s needed to create the textured dimple in softer wood.
 
Effect: Smooth, concave dimples in the wood that can be spaced evenly or randomly.
 
Pyrography Pen

waystoaddtexture_10


Best Use: Deeper texture can be added on softer woods. Great for texturing smaller areas.
 
What to do: Adjust the temperature to produce the type of effect you’re looking for, then touch the pen tip to the wood’s surface to add texture. A random or even pattern can be created.
 
Effect: The effect depends partially on the tip used, but generally speaking a small round or linear mark is burnt into the wood, creating a small recess in the wood. The texture effect is fairly light, and comes with a visual effect of the darker burnt area.
 
Round File

waystoaddtexture_11


Best Use: On corners of most woods. Non-porous woods generally splinter less, but if care is taken porous woods can be worked. Not great for high-use edges, as the wood remaining on the edge can be susceptible to damage.
 
What to do: With the file in both hands, guide it into the corner of the wood at a 45º angle. Don’t push too hard or you will likely chip the area. I find it’s best to ease the edge before adding texture to it, as it will be less likely to splinter. Try to space the notches as evenly as possible.
 
Effect: A row of notches is created on the edge of a workpiece.
 
Angle Grinder

waystoaddtexture_12


Best Use: Works well in most woods. Much less subtle than many other forms of texture. Best for medium to large areas, but can be used on small areas in experiences hands.
 
What to do: Practice on some scrap as an angle grinder works very fast. Move the tool across the workpiece in a sweeping motion. Experiment with different speeds, angles, etc. to produce a variety of effects. Make sure you’re familiar with power carving before starting.
 
Effect: A heavily textured, wavy surface is left. Slightly different surfaces can be produced using different cutting attachments, or manipulating the grinder certain ways.

How to carve rocks using a dremel

First you’re going to need to gather your rocks and a Dremel with a diamond carving tip and several different sizes of a grinding tip.  All of these tips were included with my Dremel so check your drill bits before you purchase any. You’ll also need a cup of water and a towel.

Start with the diamond carving tip set on a slower speed. The slower speeds will give you a lot more control.  Outline the shape of your design using light strokes. If you press down hard you will wear out your bit and it the carving will be more uneven.

I found that the smoothest carvings were from using the dremel tool at a 45 degree angle rather than using the tip straight up and down.

You want to make a rough outline of your shape and any shading you want done with this tip. It cuts deeper and better than just using a grinding tip.

Once you have your rough outline done, switch your drill bit to a grinding tip.  You want to use the grinding tip to even out all the carvings. Simply go over the carving with the grinding tip a few times until you’re happy with how it looks.

A lot of tutorials online suggest pouring water over the rock while you’re using the Dremel to keep the bit cool and help it last longer.

I tried this and honestly it made the carving really hard to see. I found that taking a break every minute or so to dunk the rock in water and then dry it with a towel worked the best. It gives your eyes a break from doing small work and helped give the tip and the rock a time to briefly cool down.

How to write on the rocks – All of the lettering was done using the diamond drill bit. Honestly it’s easy to make mistakes. I recommend going very slow when writing and only make one pass. If you want to go over it again you can but I found that most of the mistakes were done when I tried to go over the writing several times. You can also use the diamond bit to drill a hole straight through any of the flat rocks.  Just be warned! It’s a messy job.

To drill a hole in a rock you do have to keep it very wet and use constant pressure on the Dremel.  It will be messy and dust from the rock will go everywhere.

Reclaimed Wood Cow Art

I've been searching for the perfect piece art to display above our living room fireplace since we moved in a year ago. After spending the past year staring at the blank wall, I finally decided to try and create my own art.

I decided to use some the wood from our wood pile in the back yard. The wood came with the property when we bought it (I believe it used to be an old shed that was torn down)so it didn't cost a dime! I found a few nice pieces and cut them into 4 foot lengths. 

Since this wood was going to be inside our home I wanted to make sure it was really clean. I sprayed it using the jet setting on our hose then used soapy water and a scrub brush to remove any remaining dirt. After rinsing off the soapy water, I gave them a second scrubbing with bleach water then left them in a sunny spot to dry. 

After sanding the boards, I attached two boards across the back to hold everything together.

I found this adorable image on Free Stock Photos and did a little photoshoping to remove the tag that was in his ear in the original photo. Then I used the program that came with my printer to enlarge the image and printed it onto regular paper to make sure it was the correct size. This ended up being a pain in the butt and used up a lot of ink!! Since the image printed out on multiple pages I had to tape them together to get a visual of the size. The first image was way to small. The second image was still a little too small. I finally got it right on the third image. 

Once I was happy with the size I reprinted the image onto wax paper. To do this, I cut a piece of wax paper and taped it to a piece of regular paper. I then placed it in my printer so that the image would be printed onto the side with the wax paper. 

The ink does not stick to the wax paper like it does with normal paper so I had to be very careful not to touch the image or it will smear. I placed the image upside down on the wood and used a thick piece of plastic (a credit card would work too) to rub the back of the image and transfer it to the wood. 
Sorry I don't have more pictures but once the image was printed, the ink started drying and was harder to transfer so I didn't have a lot of time to stop and take photos. Basically I started by printing the ear of the cow and transferred it to the wood. Then I printed the next page, lined it up with the image that was already transferred, pressed it down transferring that image to the wood, and so on, and so on, until I had the entire cow image transferred to the wood.

And here is the final project! Don't you just love that sweet little face! I'm a sucker for calves and seeing this guy every time I walk into the room just makes me smile.

This thing is supper heavy and we have not decided how we want to hang it yet. We'll probably end up using some sort of french cleat. But for now, I'm fine with it just sitting on top of the mantel.

How to Create a Limed Wood Effect with Liberon Liming Wax

Step One
First you need to open the soft grain of the wood by brushing the piece of furniture with a Liberon Liming Bronze brush working with the grain.

Depending on the type of wood to be limed the obtained contrast between the opened soft grain and the hard grain will be quite different. It will be very visible on hard woods such as oak and mahogany, and less so on soft woods like pine. Always remove the surface dust with a Liberon Tack Cloth.

Step Two 
Colour the wood if you wish using Liberon Palette Wood Dyes. This stage is optional; you can also obtain a liming effect on the natural wood colour. A dark wood will render the limed effect more striking than a light wood.

Step Three
Apply Liberon Liming Wax with a pad of Liberon Ultra Fine Steel Wool (Grade 0000). You can also choose one of the coloured waxes such as the Liberon Special Effects Waxes as well. Apply the wax liberally in a circular motion until it fills the grain covering the whole piece of furniture. Allow to dry for five to 10 minutes. The result should be a contrast in colour between the wood and the wax.

Step Four
For a water resistant finish remove the excess Liming Wax using Liberon Finishing Oil applied with a cotton cloth and wipe off immediately. Leave to dry for at least five hours between coats. Several coats may be needed.

Where a water resistant finish is not required apply Liberon Black Bison Wax Polish (Neutral) with a clean cotton cloth to remove the surplus Liming Wax from the surface while still leaving it in the grain. Leave to dry for five minutes before buffing to a soft sheen with a clean cotton cloth or Liberon Furniture Brush.

https://www.strandhardware.co.za/chestnut-liming-wax-400ml