Australian Wood Review - December 2022

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Contents
ISSUE 117 – DECEMBER 2022
FEATURE 22
30 Maker of The Year 2022
Presenting award winners and the
top 100 entries for Maker of the Year Awards
presented by Carbatec.
PROJECTS
EXHIBITIONS 22 Making the Peddle Chair
Tasmanian craftsman Jon Grant carries
68 Jimmy Possum: An forward the chairmaking tradition of George
Peddle and Harry Hearn.
Unbroken Tradition
Dr Mike Epworth writes about the background
to a survey exhibition of Tasmania’s 150-year
62 The Perfect Present
vernacular furniture making tradition. David Lim shows how to build a presentation
case for the finest whisky.
TOOLS & EQUIPMENT

08 Machinery & Tool Reviews
• Minimax FS41E planer thicknesser
• Harvey Compass RG-2 roller guide
• Using epoxy and poly glues
• Microjig FitFinder
• 3M Xtract Cubitron sanding discs
• Würth stepped twist drill set
• Nakaya ryoba handsaw
• Metal dovetail keys
78 The Power of Air

Compressed air – do you need it and what
should you buy? David Luckensmeyer cuts
through the jargon to explain your options.
4 Australian Wood Review

CON T EN T S
08
32
68
62
REGULARS
06 Editor’s Letter
16 Subscribe to Wood Review
74 Wood Diary 78
www.woodreview.com.au 5
Editor’s Letter www.woodreview.com.au
PRINT AND ONLINE EDITOR:
The journey, not the destination Linda Nathan

[email protected]
I have a confession to make. I’m the sort of person who enjoys the practice CONTRIBUTING EDITORS:
more than the performance, the process better than the result. For me, it’s Raf Nathan, Robert Howard
Richard Vaughan, Neil Erasmus
more about the journey. This very much applies to our annual Maker of the
Year Awards, this year presented by Carbatec. Seeing each entry come in is a CONTRIBUTORS:
James Brook, Damion Fauser, David Luckensmeyer,
delightful thing – I like to see the good points of everything.
Jugo Ilic, Charles Mak, Terry Martin,
Troy McDonald, Darren Oates, Andrew Potocnik,
As soon as we start on the judgment trail it becomes a matter of balance. Carol Russell, Graham Sands, Peter Young
Weighing up the relative worth of the good points is not so enjoyable, for me PUBLISHER:
at least, because we’re not talking ‘science’ here – there are human beings James Ostinga
attached and people put a lot of thought, time and love into the things they make. STUDIO MANAGER:
Lauren Esdaile
And then there’s awards – would you choose one child over another? That’s GRAPHIC DESIGNER:
a bit dramatic, but judging disparate entries is not easy. What makes a Emmily Kalyvas
piece stand out? Weighing up criteria of design, construction, functionality, I L L U S T R AT I O N S :
innovation, materials use and detailing, our judges’ evaluations were combined Graham Sands
to determine award winners. Huge thanks go to this year’s judges – we
MARKETING MANAGER:
appreciate the care and attention they applied to the task. Lucy Yaffa
SUBSCRIPTIONS:
So why enter a competition? As mentioned, I enjoy a good journey but I WWW.GREATMAGAZINES.COM.AU
also like to know where I’m going. And, complain as I might – I also need CALL: 1800 807760
deadlines to make me commit. Putting your work out there for others to EMAIL: [email protected]
see can be a little uncomfortable as you learn to see your own efforts more S U B S C R I P T I O N R AT E S :
critically. Personally I think life is more interesting if you put attention into the 1 year / 4 issues $45
1 year PLUS (print + digital) $50
things you do, and try to do better. We can’t all win awards, but Maker of the
N AT I O N A L S A L E S M A N A G E R :
Year is there to use as a tool for your own development and interest.
Jodie Reid
Tel: (02) 9213 8261
This issue it’s our pleasure to present award winning and shortlisted entries. [email protected]
To see all 339 entries head to www.woodreview.com.au/moty
ADVERTISING PRODUC TION:
John Viskovich
Living traditions Tel: (02) 9213 8215
[email protected]
When we talk about traditions of furniture in this magazine these usually PRODUCTION DIRECTOR:
originate from other countries. This issue we feature two articles that Matthew Gunn
spotlight furniture with a distinctly locally grown flavour. P U B L I S H E D B Y:

Yaffa Media Pty Ltd
ABN 54 002 699 345
In the 18th century, George Peddle emigrated to Tasmania from the UK and
17–21 Bellevue Street, Surry Hills 2010
brought with him the techniques of traditional Windsor chairmaking. George, Tel: (02) 9281 2333 Fax: (02) 9281 2750
along with his brother-in-law Harry Hearn who later followed him, went on
to use native timbers to produce large quantities of what came to be called
Peddle chairs. Jon Grant is a Tasmanian craftsman who proudly carries the ALL MAIL TO:
GPO Box 606, Sydney NSW 2001
Peddle chair tradition forward, and we’re lucky to have his explanation of the
process. You can now share in that sense of history and make your own Peddle R E C O M M E N D E D R E TA I L P R I C E :
$12.50
chair, see p.22.
ISSN:
1039-9925
Further amplifying Tasmanian traditions, Dr Mike Epworth writes about a
150-year-old tradition of chairmaking that originated in northern Tasmania. COVER:
With its particular construction, the Jimmy Possum chair can claim local Jess Humpston, in her Melbourne workspace.
origins, even if we don’t know the full identity of its namesake. As a long-time C O V E R P H O T O G R A P H Y:
maker of Jimmy Possum chairs, Mike also writes how it’s possible to be part Anthony McKee
of a ‘living tradition’ – his article starts on p.68.

Australian Wood Review is copyright, no part of it can be
reproduced in any form by any means without prior written
With our last issue for 2022 we wish you all the best for the New Year. permission of the publisher. All material is printed in good faith,
however the publisher will not be held liable for any form of damage
whatsoever or liability, claim, or proceeding arising from printing
of same. The opinions of writers and advertisers presented in this
magazine are not necessarily those of the publishers.
Linda Nathan, Editor
SAFETY: Woodworking can be dangerous. Do not undertake
[email protected] any work, process or action without adequate skill, training,
safety equipment and/or awareness.

TOOLS & EQUIPMENT
Minimax FS41E Planer Thicknesser

Reviewed by Dom Dudkiewicz
Having recently committed to miss-manoeuvring large stock the

pursuing a life as a furniture maker, machine has proven its robustness
I quickly realised that I would miss by maintaining alignment.
many opportunities if I wasn’t able to
take on larger work. When quoting The jointer beds are solid, thickly
on some larger commissions, cast monsters with surfaces
including a 3.4m long dining table, machined in SCM’s low-friction
I knew my smaller machine was pattern and mine arrived nice and
not going to cut it – literally – and so flat. Some initial adjustments needed
three months ago, I upgraded to a to be made to bring the beds into
SCM Minimax FS41E. You need to alignment, but this was easily
spend money to make money, or so accomplished. Notably, the design
the saying goes. I just need to work uses a rotary knob on the back side
on the second part. of the infeed table to adjust depth
of cut, rather than the more typical
I chose this machine because it was lever, and offers finer control but is
heavy (420kg), robust, made in Italy slower to adjust.
and importantly, had long jointer
beds. I also wanted a single-phase The fence assembly is a strong point
machine as I don’t have three-phase and comprises a heavy 1200 x 150mm
in my shop and this was about the aluminium extrusion that is able to tilt
largest in that category. Ironically, from 0° to 45° and importantly, holds
I ended up buying a 6.6hp three- reliably square. The fence is supported
phase version and running it on a by a central, heavy-duty round steel
VFD as I couldn’t wait for stock, bar that provides direct and robust
however I don’t recommend this support; locking solidly and holding the
given the choice. fence rigidly.
The 2000mm total length of the Top: Robust but with fine control, the
jointer beds, along with a custom Minimax FS41E planer thicknesser.
1000mm outfeed table have Above right: The FS41E has a two-speed
allowed me to accurately process thicknesser with manual lift and accurate
up to 3600mm long boards without height gauge.
issue. Even with the occasional Right: The 2000mm heavy-duty beds
knock to the infeed table while allow jointing of large stock.

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TOOLS & EQUIPMENT
I chose the Xylent helical head for Overall, the machine is an honest
my machine, comprising an 87mm and beautiful beast. It is pleasingly
diameter cutterhead with 66 four- robust and accurate and I’m yet to
sided carbide inserts. The cutterhead detect the slightest hint of strain by
leaves a great finish on all the the 6.6hp motor, even when taking
timber I have run through it, dealing irresponsibly thick passes. It has
admirably with reversing grain and allowed me to process much longer,
running relatively quietly. heavier stock accurately and reliably,
and has given me the confidence to
Utilising 120mm diameter ducts, take on large pieces. This machine is
the dust collection is effective but a great investment for my business
not a strong point of this machine. moving forward and I would make
The design also requires that the same choice again.
you swap ducting between ports
when changing modes. Thankfully, Dom Dudkiewicz is an engineer
changing from jointer to thicknesser and furniture designer maker
is a painless process, taking less than in Melbourne, Instagram
60 seconds at a relaxed pace. The @dudkiewiczdominik
thicknesser table’s handwheel turns
smoothly and is geared such that SCM machinery is available from
the heavily cast 430 x 775mm table www.shopscm.com.au
raises with minimal effort.
Two selectable speed settings of

6m/min and 12m/min allow me to
speed through bulk stock removal
before slowing down for final
passes or when processing more
cantankerous timber. The machine
will thickness stock from 230mm
down to 3mm in height and a full
430mm width. The corrugated
Top: Showing the SCM Xylent
steel feed rollers work well without 66-cutter 87mm helical head.
marring timber and I’ve found the
Right: Two views of the robust fence
digital counter on the handwheel to assembly which provides accuracy
be very accurate and repeatable. and confidence.
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TOOLS & EQUIPMENT
Harvey Compass RG-2

Roller Guide
Reviewed by Damion Fauser

The potential and versatility of this
product is evident right out of the
box. Designed for increasing safety
and cut quality by applying consistent
pressure to keep the workpiece solidly
registered against the fence, this
device does just that.
A hybrid concept between a traditional

featherboard and contemporary roller
guides, the engineers at Harvey have
gone above and beyond to make this
an extremely effective and versatile
accessory. It has been designed for The Harvey RG-2 roller guide shown in use on the bandsaw and router table.
use on router tables, bandsaws and
tablesaws. There are two versions
available – the RG-1 has one pajr
of wheels and is suitable for stock or mill your own guide bar to suit your clever and useful cam-based force
thicknesses between 1.6mm and bandsaw or tablesaw. adjustment mechanism, which allows
50.8mm, while the RG-2 has a second for force adjustments even when the
stacked pair of wheels and a thicker The roller wheels are made from device is locked in place in the track.
body, and will accommodate stock from hard wearing polyurethane rubber The stated approximate adjustment
1.6mm to 101.6mm. for grip whilst preventing marring the range is from 70–100N, and this
workpiece. They are axled on one-way adjustment can be made from either
Made from first class materials such roller bearings for kickback prevention. side of the main body, ensuring the
as aircraft-grade anodised aluminium, To work on either side of the blade, function is accessible on all machines.
this accessory has great heft in the simply flip the device over to the
hand and when in place with the RG-1 reverse side, remove and reinstall the This is an extremely well designed and
weighing in at 1.9kg and the RG-2 at guide bar and lock nuts, and you’re made device that, when combined
2.5kg. The T-slot bar provided fits a 3/4" good to go. with appropriate push sticks will greatly
x 3/8" x 1" T-slot with almost zero lateral enhance the cutting experience.
play and is securely locked in place with The wheels have an independent
two locking knobs. This style of track suspension mechanism based on Review tool supplied by Gregory
is ubiquitous to the Harvey range of springs internal to the body. This Machinery, https://gregmach.com
machines. For those with machines that ensures consistent application
have a different size or style of mitre of pressure through the cut and Damion Fauser is a Brisbane based
track it would be easy enough to either accounts for minor variations in the furniture designer maker,
retrofit a track into your router table surface. Harvey have designed a very see http://damionfauser.com
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TOOLS & EQUIPMENT
Using Epoxy and Poly Glues

David Luckensmeyer talks about
the benefits of two-part epoxy
and polyurethane glues.
Increasingly I’m leaving white

and yellow glues behind (along
with short open-times and
associated glue-up stress) and
reaching for two-part epoxy and
polyurethane glue. Let me tell
you how I use them.
Epoxy
Unlike white and yellow glues,
epoxy does not grab on contact,
and its longer open-time (approx.
20–30 mins) makes for more
peaceful glue-ups. It exhibits
outstanding waterproofing and
gap-filling characteristics. I use it
for all kinds of joinery, from chairs to tabletops, drawers, Above left: All prepped for two-part epoxy, here the
box making, and so forth. West System is in use.
Above right: Poly glues foam and expand. This product
I particularly appreciate being able to control the viscosity is made in Brisbane by Boatcraft Pacific.
of epoxy by using fillers designed to enhance gap-filling and
strength. These fillers usually consist of microfibres mixed into Poly has a similar open-time to epoxy (up to 30 mins). As a
the epoxy before use. result, it is a joy to use for long or complex glue-ups. Because
it is not grabby, joints can be unclamped, adjusted, and
Perhaps the most pertinent downside is the perception that a reclamped without any of the normal ‘hurry up’ stresses.
two-part glue is ‘trouble’. Mixing is not as ‘easy’ as grabbing
a bottle of ready-to-go glue. And care is required to dispense Alas, it does have several downsides to manage. For
and mix correct quantities of resin and hardener. starters, polyurethanes are more toxic and makers must
wear gloves and use adequate ventilation.
But proprietary dispensing pumps, reusable mixing cups
and stirrers take nearly all the pain out of the process. Use And then there is the foaming phenomenon. Unlike epoxy
a variety of spreaders including disposable sticks, rollers or with its chemical curing process, poly cures through the
brushes. Make sure to use plenty of glue and only moderate introduction of water. The moisture content of timber is
clamping pressure. Excessive clamping leads to a glue-starved enough so it does not take much. But as it cures, poly foams
joint which is prone to failure. and expands. Consequently, it is important to use less glue
and strong clamping pressure. Squeeze-out is easily cut
There are two other downsides that matter. One is the very away at the bandsaw or scraped away by hand.
long curing time of most epoxies (usually eight hours or
more). There are additives that can speed curing but they I now prefer to use epoxy and polyurethane over white and
reduce open-times. The other is joint movement or ‘cold- yellow glues in my furniture projects. Both have outstanding
creep’. Cold-creep is the mechanical movement of a joint open-times, with epoxy edging poly for clean gap-filling joints
over time, and yellow glues and epoxy exhibit more cold- (including tinted applications like resin-filled tables), while poly
creep than many other glues. is the glue of choice for laminations because of its shorter
curing time and lack of noticeable cold-creep. Consider pre-
Polyurethane finishing before glue-up, at least partially. Neither epoxy nor
Polyurethane glue does not suffer from mixing requirements poly likes to stick to freshly oiled surfaces, and the scraping
or cold-creep. And it is also gap-filling and waterproof. I love and sanding of joints after curing is straightforward.
that I can dispense it from a bottle just like white and yellow
glues, and it has a relatively short curing time (2–4 hours). David Luckensmeyer is a Brisbane based woodworker
And because it forms a very rigid joint, it is excellent for and furniture maker, see www.luckensmeyer.com.au and
laminating applications. Instagram @luckensmeyer
TOOLS & EQUIPMENT
Microjig FitFinder
Reviewed by Raf Nathan
This is an interesting tool. It appears to

use basic geometry to simplify finding
the centre of stock. Microjig’s FitFiinder
is made of plastic components with
a body and two sliding fences that
reference from and slide past each
other at 45°.
Place the wood under the main sliding

fence and tighten the thumb screws,
and the second fence points to exactly
half the thickness. It works with stock
up to 72mm thick. You can find half
thickness instantly without a ruler.
For example, if you want to make a half

lap joint, you could set a marking gauge
at half the thickness, then transfer your
marks to the stock, then set a tablesaw
blade to the desired halfway height.
This is a time consuming process. With Above: Place stock under the FitFinder’s
the FitFinder in action, you sit it over main fence and the lower fence
the wood with the lower fence then automatically aligns to the centre.
showing half. You can take the tool to Right: On a router table, setting the cutter
the tablesaw and set the blade height and fence is simple.
directly from it, that’s it. Very fast. Below: Showing how the two fences work
to find centre on sections up to 72mm thick.
You can also use it on its side to set
router table and saw fences. Certainly
on the router table for halving joints it
is excellent.
This is a clever and fast measuring tool

for one job only. One of those specialist
tools that, when needed, are a boon to
the job at hand.
Review tool from

www.timbecon.com.au
Raf Nathan is a Brisbane-based

woodworker.

FBDI
3M Xtract Cubitron Discs
Sanding is often called the woodworkers bane, although I have heard of some
fringe makers who enjoy the activity. Either way, one of the main issues is the
dust that it creates, particularly with power sanding. However nowadays we
are blessed with the latest innovations and these new sanding discs from 3M
are a great help.
Made with an open mesh of ceramic abrasive, 3M Xtract Cubitron discs are
available in common diameters and sanding grits from 80 to 320. The open
mesh is hook and loop and allows far better dust extraction than paper discs
with punched holes on random orbit sanders. Expect to pay around $1.10
per disc putting them on a par with paper-backed discs. A recent review of
sanding discs by Jonathan Katz-Moses apparently had these score up top for
value and efficiency.

Sturt School for Wood
Australia’s flagship fine furniture school
taught by the world’s outstanding master makers.
Renowned year-long MSF40222 Certificate IV
in Fine Furniture Design and Manufacturing.
Weekend workshops, part time classes, master classes.
www.sturt.nsw.edu.au
Honing talented designer/makers of the future
Saddleback Chair by David Upfill-Brown. Salmon bean and leather.
Image by Ashley Mackevicius.
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YAFFA 14576
TOOLS & EQUIPMENT

Würth Stepped
Twist Drill Set
Reviewed by Damion Fauser
This 25-piece set of HSS twist drills from

Würth is stunning. The set ranges in size from
1.0–13.0mm in 0.5mm increments, and all
sizes from 2.5mm up have the ‘Smart-Step’ tip
that makes this set unique.
Designed for premium quality drilling in a great

range of materials including wood, plastics and
non-ferrous metals, I’ve had a set for a while
now and can report a vast improvement in the
cut quality in both soft and hard woods over
even premium-quality standard twist drills.
The Würth drills give clean, consistent hole
diameters and very little upwards lifting of
fibres at the entrance to the hole.
The Smart-Step tip acts as a self-centring

feature with no need to pre-mark the hole
location with a brad awl for example. You can
confidently drill where ever you want when
drilling by hand with these drills. Tilted entries
are also possible, as is the ability to easily Above: The 25-piece set
and cleanly re-bore existing holes to a larger comes in a neat storage
diameter if required. case.
Left: In use, an
With three flat facets ground onto the shank, improvement in cut
the drills are held with an excellent grip in the quality in soft and hard
woods was observed.
chucks of pedestal drills and both corded and
cordless handheld drills. This set of drills is of
the highest quality.
Available from Würth Australia, see https://

eshop.wurth.com.au
Damion Fauser is a Brisbane based furniture

designer maker, see http://damionfauser.com

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TOOLS & EQUIPMENT
Nakaya Ryoba

This Nakaya Ryoba combination saw is beautifully made. It
is a traditional Japanese saw with rip teeth on one edge and
cross cut teeth on the other, meaning you can use the one
saw to rip to width and then cut to length.
This sample has a 210mm long blade, but longer blades

of 240mm and 270mm are available. It has a simple
and comfortable bamboo handle which is normal for this
type of saw.
The machining of this sawblade itself appears to be perfect.

In fact the middle of the blade is scraped, making it thinner
than the kerf so it won’t jam in the cut, if you saw straight
of course.
The crosscut edge has 20tpi (teeth per inch) giving a fine
to medium cut which is excellent on softwoods. I don’t
think it was as comfortable cutting very hard Australian
woods however.
The rip edge has progressively sized teeth which I

understand is to help start the cut easily. The teeth count
near the handle is 12tpi and at the end is 8tpi. The rip sawing
action is outstanding and the saw sailed through softwoods
as expected, but was also very good on hardwood as well.
This is a great rip saw for furniture sized components.
It’s a very good saw for making mortise and tenon joints,
general purpose sawing and component sizing.
Available from Japanese Tools,

see www.japanesetools.com.au
Left: After marking out, a thick wood

key was inset and the brass key glued
over the top as a feature.
Metal Dovetail Keys Below: Brass and wood always make

a good combination.
Using dovetail keys across wood splits

was showcased by George Nakashima
many years ago. It is a very popular
technique today used particularly
across splits and defects in slabs used
for tabletops.
Many makers use contrasting coloured

woods for this and it works well. A
Melbourne based woodwork supply
company does however have available
brass or copper ‘butterfly bowties’ as
they call them, which are laser cut and
3.5mm thick. These come in three sizes
up to 75mm long and sell for $15 to $19.
At 3.5mm thick they may not be and then cover that with a brass key. Available from www.timberrevival.com.au
enough to restrain some larger or To avoid any issues I used epoxy to
wider splits. What I did on a 45mm glue the brass to the Huon pine. These
thick Huon pine tabletop was to inlay inlays are a great option for adding a Raf Nathan is a Brisbane-based wood
a large wood dovetail key for strength little sparkle to your work. designer maker.

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& TRAINEESHIPS
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www.lie-nielsen.com.au
0418 842 974
PROJECT
Making the
Peddle Chair
Jon Grant invokes the spirit of Tasmanian chairmaker
George Peddle as he carries forward a tradition.
An original c.130 year old Nabowla

Pattern Utility Chair made from Tasmanian
blackwood by George Peddle.
Photo: Joe Chelkowski
PROJECT
1. Jon Grant in his southern Tasmanian

workshop. Photo: Joe Chelkowski
T he high school I went to in

Hobart’s inner north in the
1970s was formerly a technical
Who was George Peddle?
When I first read Denis Lake’s book,

Van Diemen’s Land with ambition,
and as soon as he was able to secure
a land grant, moved a little out of the
college. At the time, nearly half The Men Who Made The Celebrated city, left the sawmill and returned to
of the school was dedicated to Chairs: Windsor Chairmaking in his previous trade as a chairmaker.
workshops of one trade or another. Tasmania, it struck a chord in me. Tasmanian blackwood was his timber
There were classrooms exclusively set Denis’s work in this book has shed of choice and he used this exclusively
up for technical drawing, workshops light on an important Tasmanian to produce his chairs.
for woodworking and metalwork, and chairmaking story, however it was
there was a forge shop. more than that. As a Tasmanian and a The city of Launceston in the State’s
chairmaker I felt uniquely positioned, north soon attracted George’s
Some of the more privileged kids went almost incumbent if you like, to carry attention with the promise of a
on an interstate trip in their final the George Peddle story forward for growing and prosperous society, so he
year. My parents didn’t have that sort future generations. moved his family north in the hope
of disposable income, however they of building his small business further.
did allow me the privilege of buying George Peddle arrived in Hobart Demand for his chairs was strong and
the materials to make a wood lathe as Town in the winter of 1884 from he also saw opportunities to diversify.
my Year 10 metalwork project. England. The fledgling capital city of Further to the north-east, a rail line
Van Diemen’s Land offered promise was being pushed out which opened
This lathe has been a constant in my to those escaping tough times in their up the region’s lush forests – forests
life and I’ve used it for over 40 years. homeland. At 29 years of age, George growing on rich soils with high rainfall
When I discovered chairmaking it quickly gained employment working in and of course, plenty of blackwood.
seemed such a natural fit for me. Risby’s Sawmill on Franklin Wharf and
I loved woodturning, particularly settled his family into their new life. George settled at Nabowla and started
between centres, and living in to diversify into sawmilling. By 1895
regional Tasmania I had good access George had been a chairmaker for he had encouraged his brother-in-law
to fresh blackwood logs. These lend most of his working life before this to leave England and join him. Henry
themselves well to turning chair parts bold move, firstly in High Wycombe ‘Harry’ Hearne was also a chairmaker
and also to steambending. and then in Scotland. He came to and the pair continued to make their
PROJECT
Fig.1 Component angles not to scale
crest
20
back post
spindle 5
20
15 15
15
15
15
seat sight lines

see fig. 3
rear leg
centre stretcher
undercarriage
side stretcher
front leg
CUTTING LIST
PART QTY LENGTH WIDTH THICKNESS
Legs 4 445 50 50
Back posts 2 415 50 50
Side stretchers 2 405 50 50
Spindles 3 410 30 30
Centre stretchers 2 360 30 30
Crest blank 1 500 160 100
Seat blank 1 400 400 40

PROJECT
Fig.2 Turning patterns mm Ø 40% full size
centre
15
15
27
15
15
tenon tenon
centre stretcher, 360mm long

15
15
32
32
15
15
tenon tenon
side stretcher, 405mm long
25
15
25
15
27
27
27
22
25
12
12
15
15
tenon tenon
spindle,410mm long
28
36
28
20
20
28
36
36
22
36
36
22
32
15
15
tenon tenon
back post,415mm long

48
22
28
42
32
38
48
48
48
33
25
tenon
leg, 445mm long
blackwood Windsor chairs through Choice of timber

to the start of the First World War. Fig.1 shows the general construction
The two men continued to work of the chair. To be made in true spirit
in very traditional ways using only of George Peddle this chair should
a foot-powered treadle lathe and be made from blackwood, however
simple hand tools. Both men were any hardwood or structurally sound
now over 60 years old and production timber will do just as good a job. In 2
diminished from that point on. the past I have made these chairs
from Tas oak/Vic ash, celery top pine
They made a range of chairs, and even Huon pine.
however the Nabowla Pattern Utility
Chair was by far the most common, Whatever timber is chosen it should
being found in schools, offices have clear straight grain. In relation
and railway stations to name a few to the seat, this will allow ease of
places. The following information carving and not present complex
is a guide to making the Nabowla grain which will be difficult to 3
Pattern Utility Chair which George work. For the legs, stretchers,
Peddle and Harry Hearn produced spindles and posts this is even more
2. Materials docked as per the cutting
in their small workshop/shed at important, as chairs gain much of list shown opposite.
Nabowla, Northern Tasmania their structural integrity from wood 3. Completed turnings for the legs,
around the turn of the 20th century. fibres that run the length of these posts, stretchers and spindles.
PROJECT
Fig. 3 Seat: pattern, set-out lines and contour mm 25% full size
post and spindle set-out topside

leg set-out underside centre
spindle
back post
blank
400 x 400 x 40
contour depth 15
20
contour edge
195
leg
contour depth 10
front
components. If a spindle or narrow aesthetics. It’s also about developing this is an effective tool to use for
part of a leg or back post were to tolerances that you as a maker are this, however a small spindle gouge
have cross grain, this will be more prepared to accept. sharpened in the fingernail style will
likely to break when put under the be just as good without as much risk.
pressure of everyday use. Chairmaking in particular requires
the maker to drill holes at all sorts Shaping the seat
Using hand tools of angles as shown in figs.1 and 2. Fig.3 shows the seat contours. The
A level of familiarity, both with These angles are the sum of rake and 25mm diameter blind mortises for the
your materials and your tools, can splay in legs and often sighted against legs can be drilled 30mm deep with
only come with time and repetition. projection lines, parallels, mirrors, a Forstner bit – the short lead point
Intuition takes even longer. The bevels or lasers. Your accepted allows for a deep mortise without
pleasure that comes from finding tolerances as a maker will evolve over popping the lead point through the
the sweet spot on an edge tool can time and will define your work. You top. This is particularly relevant if
only be surpassed by knowing and create your own interpretation of using an auger or spade bit.
feeling the grain well enough that you what perfection means for you.
instinctively adjust your skew with Traditional chairmaking tools such as a
each pass to meet the changing grain Turning scorp or travisher are ideal for carving
direction that is presented as the George and Harry must have spent the seat, however your means can be
surface recedes. a lot of time on their treadle lathe. as simple as using a gouge. George
Apart from the seat and crest, every and Harry would have done theirs
Sighting component of this chair is turned with an adze so that is also an option.
Sighting is a critical skill in as per fig.3. I would suggest doing
chairmaking. This means being able some practice pieces to help develop Crest
to stand back and sight a chair for your skills turning beads and coves. As per fig.4 the crest is cut out of a
balance during its construction, so The legs, back posts and spindles larger piece of timber. The cut is both
a judgment can be made based on all have these configurations. For curved and set at an angle of 17°.
not only measurement, but also on those confident with a skew chisel, This is best done on a bandsaw with

PROJECT
4 5 6
7 8 9
10 11 12
4. Lateral view of sighting against 7. With the legs in their mortises, 10. After the side stretcher mortises are
bevel set to 15° for back posts stand the chair upright and use elastic drilled, find the required stretcher length
and spindles. to mark the height and centre of the using two bamboo skewers as a trammel.
side stretchers.
5. Back posts are set into through 11. When the side stretchers are fitted
mortises with a 6° reamed taper. 8. The angle of the stretcher mortise can the centre stretchers are located and
Here lasers are used to align – be found using a protractor. measured using the same method.
or use mirrors and bevel or square.
9. The stretcher mortise can also be 12. Clamp the crest evenly to the back posts.
6. Set the back posts to equal depths directly drilled by rotating the leg to align Mark post alignment to enable sight line
with dividers. with the angle of the drill extension. for drilling mortises.
PROJECT
13 14 15
16 17 18
Fig. 4 Crest mm 25% full size
17°
100
95
460
top view side view end pattern
the table set to this angle. The faces working time. PVA also has good like to use hammers to put the joinery
can be cleaned up with spokeshaves working time but under friction fitting together but rather ease it together
and finished with a cabinet scraper. (as in chair mortises) it can lock up by hand, then bring it up tight using a
Drilling the underside of the crest and not allow any wriggle room to clamp. Much more gentle!
to accomodate the back posts and adjust. Hide glue will not do this.
spindles will require a mirror to enable Once the undercarriage and seat
you to see the angles you have marked. The cutting list provides for all the are assembled fit the back posts and
turned components to be marginally spindles, then ease the crest down
Assembly over length. In my experience every over them again using a clamp to
The most appropriate glue for chair goes together a little differently. bring it all together.
chairmaking is hide glue. Now You may have to slightly reduce these
available in pre-mixed form from a lengths in some cases to get the chair Past and present
number of manufacturers, this just to ease together nicely. It’s part of the Soon to be overrun by industrialised
needs warming up by sitting the bottle charm of chairmaking! manufacturing, George Peddle and
in a jug of hot water. Hide glue can not Harry Hearn were the last of an era
only be re-activated with steam or hot The best approach to assembly is to of chairmakers who built their chairs
water should you need to dismantle put the undercarriage together first by hand from scratch. There are subtle
a piece for repair, it also has a good followed by fitting the seat. I don’t differences in each man’s turning

PROJECT
19
20 21
style that differentiate their work as a way of honouring such skilled 13. Step out the positions of the spindle
mortises on the crest using dividers.
and demonstrate that they worked craftsmen. I encourage others to do
14. Mark spindle mortise angles by
intuitively and hand made every part. the same and embark on a journey scribing a line on the crest using
Even in earlier times in England, that will both develop your skills a straight edge aligned with the
spindle mortises on the seat.
chairmakers would specialise in making using handtools and provide you with
specific chair parts, however George an opportunity to reflect on the great 15. Drill the back post and spindle
mortises into the crest by sighting the
and Harry made all the components of craftsmen who came before us. drill and alignment marks in a mirror.
their chairs individually. The mortises are also aligned directly
parallel to the front and back faces of
Process photos: Jon Grant the crest.
When I make these chairs I like to Illustrations: Graham Sands
16. Mark out the seat blank for carving
imagine what their work environment and drill depth holes as shown on
would have been like, and try to fig.3, the seat pattern.
understand the level of skill they Jon Grant’s strong sense of 17. Material is removed using a scorp,
or use a gouge if that is all you have.
developed working in the way they place can be traced back several
did. How did they achieve such generations in Tasmania. 18. The edges of the seat are cleaned
up using a spokeshave. The edges
a smoothly carved seat without He fuels his inspiration by are only slightly rounded.
sandpaper? How did they hold the maintaining a ‘line of sight’ 19. The crest is shaped using a
crest securely whilst they shaped it? to the tree from which the timber originated, spokeshave. This is always difficult
to hold in a vice however holdfasts
and by using traditional techniques and
are a great way to secure it.
I avoid using machines (apart from hand tools wherever possible. He teaches
20. Don’t forget to sign your work!
my lathe!) and jigs when I make a a range of chairmaking classes from his
21. Assemble the chair to check all is
George Peddle chair and try to work workshop near Hobart. Learn more at https:// correct and proceed to the final
in a manner as close to theirs as I can handmadematters.com.au/ finishing before glue-up.
Maker of the Year 2022
The winners and the Top 100 revealed!
A chair that speaks of tradition and also modernity

is the piece that has propelled Jess Humpston into
the limelight as this year’s Maker of the Year 2022. Her
Group Australia, The Ultimate Renewable, Whittle Waxes
and Wood Solutions. Huge thanks go to these companies –
simply put, Maker of the Year would not exist without their
winning entry, Ch-air, not only looks back to Windsor foresight and community support!
peg and mortise technology, but through the use of
monofilament also connects to an Australian ‘tradition’ Sincere thanks go also to this year’s fantastic judges:
as it recalls the influence of George Ingham, a designer Marc Fish, Laura Mays, Grace Cochrane AM, Will
and educator who had a huge influence on Australian Matthysen, Ruth Thompson and William Bayliss. Our
woodworkers from the early 80s onwards. award winners will share in receiving a prize pool of
$23,000+ including $10,000 in cash and $10,000 in
Although categories were individually judged, Jess’s work Carbatec vouchers.
was shortlisted in three of the four categories she entered,
an additional reflection of the excellence of her work. As Lastly, we thank all who entered! We have enjoyed viewing
an early career designer maker, we congratulate Jess on and appreciating every single entry and look forward to
her hard work. presenting your work again in 2023 when MOTY opens for
entry next February at www.woodreview.com.au/moty
Maker of the Year is much more than a means of
distributing awards. It’s a supportive platform for makers Congratulations to our award winners and the Top 100
to view and appreciate the work of others; and it’s a tool whose work you can now see here!
to leverage off, an opportunity to create new designs and
extend techniques. Via Wood Review’s digital and social Linda Nathan, Editor
channels, entrants can present work to a wider audience.
Note: Apart from award winners, the Top 100 entries are not
Maker of the Year 2022 is presented by Carbatec and presented in any order. Photos shown without image credits were
sponsored by American Hardwood Export Council, Felder taken by the maker.
Meet the Judges
Marc Fish, Laura Mays, Will Matthysen, Ruth Thompson, Grace Cochrane AM, William Bayliss,
designer maker, woodworker, designer. architect, designer maker, curator and designer maker,
director Robinson Lead tutor and designer maker, Churchill fellow, teacher, writer, author of Wood Review
House Studio Furniture director, The Krenov www.willmatthysen. www.collaborationau. The Crafts Movement Maker of the
School, UK, School, USA, com com/project/ruth- in Australia: a History Year 2021
www.marcfish.com www.lauramays.com thompson

SUPPORTING SPONSORS
react when processed in a certain

way, and then designing a piece
of furniture around this process of
curiosity whilst hopefully making the
piece appear as effortless as possible.
Can you give some insights into the making

of your winning entry?
Ch-air was developed during my final term at Sturt

School for Wood where we were lucky enough to have
David Upfill-Brown as our tutor who allowed us the space to
be experimental in our designs.
Without having a clear idea of the form, I knew I wanted to

design an ultra light chair which would act as a framework for
a woven element to soften the piece. The making process
PHOTO: ANTHONY MCKEE
proved challenging and the most clarity around design came

through the modelling. The first 1:1 mockup made to test
proportions was held together with rubber bands and fell apart
very easily. It wasn’t particularly pleasing to the eye and I very
nearly scrapped it altogether.
Next was developing a series of jigs to make a more refined

mock-up to test the joints, woven seat and ergonomics. The
compound angles were tricky and achieved through a series
Meet Jess Humpston, of angled wedges, a bevel gauge and a lot of head scratching
at the drill press. The dowels, including the tenons and
Maker of the Year 2022 fluting for the weaving, were made entirely on the router
What’s your background? Were you always a woodworker? table with cradle jigs to achieve consistency across all the
repeated elements.
I’m relatively new to woodworking, my background is in
fashion and interior design. Whilst working in interior design Monofilament was selected for its strength and the fluting
I took part-time woodworking classes at the VWA’s Victorian detail was developed to keep each strand in place and allow
School of Woodcraft and just completely fell in love with it! space around it, making it almost invisible. The cumulative
It was there that I heard about Sturt School for Wood and strength of each monofilament strand echoes the chair's
committed to studying woodworking in 2021. lightweight construction.
How does your other training/profession play into your What does being Wood Review’s Overall Maker of the Year
furniture design work? mean to you?
In my interior design practice it’s a process of constantly I am beyond excited to be named as this year's Maker
questioning form, function and ensuring every design move of the Year and honoured to be in the company of such
aligns with the concept and client’s brief. I think this training talented craftspeople. Wood Review is such an integral
has been so helpful for me in my furniture design work by resource and platform for Australian makers and to be a
being able to hone in on one key idea and then refine the part of it is truly amazing.
design until all joints, junctions, materials and proportions align
with the initial idea. What’s next for Jess Humpston?
What drives your design ideas the most? I’ve recently moved back to Melbourne and am slowly setting
up my workshop space at the VWA. I’m working towards
It’s ultimately driven by curiosity. This might be about the creating a range of furniture pieces and generally refining my
construction of a traditional joint, or how a type of timber will skills as a craftsperson.
TABLES, CHAIRS & DESKS: TOP 20
WINNER: JESS HUMPSTON
1. Ch-air, white ash, monofilament
‘Ch-air is an exploration in visual and structural

lightness allowing for unobstructed views of
a vista/table beyond. The form is inspired by
traditional stick chairs with the typical solid
timber seat subtracted from the structure. Its
strength comes from the triangulation of router-
formed dowel elements, timber selection and
a hand woven monofilament seat kept in place
with fluted detailing.’ Photos: Greg Piper
WHAT THE JUDGES SAID
This for me is the best piece in all the categories

I have judged, it shows real visual maturity. It’s
innovative but not gimmicky. The whole design
comes together, and the chosen materials offer
a stunning contrast. The mixture of design, art
and furniture could not be more explored than
in this piece. Modern, fresh, original, unique,
contemporary, stunning. Marc Fish
I think this chair is beautiful to look at, and I would

love to sit on it someday! It has good precedent
in its similarities with Wharton Esherick’s
Hammer Handle Chair, and shares a similar
straightforwardness and lightness of structure.
The airiness of the monofilament is very beautiful
– ethereal and almost magical. Laura Mays
Windsor chair meets suspension bridge. An

elegant solution to an age-old problem, how to
give structural integrity to a chair. The timber
1
frame members are in compression, held
together by the tension of the monofilament. The
chair is a masterclass in minimalism and restraint
which still retains traces of its historical roots,
nothing that is not needed has been included,
and this minimalism causes one to focus on the
details, the subtle curve of the top rail, the way
the tenons and joined and the grooving to locate
the monofilament. Will Matthysen
The seating solution itself is incredibly complex and

impeccably executed. A lot of brainpower, trial and
error and physically working in three dimensional
space went into this piece. There is very little doubt
in my mind that any computer program could
design this from start to finish. It shows a great
relationship to material. William Bayliss

SUPPORTING SPONSORS
This piece is crisp, clear and feels very true

within itself. A design that involves the
specified timber in a very cohesive way.
William Bayliss
Flow is a very good example of responding

to a brief that required the use of supplied
timber species that brought their own
contrasting appearances and meanings.
Inspired by local architecture, the
elegant design is complemented by well
constructed joints and interfaces between
timbers. Grace Cochrane
RUNNERS-UP:
ROLF BARFOED &
SAMUEL RYRIE
2. Flow, Qld narrow leaf wattle, Qld silver ash.
Designed by Rolf Barfoed, made by Samuel Ryrie.
‘Key to the brief was the use of three superb

boards of fiddleback Queensland narrow leaf
wattle, supplied by the client. Our shared
connection to place (Canberra) and local
architecture influenced the design. The frame
rails were inspired by the prominent and
recognisable shapes of the Parliament House
flag mast. The top is mounted with slotted
brass screws in oversize holes to allow for
timber movement. The legs are connected to
four curve-laminated stretcher rails via handcut
mortise tenon joints. Photos: Andrew Sikorski
4
3. Patryk Koca, designer and Carl Broesen, maker, Kardo Chair.

‘Designed to reduce some of the limitations of Australian timbers
whilst maximising the yield from common sizes. Working together,
the pair developed suitable joinery methods and selected native
timbers that could rival their northern hemisphere counterparts.
Blackbean (Castanospermum australe) is used for the legs, silver ash
(Flindersia bourjotiana) for the tenons and Victorian ash (Eucalyptus
delegatensis) for the seat and backrest.’ Photos: Brooke Zhang
4. David Laird, New Zealand. Captains Chair No. 8, black walnut, locally
grown white oak, elm, and green sawn white ash. Photo: Richard Lord
5. Dave Smith, E1 Chair. ‘Compact in footprint and low to tuck under
tables, the E1 nods to classic Windsor chair design, all the while
reorganising components and proportions.’ Photo: Sam Penninger
6. Nelli Hegi, Underline Coffee table. Geometrically shaped legs combine
with a 30mm thick top and a layered edge detail. Photo: The Palm Co
7. David Upfill-Brown, Saddleback Chairs, yellow siris (Albizia
xanthoxylon) from north Queensland. ‘Another approach to a genre
of chairs that I have been making occasionally for the past 15
years, seduced by the bell curve, the desire to achieve maximum
comfort and dependent structurally on joinery from within the
seat. Photo: Jon Harris
8. Alexsandra Pontonio, Dining Table for Derby Street, Otways
myrtle. ‘The brief asked for a design that met halfway between
solid and robust, and smooth and soft.’ Photo: Nick Manuell
9. Bryan Cush and John Wardle, In Clover, Tas oak and leatherwood.
A collaborative piece designed by John Wardle, detailed and
crafted by Bryan Cush. ‘Clover-shaped legs penetrate the top and
a sliding tray glides down the centre.’ Photo: Pier Carthew
10. Bryan Cush, Yaketa, blackbutt, woven Danish cord. ‘Yaketa was
influenced by hinoki bathhouse stools found in Japanese onsens
and ryokans. The shou sugi ban charring of the top creates a
textured, hard-wearing finish which is visually lightened with a
subtle taper to the underside.’ 6

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Throughout all categories there were many exceptional

pieces, making the selection of an ultimate winner a
difficult task. What appealed to me most were pieces
that made unexpected connections with the wider world
around us, a leap of the imagination that had somehow
7
found itself distilled into a cabinet, a chair, a carving, or a
box. It requires great skill to synthesize these opposites,
and even more to pull it of successfully.
These pieces explored and pushed the boundaries of

accepted design and practice and took me to the edge
of my comfort zone, revealing something new which lay
hidden in plain sight.
Technique is the means to self-expression, it requires an

understanding of materials, an eye for proportion, colour
and texture, and attention to detail and finish.
Finally, these makers have found their own voice within

the crowd, and in their own way added something new
to the long tradition of woodworking.
8 Will Matthysen
9 10
11. Michael Gilling, New Zealand. Oval Dining
Table, recycled kauri and matai. On the
underside of the top, angled wedges
support radiating boards. Photo: Si Moore
12. John Mulhall, Roll-top Cedar Writing Desk.
‘Commissioned by friends...the desk is my
original design in a traditional style.’
13. Craig Harris, Continuous Arm Windsor
Rocking Chair, Eucalyptus regnans and
white oak. A traditional Windsor chair using
Curtis Buchanan’s plans and incorporating
‘a little blackwood barn swallow’.
14. Geoffrey Young, New Zealand. Raptor
a Hunger, ash, redgum, 9kg at 650mm
tall. ‘He moves decisively in full flight,
anchored and braced by his shield.’
15. Raven Mahon, Lea Desk, American
oak. ‘This study desk with incorporated
shelving was designed to sit neatly in
an alcove of a bedroom.’ Pins which
hook into grooves at the back allow the
shelves to pivot into a display position.’
Photo: Xanthe Waite
16. Scott Storey, NZ. Klismos2021,
11
American black walnut American white
ash. Photo: Daniel Allen
17. Rob Merk,The Statler, made in collaboration
with Mic Ritter using recycled red
hardwood. Photo: Rebecca Evans
18. Nick Pedulla, Vigne Bench Seat.
Alluding to a designer maker’s creative
journey, the ends of the ash ‘vine’ are
left free and open, allowing it to grow
along its own path. Inspired by the
work of Joseph Walsh.
19. Samuel Burns, Racina Table, ‘...a
timeless design defined through the
incorporation of an array of geometric
forms and angles.’
20. Stuart White, Crucible Table,
Tasmanian blackwood with ebonised
accents. ‘A narrow edge profile and
dark lines give a floating appearance.’
Photos: Andrew Porfyri 12 13
14 15 16

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CHESTS, CABINETS & SHELVING: TOP 15
WINNER: DANIEL LITTLE
1. The Midnight Special Cabinet, blackwood,
wenge, handmade brass pulls
‘Inspired by Scandinavian and Japanese

modernism with the hope of achieving
warmth and balance, the end product is
a minimalist and elegant piece.
‘The tambour doors stretch around the

curved ends with alternating flat and
curved hardwood pieces chosen to create
a sweeping textural aesthetic. Removable
side and back panels facilitate tambour
removal and repair over time.
‘The frame was weighted with a large apron

on the back and top sides for stability with
lighter stretchers on the front and bottom
to maintain the lean aesthetic.’
This is a finely wrought piece

with a light understated style.
The joinery is well executed in the 1
dovetail drawer and the tambour is
interesting in texture and looks to
be well fitted. Ruth Thompson
I felt the proportions on this piece

whilst a little unusual for a cabinet
were very pleasing, it offers enough
interest visually without over
embellishment. Love the tambour
doors which are not an easy thing
to execute well. Marc Fish
This piece seemed exquisitely

designed and made: from the
restrained palette of local woods
to the overall massing to the sizing
of components. I particularly
appreciated details such as the
tambour (which rolls around its
semicircle) having small rounded
slats, echoing the circular nature
of its movement. Laura Mays

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RUNNER-UP:
JONATHAN EVERETT
2. Books and Secrets, handcut white oak
veneers, natural and ebonised, on 6mm ply
torsion boxes, handcrafted hinge
‘A playful response to a client brief for

a highly original, hero piece of furniture,
a centrepiece to an amazing home in
Newcastle. The shelving unit is also a
room divider, providing privacy from the
lounge to a bedroom beyond. An integrated
hidden door alludes to a tradition of “secret
bookcases”, the romantic concept of
hidden locations and concealed wisdom.
‘Through a contemporary, sophisticated

composition I have designed this piece to
further the theme with the form pointing
to a maze or Chinese puzzle. No handles
or clues to the entrance are apparent and
the door is opened by pulling a shelf. The
concealed door swings on a handcrafted
2 brass and stainless steel hinge mechanism
and is held with an electronic lock.’
Who doesn’t love the idea of a hidden

space behind the bookshelf? This is
cleverly made shelving which brings
interest to what is often a mundane
furniture necessity in the home. The idea
of it brings a smile. Ruth Thompson
3. Phil Horner, NZ, Whisky Cabinet, walnut,

maple, quilted sycamore, stone, and metal
trim. ‘Incorporating texture and a pop of
colour, we love a mix of traditional joinery
with a contemporary twist.’
Photo: Simeon Patience
4. Jono Everett, Rust, solid and handcut veneers
of American white oak. ‘Developed for a
contemporary home in Newcastle. The 35mm
thick ebonised carcase is oiled in matte, in
contrast to the gloss interior. The sliding doors
are solid copper plate with an acid wash patina.’
3
5. Raven Mahon, TW Shelving, walnut.
‘I have always admired the work of
Wharton Esherick and so incorporated
panelling along the back with an irregular
pattern inspired by the studio floorboards.
Open frames on the shelf dividers let
light through to counter the density and
weight. Photo: Northside Studio
6. Bryan Cush, Gunnamatta is a wall-
mounted Tasmanian blackwood cabinet
of asymmetrical design with a sliding
Victorian ash tambour door and polished
brass handles. Photo: Dijana Ross
7. Dale Woodley, Crackle Credenza. ‘...it
started with a dive into 1960s quilted
Chanel handbags and spiralled out
control from there. Blackbutt veneers
were grain matched and laminated onto
black MDF. A Shaper Origin handheld
CNC and a range of cutters were used
to cut though the veneers and bevel
the diamond pattern.’
8. Jess Humpston, Compact Trio. ‘At just 5
90mm high, this is a venture into spatial
minimums and contains “just enough”
space to store the necessary items and
a quick check before walking out the
door.’ Photo: Daniel Mulheran
9. Bec Evans, Angle Cabinet. Made for
small treasures from Californian walnut
and and Australian white cedar. The
design is playful exploration of hand cut
joinery with the construction resolved to
complement a geometry that shifts as
you walk past.
10. Zach Danoy, Whisky Cabinet. ‘The
jarrah doors slide effortlessly to reveal
an internal drawer. Behind, a wall of
glorious bookmatched Huon pine
enhances the colour of the whisky.’ 6
11. Alby Johnston, Undula Cabinet,
Tasmanian myrtle, tiger eye stone slab,
Huon pine, bronze. ‘Compound curving
end panels and drawer fronts are each
pillowed and hand carved to express
the natural figure of the Tasmanian
myrtle. The solid end panels have a very
complex tongue and groove joinery to
follow the curved legs whilst allowing for
timber movement.’ Photo: Chuck Bradley
12. Steve Kelly, Aislin Bedside Cabinets,
American walnut. ‘The finished
cabinets have far exceeded my
expectations and are the family
heirloom pieces my wife and I were
hoping for.’ Photo: Sarah Wilson
13. Derek Calderwood, Sideboard in
Queensland Maple. ‘Mid-century
inspired and built as a commission for my 7
wife to remove the kids homework and
craft equipment from our dining table!’
14. Matthew Keayes: ‘The Don Whisky
Cabinet showcases Don Bradman’s
cricket bat and was made out of the
small workshop I built in our backyard
during Covid.’ Photo: Tobias Clifford
15. Patrick Connell’s Beachcomber Hallway
Table ‘uses ethically sourced and
sustainable American oak, European
beech, American cherry and recycled
King William pine, and garners inspiration
from mid-century architecture as its main
structure sits lightly upon its frame.’
Photo: Anne-Louise Thomas 8

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9 10 11
12 13
14 15
WORLD: TOP 25
WINNER, FURNITURE:
ELLIOTT BUTTERWICK, UK
1. Marshlands, Ebonised sycamore, bog oak, epoxy
resin finish with bronze metal resin and black
paint. ‘This drinks cabinet explores the relationship
between North Norfolks tidal swell and its salt
marshes. The curved, wave like doors incorporate
a marshland grass texture, in stark contrast to the
luxurious sycamore interior and polished bespoke
brass handles.’ Photos: Simon Eldon
A reserved and even sombre exterior, but

looking closer, one discovers a delicate
woven texture of marshland grasses set on
wave-formed doors, which, once opened,
reveal a light filled interior of satin smooth
fiddleback sycamore. Despite the organic
form and texture, or possibly because of
it, there is a raft of technical sophistication
in its construction and making. A truly
outstanding piece.Will Matthysen
This piece represents the complexity of life

existing in the marshlands. The techniques
used to emulate the texture of the marshes
create an evocative image of the swell of
the tide. Ruth Thompson
This is a hugely ambitious and dramatic

piece, realised with aplomb. Laura Mays

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The workmanship on this piece is

breathtaking. The monochromatic
exterior and its harsh graphic
quality are offset by the warm
burly interior in a way that is
unexpected and lovely.
Laura Mays
2 This box exhibited exquisitely

executed marquetry. The
precision of cut and the alignment
WINNER, ART & BOXES: ADRIAN of grain making the most of the
chatoyance in the sycamore
FERRAZZUTTI, CANADA and contrast of timber species
2. Tobacco Pipe Box, curly European sycamore, ebony, dyed pear combined into a dynamic piece.
and amboyna burl interior. Ruth Thompson
RUNNER-UP, FURNITURE:
FRÉDÉRIC DEGROOTE, FRANCE
3. Cabinet Ebelypse, Macassar and Gabon ebony, curly maple
wood. ‘This piece required several hundred hours of work.
Its slender design, curves and proportions are the result of
a search for perfection. The top marquetry is inspired by
tortoiseshell. The motif on the doors is inspired by the scales
of the cobra.’ Photos: David Coppieters
RUNNER-UP, ART &
BOXES: CLEMENS
SÖLLNER, GERMANY
4. Ceramica Pisi, various species,
950 x 640mm. Handcut marquetry
depicts a nocturnal moth. ‘I like the
idea of making their surface out of the
material they like to imitate to be unseen.
Wood.’ Photo: Michael Eckstein
4
5. Frédéric Degroote, France. Cabinet

palmebor, palm wood, Gabon ebony,
lemon wood. white ebony, 24 carat gold
leaf. ‘I hope that this sculptural cabinet will
bring out for you all the emotion I wanted
to put in it.’ Photos: David Coppieters
6. Tsutomu Inman, UK. Kesshouka,
‘inspired by the traditional Japanese
craft of kumiko and the crystalisation
process of a snowflake.’
7. Andrés Mariño, Spain. Sapiens Chair.
Four interlocking pieces work together
to form a structure reminiscent of
Escher patterns.
8. Dan Meyerson, USA, Salish Sea Coffee
Table, ‘inspired by the endangered
starfish native to the Salish Sea, the
body of water near to which I live. The
joinery was challenging to engineer and
execute but resulted in an incredibly
robust structure.’ Photo: Myron Gauger
9. Blake Weber, USA. The Rainbow
Cabinet. ‘No dies or stains were
used in this piece. The colours of
the rainbow comes from 10 different
species of natural hardwoods. Each
door section has 18 thin solid hardwood
cold-bent laminates.’ 5
10. Philip Gay, UK. Invasion Mk1, inspired
by work in the UK film industry.
Embracing a science fiction theme
and an engineered aesthetic.
Photo: Lewis Wilkinson
11. Ronan Morrison, UK. Burlesque, elm
burr, rippled sycamore. Four stacked
kidney shaped layers make up the body
of the table. The mirror is set into a
strong brass frame complemented by
slender sycamore legs and conical brass
fixtures. Photo: Michael Pawley
12. Shea Vollstedt, USA. Legacy Dining Table,
European beech. ‘Made in honour of my
father, with the goal of creating a space
for gathering and memory-making for
years to come.’
13. Penina Bernstein, USA. Walnut and
Brass Dining Table. The brass
pieces serve both a decorative and
structural role.
6

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9 10 11
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14. Austin Heitzman, USA, Holly and Rosewood Bonsai Stand

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with ‘mitre reverses at the bottom of the leg and criss-
crosses under the top. The small scale (1/2"–3/8" thick legs)
further complicates the delicate joinery.’
15. Germán Peraire, Spain. Contemporary Slant-Front Desk
opens to reveal a space to read, write or study without
distractions. Includes a spring-loaded secret compartment.
16. Ronnie Rozenga, Netherlands, Marquetry Optical Illusion
Box. A vanishing perspective point and grain arrangement aid
the illusion in ash, wenge, jatoba, maple, padauk and ebony.
17. Ian Parker, UK, Jewellery Box. The marquetry is knife cut
using dyed veneers and tapered line to a design that further
echoes the pointed elliptical shape.
18. Jannik Grage, Denmark, Jewellery Box, wenge, shagreen.
The box is conical and the sides tilt 1.5°. There are
wooden hinges and a small tray inside. Photo: Katharina Grage
19. Dallas Gara, Canada, Sculpted Ziricote Rocking Chair. Made with
Maloof joints for the seat/legs as well as custom jigs before
refining with hand tools for a perfect fit. Photo: Snap Foto
20. Clare Ng, UK. The Square Box has a secret compartment
for ‘unforgettable memories’. The 25 bookmatched
endgrain squares signify a 25th birthday.
21. Mary Tsai, USA. Tree of Life Table. A cherry wood dining
table inspired by Frank Lloyd Wright’s Tree of Life stained
glass window.
22. Paul Schneider, Germany. Handmade Chesspieces in
European walnut and maple, brass weighted. The
measurements match World Chess Federation standards. 18

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19 20
Overall, I was deeply impressed by

the quality of the entries. They ran the
gamut from inventive and exploratory
to beautifully crafted and attentive
to material. The best combined all
these qualities. In general I preferred
21 pieces that were doing more with
less – fewer materials, through joinery
only where it made sense visually or
structurally, one idea explored deeply
and expressed clearly. Laura Mays
The work presented to the judges

in this competition is of the highest
quality in terms of execution. It is
often the precise execution of the
smallest details that determines
the final result. A well described
statement of intention often provides
an insight into the piece that is
perhaps not obvious by looking at
images alone. Some pieces, while
beautifully executed were a little too
22 derivative. Ruth Thompson
23
24
Gary Rizzolo’s Teardrop Archtop shows

immense skill and understanding of
musical instruments. Anyone able to
make a guitar I am in awe of. The piece
has a great aesthetic and shows some
really interesting details. Marc Fish
Aptly named, this piece is a masterclass

of instrument building. Clinically
approached, carefully considered and
25 without a foot out of place this piece
speaks for itself. An array of complex
curves makes it a beautiful object in its
23. Nick Sawyer, USA. Sharky combines themes of dark pacific waves and
an overall form of a shark fin with the fusiform shape interrupted by own right. The closer you look, the more
the gilled cutbacks in the case. Five walnut cases have dovetailed and there is to discover. William Bayliss
piston-fit drawers of cherry with Macassar ebony bottoms.
24. Haakon Haraldsen, Italy. Round Dining Table, extends 1200 to 3000mm
Music to the eyes…and ears. This work
diameter. The apron has a 5° slope and the handcut marquetry pattern is is virtuoso performance of craftsmanship,
‘borrowed’ from the Hagia Sophia Mosque. Photo: Daniela Dall’Aglio and a deep understanding of history
25. Johanna Röh, Germany. Tori Cabinet, cherry wood with thick veneer
and tradition while still finding room for
marquetry of collected local woods. ‘Made to commemorate my client’s innovation. Flawless detail in every way.
good friend from Japan who passed away.’ Photo: Jürgen Friedrich Will Matthysen

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ART & OBJECTS: TOP 10

WINNER: GARY RIZZOLO
1. Teardrop Archtop, Italian spruce, Tasmanian Huon pine,
ebony. ‘A unique guitar with hallmarks of New York Italian
guitarmakers, the woods and symbols of my father’s Italy plus
the woods of my Tasmanian heritage.’ Photos: Ren Rizzolo
RUNNER-UP: DANIEL SZCZERBA

2. Spotted-Tailed Quoll, Huon pine. ‘Life-size and hand carved from
a single piece of wood endemic to Tasmania with inlayed spots
of native box wood. A fleeting capture at an inquisitive moment.’
Daniel Szczerba’s piece is appealing

in many ways. Its slightly turned head
is one of inquiry which encourages
physical as well as visual engagement.
The inlay in the softly finished surface
also stimulates a desire to stroke the
animal. The Quoll well-represents
inspiration and interpretation as well as
skilled production. Grace Cochrane
Realism is rarely an end in itself, but a

window to something new, and Daniel
Szczerba’s Spotted-Tailed Quoll points
to the plight of Australia’s unique
and endangered species. Beautifully
2 detailed and finished. Will Matthysen
3 4
3. Adrian Simon, Blade Bedside Lights,

New Guinea rosewood. ‘The idea was to
make the light blade as improbably thin for
the light it was producing through the use
of tapers, tapers, and more tapers.’
Photos: John Rintoul
4. Eliza Maunsell, Contrast No. 3,
laminated southern mountain ash.
A custom built sculptural wall shelf.
Photo: Lucas Townshend
5. Tom King, Modern Gypsy Acoustic Guitar
with double-top soundboard, falcate
bracing, laminated back and sides, a
carbon fibre reinforced bolt-on neck with
inlay and carved and stained features.
6. John Tucker, American Eagle. ‘Most 5
intarsia projects are a flat or level surface,
I try to go to another level and create
depth to my projects.’
7. Neil Cryer, Butterfly Fantasy, windfall
jacaranda. Turned and sliced sections
were pierced and joined.
8. Suzanne Medwell, The Cassandra
Complex alludes to specialised climate
scientists (‘Cassandras’) whose forecasts
are continually ignored or disbelieved.
Photo: Judith Medwell
9. Rowan Dicks, The Dark Seed, stained
American ash. ‘An expression of nascent
life found in nature.’ Photo: Kevin Bills
10. Trent Palelei, Acoustic Bass, Huon pine,
Tasmanian myrtle. ‘The art deco rosette
and headstock motif are sunrise inspired
and highlight the richness of myrtle.’
Photos: Dean Agar

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8 9
10
BOWLS & BOXES: TOP 10
WINNER: LOUEN PINPIN

1. Soil and Sea, Qld silver ash and Qld walnut, paper.
‘These matching keepsakes are testimony to my
arrival in Australia and discovery of the dualities
of land and people.’ The flexible lid is a paper and
veneer lamination inspired by furniture maker Laura
Inguaggiato. Photos: Laura Inguaggiato
I was particularly taken by the

inventiveness of the flexible lid, its
presence when closed is not evident
but reveals itself so well upon opening.
Overall a well considered piece that has
been constructed to a high standard.
Marc Fish
A beautifully crafted pair of boxes with

a sunburst pattern that invites one to
explore further. How do you open the
box? With a lid that follows the curve of
wave about to land on the beach.
Will Matthysen
Louen Pinpin’s pair of boxes are playful

and unique with an unorthodox yet
genius opening method. The sister pair
act as almost a call and response to
each other and create complex visual
relationship. William Bayliss

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RUNNER-UP: LINDSAY ATHORN

2. The Lake Jewellery Box, fiddleback blackwood, white pearl resin
‘The bookmatched bark edge top and front has a white pearl resin
feature in the centre with a natural quartz feel. The removable sliding
tray also has a white pearl resin band around the top edge. The
construction method and hinge position allows the lid to self support
itself at around 110° without the need of stays or blocks on the back.
The hinge pivot point is key here, achieved by making the back of the
box slightly thicker. Mitre joints throughout are pre-sealed before final
gluing for maximum strength. I wanted to utilise the beauty of the
contrasting interior and outer edge colours of the log.’
Each individual piece of wood is unique, and

Lindsay Althorn’s Lake Jewellery Box makes
creative use of the sapwood and bark edge
to surround a frozen lake. Every detail has
been considered, from the rolled edge to
the layout of the interior, a finely crafted box.
Will Matthysen
3. Lindsay Athorn, Symmetry, blackheart and

golden sassafras. ‘The design aims to please
the eye while camouflaging the workings of
the box. The lid is self supporting and the
beads are slightly curved at the longest sides
to act as handles for the drawers. Both dark
and light timbers on the top have the grain
waterfalling down each end.’ 3
4. Robin Cromer, Red Cedar Bonsai, red
cedar, salmon bean, Japanese maple and
other species. ‘The marquetry design was
based on a gnarled old tree which could
easily be a long-tended bonsai.’
5. David Hall, Box 89, sassafras, birds-
eye Huon pine veneer, walnut. ‘I’m
particularly fond of dowelled hinges,
utilising wood cut from the same boards
as the box and serving as a point of
difference with many other makers.’
Photos: Optikal photo imaging
6. Martin Burgoyne, Soradaki Chest, red
maple, cherry, banksia, jarrah. Made to
hold the specialist equipment used for
burning incense for pleasure.
7. Kevin Richardson, Introspection ‘came
into fruition through an inward meditation
journey’. Red oak and black India ink, 300
x 100mm with 3mm thick ‘wings’.

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8. Benjamin Reddan, Forever Starts Here, various species.

‘Part of a series dedicated to my wife Hannah which
also expresses my love for Japanese veneer patterns
and shows my interest in crafting a body of work that
flows and tells a story.’
9. George Parke, Lidded Box with Finial utilises
laminations of various species. ‘I love Cindy Drozda
finials but everyone makes them so I have gone down
my own path with carved ones.’ 270mm high x 160mm
wide. Photo: Georgina Steytler
10. Pierre Moens, Apricot Blossom, sheoak, blue gum.
‘A present for my partner’s mother in Vietnam where
apricot blossom is considered a lucky charm during the
lunar New Year. Photo: Stephane L’hostis
10
STUDENT, TERTIARY: TOP 10
WINNER: BRANDON HARRISON

Sturt School for Wood, teacher David Upfill-Brown
1. a little emphasis, rock maple. ‘A coffee table inspired by the

crisp geometric compositions of the Bauhaus and Gerrit
Rietveld. The teetering cantilevered top rests on stacked but
separate boxes with a hidden structure allowing them to ‘float’
above each other. A 5° tilt increases the visual impact of the
cantilever and allowed me to really test myself when hand
cutting the drawer joinery. I think that learning is best done in
the deep end. The table looks like it was created in italics, and
just as italicised text suggests emphasis, I wanted this table
to emphasise what can be achieved in this beautiful natural
material.’ Photos: Ashley Mackevicius
The brief to create a visually light piece has been elegantly

achieved. The references to modernism are sensitively
approached. The use of rock maple and the grain direction on
the drawers emphasise the lightness of the piece, the shadow
lines reinforce the illusion of lightness. Ruth Thompson
Brandon Harrison’s desk is geometric, sleek and at a glance

looks to defy physics. The complex structure and angled
joinery look effortless. With a beautiful drawer pull solution this
piece is well resolved and very well executed. William Bayliss

SUPPORTING SPONSORS
RUNNER-UP
SCOTT STOREY
Centre for Fine Woodworking,
New Zealand, tutor David Haig
2. Moonchild, American black walnut,

sycamore. The concept was to create ‘an
aesthetic entryway table with impact’.
Photo: Daniel Allen
A visually light piece, with strong

emphasis on the floating horizontal
shelves achieved through the use of
sycamore. The choice of American
walnut as a dark contrast reinforce
the illusion of floating by making the
legs disappear. Ruth Thompson
With its great stance, Scott Storey’s

hall table is eye catching but never
overbearing with its beautiful easy
bends, subtle shaping and tapers.
3
This piece would happily fit in many
a home. William Bayliss
3. Daniel Little, Sturt School for Wood,

teacher David Upfill-Brown. Temiku
Coffee Table, blackwood, ebony.
‘Conceived to explore the meeting of
craftsmanship and contemporary design.’
Photo: Ashley Mackevicius
4. Jess Humpston, Sturt School for Wood,
teacher David Upfill-Brown. Shift Table,
maple. The storage compartment is
accessed through a pivot section slightly
recessed into the tabletop. Photo: Ashley
Mackevicius
5. Scott Storey, Centre for Fine
Woodworking, New Zealand, tutors
David Haig and Tony Clarke. Klismos2021,
American black walnut American white
4 5 ash. Photo: Daniel Allen
6 7
6. Sojung Yoon, Universal

College Of Learning,
teacher Rowan Dicks.
Waterfall, pine, ash.
‘Inspiration comes
from the endless cycle
of water captured in
nature’s uncertainty and
asymmetry.’
7. Niall Walsh, Centre for
Fine Woodworking, NZ,
teacher Dave Gilberd.
Recycled Skateboard
Guitar, various species.
Photo: Daniel Allen
8. Noel Davar, Sturt School
for Wood. Cathedral
Hall Table, red cedar,
rock maple. Inspired by
Gothic arches. Photo:
Ashley Mackevicius
9. Liam Starcevich,
9
Sturt School for
Wood. Rhobie
Chest of Drawers,
Tas blackwood. ‘...
experimenting with
surfacing and applying 8
curvilinear forms to
what is typically a
rectilinear medium.’
Photo: Ashley
Mackevicius
10. Vince Berkhout, Sturt
School for Wood,
teacher David Upfill-
Brown. Serengeti Hall
Table, Tas blackwood
and Tas oak. Designed
to reflect the acacia
trees of the Serengeti
with their flat canopy of
foliage. Photo: Ashley
Mackevicius
10

SUPPORTING SPONSORS
STUDENT, SECONDARY: TOP 10
WINNER: JACK
VUKASOVIã
The Kings School, NSW;
teacher Julia Laman
1. Standing Tambour Cabinet, American

white oak and zebrano. ‘Inspired by both
modern Scandinavian and Japanese
design, I designed the project with
timber movement in mind to ensure it
stands the test of time. Through a year of
ups and downs, this project has kept me
sane, giving me something to take with
me as a reminder of this year wherever
life takes me.’
With an array of advanced techniques

and layers of surprise throughout,
Jack Vukasoviä’s Standing Tambour
Cabinet shows a great understanding
of materials and a great design flare
with good proportions and faithful
motifs. William Bayliss
RUNNER-UP:
JAYDEN NEW
Calrossy Anglican School, NSW;
teacher Ian Scott
2. Pool/Dining Table: A slate bed pool

table rotates along its axis to reveal a
dining table in silky oak with rock maple
and New Guinea rosewood detailing.
Matching bench seats provide storage.
The rotation of the tabletop is actuated via
a custom hydraulic dampener.
Fun, functional and very well

executed. Great fit and finish.
2 William Bayliss
3 4
3. Scarlett Whitaker, Bega High School,

teacher Matthew Collins. Acoustic Bass
Guitar, Sitka spruce, blackwood, silky oak
4. Toby Symons, Cranbrook School, teacher
Thomas Freeland. Contemporary Alcohol
Cabinet, Tasmanian oak
5. Joseph Challita, St Patrick’s College 5
Strathfield. Elegance Dining Table,
American oak, American walnut
6. Patrick Reid, Chevalier College, teachers
Donald Athanasoff and Brett Bastin. Drop
Leaf Traditional Games Table, Qld maple
games table with Tas blackwood and Qld
silver ash chess board.
7. Alexander Hill, Wentworth College, New
Zealand. Hollow Form Group, various
woods and sizes with finials made of
contrasting materials.
8. Andrew Bellis, Marist College Kogarah,
teacher Simon Combes. Electric Guitar,
flame maple, walnut.
9. Angus Williams, The Kings School,
teacher Julia Laman. Laminated Rocking
Chair, Vic ash, Sydney blue gum. Inspired
by Amy Short’s Cadillac Rocking Chair.
10. Henry Brigstocke, The King’s School,
Brian Davey. Walnut Dining Table with
secret drawer and carved details. 6

SUPPORTING SPONSORS
Congratulations to the award winners

and indeed, to all participants. When
it is not possible to actually see, touch
9
and walk around the submissions and
experience their physical presence, it
is so helpful to have good photographs
of the finished work from a number of
overall views as well as of significant
completed construction details. Also of
interest to me, are the reasons provided
for choices of timber, which might be
personal, visual and practical. Further
contributing to the meaning of the
works, are insights into the makers’
sources of inspiration, which might be
from the environment or function, key
examples and mentors along the way,
or the evolving process of working
with timber and related materials. They
all add up! Overall, congratulations
to Wood Review for providing this
10 important opportunity. Grace Cochrane
PROJECT
The Perfect Present

David Lim shows how to size and build a presentation case
for the finest whisky.
W hat to give the person who

has everything? In middle
age I have frequently encountered
a statement piece that can sit proudly
on a mantle piece.
featured timber, or by adding inlays
or marquetry as shown on these
pages. This article shows how I built a
this problem. Over the years, I have The carcase is a box with a recessed solid walnut version.
made and given pens, boxes, clocks platform that the bottle sits in, a spine
and chopping boards. But this year, I or back piece, and a top – all of which It’s all about the bottle
found the holy grail of presents. sit on a bevelled pedestal. Gull-wing The bottle I’ve chosen here is Johnny
doors open to reveal and frame the Walker XR21. It is a 21 year old
Where once I might have given a contents within. blended whisky, but more importantly
bottle of whisky, now I can add a the bottle has a beautiful Art Deco
personal touch. This whisky cabinet is This project is relatively simple but shape. The shape of the bottle
not only easy and quick to make, it is you can make it more elaborate with dictates the size of the finished piece.

PROJECT
To dimension the platform, find the

outline of the bottle at its widest part,
then add another 10mm all round
for clearance (photo 1). In this case,
I cut a rectangular platform150 x
90mm, and 22mm thick.
The recess for the bottle

Trace the base of the bottle onto
MDF or ply and cut out the shape
with a jigsaw. The cavity will form the 1 2
template to rout the recess for the
bottle (photo 2).
Main images: Several views of David Lim’s
whisky presentation cabinet which features
Centre the template on the platform burl elm with mother-of-pearl inlay along with
timber, and use a router with a a contrasting birds-eye Huon pine interior.
bearing copy bit to trench out the 1. All components are sized according to
the selected bottle. First make a template
recess to a depth of 8mm (photo 3,
to create the cavity in the base. Trace its
4, 5). You should do this over three outline, then add 10mm clearance.
light passes rather than removing the 2. This is the template used to rout the
material in one pass. recess for the cavity.
PROJECT
3 4 5
6 7
3, 4. Routers were used to

remove material in light
Stability in the spine allowance of 5–8mm between joints
passes.
The spine or back of this cabinet (photo 6). Both 8mm and 10mm
5. Keep going until a flat should be strong and stiff. The gull- dominos are suitable.
surface is achieved.
wing doors will want to pull the spine
6. Dominos were used to
join the carcase, as many forward, so that over time, if the spine Once the domino mortises are cut,
as could be fitted in. is not stiff and heavy enough, the prepare the inside of the cabinet for
7. Check the carcase is cabinet will slowly lean forward. To glue-up. I normally sand from 80 grit
square before leaving the prevent this from happening, make sandpaper through to 320 grit.
glued-up assembly to dry.
the spine the width of the platform
8, 9, 10. These photos show
the jig made to glue the
and 30mm thick. The height of the Glue the three pieces together, paying
carcase mitres – you spine will be the sum of the height close attention to avoid squeeze-out
need plenty of clamps.
of the bottle, the thickness of the on the inside of the cabinet. Once the
platform and an additional 20mm. clamps are in place, it is important
to check for squareness (photo 7).
The top of the cabinet will be the size If needed, apply additional clamps
of the platform plus an extra 30mm, or spreaders to ensure the cabinet is
to allow for the thickness of the spine. square before the glue is set.
The top should be 15mm thick.
Gull-wing doors
Hold it together One of the features of this cabinet
There are many ways to hold the is the gull-wing doors. There is
platform, spine and top together, a certain wow factor every time
including mortise and tenons, dowels someone opens this cabinet to reveal
or even screws. I have found the the treasure within.
domino system is the quickest and
most reliable method. I use as many Initially, cut the doors from 12mm
dominos as I can fit in, with an thick material. If available, make

PROJECT
the doors from quartersawn timber.

Quartersawn timber will be more
stable than rift or backsawn timber.
The side of the doors will be the width
of top plus 12mm. I usually make the
door longer by 2mm to allow a little
wiggle room in case of error. The
front of the doors will be the length
of the top divided by two, plus the
12mm and another 2mm. The height
of the doors will be the height of the
cabinet plus 3mm overhang.
Once the doors are cut to size, you

will need to mitre the corners that
are to be connected. My tablesaw is
8
accurate enough for this operation.
It’s a good investment of time to
accurately set your tablesaw to get
this cut. If you are unable to get the
accuracy or don’t have a tablesaw, the
other options are either using a router
table with a 45° router bit or hand
planing the mitres with the aid of a
mitre shooting board.
Gluing the door together is the

trickiest part of this build. You will
need to use jigs and many clamps
to glue the mitres (photo 8, 9, 10).
Again, carefully check the squareness
of the doors. If they are not square
when they come out of the clamps, it
makes hanging them very difficult.
While I am waiting for the glue on

the doors to set, I sand the carcase 9
starting with 80 grit sandpaper,
through to 320.
Hanging the doors

Out of the clamps, the doors will be
slightly larger than what is needed
for the carcase. I test fit them to the
carcase and trim with a hand plane.
I use small decorative hinges to hang

the doors (photo 11). They are easy
to fit and do not require mortising.
Begin by laying the doors flat on
the bench with the carcase in place.
Slightly raise the carcase by 1mm.
This can be done with playing cards
or an old credit card. Mark the hinges
30mm from the top and bottom, drill
pilot holes, screw in the hinges and
test the opening of the doors. 10
PROJECT
11 12
13 14
11. Small brass hinges were used – When the doors are on the carcase, 12mm above the bottom of the
no mortises are required, simply
position, drill and screw to fit.
make any final adjustments to ensure pedestal. Remember to only cut the
they line up and fit flush with each bevel on the front and sides, not the
12. The pedestal base has a 30°
bevel to elevate and add weight other. Now you can remove the doors back (photo 12).
to the piece. and give them a final sand.
13. Showing how the based was Once the pedestal is cut to size, sand,
glued to the carcase. The pedestal elevates then glue it to the carcase (photo 13).
14. A stop for the doors was the piece
machined, sanded and glued to
the base before planing flush. The pedestal serves to elevate the piece, Limiting the doors
15. Rare earth magnets were used both literally and figuratively. It also The last steps in the making of the
to close the doors – holes are adds some weight low down for stability. cabinet are limiting the travel of the
drilled to fit them.
doors and placing magnets to hold the
16. Magnets were superglued in The size of the pedestal will depend door closed.
place on the base and the door.
on the final size of the box, which
17, 18. Showing the finished
walnut presentation case,
was determined by the size of your If you do not limit the travel of the
closed and open. bottle. Start with the footprint of the doors, when they are fully open the
box and add 15mm to all four sides centre of gravity of the box moves
(30mm in both the X and Y axis). The past the limit of the feet, causing the
pedestal can be between 25mm and cabinet to fall backwards. To avoid
50mm thick, depending on how high this, a stop should be added.
you want the box raised; mine was
30mm thick. Machine a strip of wood that is 15mm
wide and 25mm high. Trim it to the
After cutting the pedestal to size, width of the carcase. Sand and glue
put a 30° bevel on the front and the the strip in place (photo 14), then
two sides. Slowly take off material plane it flush with the pedestal after
until there is a facet that starts about the glue has set (photo 11).

PROJECT
15 16
17
Rare earth magnets are used to hold

the door shut. You can place the
magnets on the side of the base to
hold the door shut. This keeps them
hidden from view when the cabinet is
viewed from the front.
I use an 8mm diameter x 10mm long

magnet on the base, and a 6mm
diameter x 4mm diameter magnet on
the door (photo 15). Just drill and fix
in place with superglue (photo 16).
To finish the cabinet I use a cold-

pressed linseed oil. Remove the
hinges, give all the parts two coats 18
of oil and allow to dry. Re-assemble
the cabinet and glue felt pads on
the bottom of the pedestal and Architecturally trained and a builder by trade, David Lim founded
leather circles to cover the rare Timberbits in 2008 and sold it in 2020. He now spends his time
earth magnets. making and teaching woodworking. Since 2000, David has made
more than 26,000 pens and over a thousand boxes from Australian
Finally, place the special bottle in its timbers, predominantly sourced from Tasmania. His work is influenced by his
cradle before the cabinet goes to its Oriental heritage and includes small cabinets, boxes and turned pieces. In 2021
lucky recipient (photos 17, 18). David completed a Certificate IV in Furniture Design & Technology at Sturt
School for Wood. This year he returned to Timberbits as Head of Education.
Photos: David Lim David’s work can be found for sale in galleries around Australia and East Asia.
EXHIBITIONS
Jimmy Possum:
An Unbroken
Tradition
Dr Mike Epworth writes about the background to a survey
exhibition of northern Tasmania’s 150-year chairmaking tradition.

EXHIBITIONS
T he Jimmy Possum chairmaking

tradition of Northern Tasmania
is not a lost trade, nor a rare trade – it
Jimmy Possum chairmaking is
Australia’s foremost vernacular
furniture-making tradition. It is
eponym, Jimmy Possum, the
subsequent historical Meander
Valley chairmakers who adapted
is a living, unbroken tradition. This bound to the people, landscape, and his design, and the two foremost
unbroken tradition is the title and theme history of the Meander Valley; its contemporary artisans who continue
of a survey exhibition at the Queen geographic specificity is a unique this reinterpretation.
Victoria Museum and Art Gallery material cultural expression in this
(QVMAG) which runs until May 2023. country. Unlike other furniture What defines a Jimmy
making traditions, the Jimmy Possum Possum chair?
The tradition speaks of Australia’s tradition relies on oral histories and The Jimmy Possum chair design can
history, aesthetics, and make-do folk memories to tell its story; there is be defined by its configuration. The
creativity. In a time when furniture little textual or photographic evidence defining characteristics of this chair’s
makers cram their workspaces with about the tradition and none about design can be seen in its side-view
machinery, tools, and jigs, this Jimmy Possum himself. profile. The legs intersect the seat and
150-year-old tradition’s simple work are housed in the arms, while the two
practices and technologies provide a The survey exhibition includes outer back rungs intersect the arms and
beacon for sustainable production. examples of the mysterious are housed in the seat and headrest.
Opposite: Most
probably a William
Larcombe chair (1900)
made for family for
the express purpose
of being used as a
commode chair.
This page: This is
not a Jimmy Possum
Chair, Mike Epworth’s
2015 protest chair,
decoupaged with
advertisements
promoting the now-
defunct manufacturer
JIMMY POSSUM.
EXHIBITIONS
This connection of leg and back Makers of a tradition Hills Inn about two kilometres from
components to the arms and seat The tradition, as best as we can where Jimmy Possum reputedly lived
strengthens the chair as it is sat in, speculate, started around the mid to and worked in a living hollowed-
tightening the structure by adding late 1870s when a mysterious maker out tree. This chair is rickety and
pressure to the back and compressing of unknown origins started making appears to be fashioned by different
the arms. But this innovative design his distinctive chairs. He may have hands from the Ritchie Chair. This
is counterpointed by the chair’s been an ex-convict, a refugee from difference could be attributed to the
notorious discomfort caused by the the Irish famine, or a First-Nation difference in working conditions or
middle of the five back-rungs running man from mainland Australia. While the effects of alcoholism.
up the sitter’s spine. nothing about his identity is certain,
there is circumstantial evidence for all There are several known historical
Another defining feature of the three possibilities. Meander Valley chairmakers in the
tradition is the use of a drawknife, a exhibition. The oldest work, the
two-handed carving tool, to make the There are two chairs accredited to Six-legged Chair (1886), is made
chair’s components. Historically the Jimmy Possum in the exhibition by George Greenhill and is one
drawknife would carve components that provide an understanding of three he made appearing in the
split from local peppermint gums and of his life via the oral histories exhibition. It is probably the chair
blackwoods that were held in a vice, attached to them. The Ritchie Chair that the ‘Egmont’ farm diary, also in
not a shaving horse. (c.1895) is a piece handed down the exhibition, refers to in the entry,
through generations of a Deloraine ‘Wet day, made chair for wife, sow
All the tradition’s makers eschewed family. The stories suggest that had eight pigs’. The wife he refers
the lathe, caliper and protractor. Jimmy Possum probably lived to was his bride of three weeks.
Instead, they used their bodies as and worked on a farm in return The making he mentions was, in all
guides to create chairs for friends for accommodation. The chair’s probability, just the stage of putting
and family. The exhibition’s chairs components are neatly rendered, and the back section on. It appears that
are all shapes and sizes; they reflect the structure has a pleasing posture. he chose the wrong side of the seat
the variety of bodies for whom they In contrast to this work is the Red to drill the back-rung mortises and
were created. These works were Hills Chair (c.1895). According to had to add another set of legs to
made with love; a love of people, and many oral histories, this work was brace the chair. Perhaps this was
a love of making. swapped or sold for grog at the Red done at the behest of his new bride,

EXHIBITIONS
who became sentimentally attached Larcombes. The exhibition has two Above, left to right:
to the work and didn’t want to examples of his chairs. Like some Jimmy Possum chair
c.1895 from the Red Hills
see it disassembled. Again this is Larcombe chairs, they have flat
Inn. Reputedly swapped
conjecture, but nothing is known for back-rungs and tent-post legs. They or sold for alcohol while
sure in the Jimmy Possum tradition. differ in the leg-to-arm struts, which Jimmy Possum lived in the
hollow of a nearby tree.
are far thinner; they also differ in the
The tradition’s only known
The most prominent makers in the ‘swooping’ shape of the arms. signed historical chair,
tradition were the Larcombe family made by Michael King in
Deloraine 1905.
from Reedy Marsh, a district on the A rocking chair in the exhibition,
outskirts of Deloraine, the heart which is unfortunately broken, is a Chair c.1890, made by
one of the McMahon
of Jimmy Possum country. The rare chair type in the tradition. The brothers, neighbours of
exhibition has examples of William, McMahon maker may have made it, the Larcombes at Reedy
Marsh, a farming district
the first maker, his brother Samuel, as the legs are similar to the other two near Deloraine.
his nephews Keith, Arthur, and chairs, but the round four back-rungs
Broncos Chair
Roy, and his great nephew Geoff. and its straight arms depart from his collaboratively made by
William’s chairs bear a very close known style. These characteristics are young Indigenous men
from Bamaga on the tip
resemblance to Jimmy Possum’s. also found in the King Chair (1905), of Cape York and Mike
It is a challenging task to tell the which is unusually made from Douglas Epworth, painting by
First Nation Gudang artist
difference between the two. fir and painted a cherry red. It has an Davis MiMi.
inscription carved into its seat base,
In comparison, the other Larcombes ‘Michael King, Deloraine, 1905’, the
chairs employ a wide range of only known signature of the tradition.
different shaped components. Some The King Chair, with its moustache-
have flat back-rungs, while others shaped headrest, is similar to the
have tent-post octagonal-shaped legs. headrest used in the McMahon chairs.
Each of the makers has a consistent
style, so their chairs can be readily Another notable work in the
attributed. Another Reedy Marsh exhibition is the Cook Chair (c.1910),
chairmaker was one of the McMahon by far the largest chair in the
family, who lived next door to the tradition. It was made by Michael
EXHIBITIONS
persons made them. These include an

example of a curved headrest; another
has a peaked headrest while another
has only four back-rungs; all these
appear in the exhibition.
The two contemporary artisans

featured in the exhibition are
Mathew Simms and myself, Mike
Epworth. Simms’s chairs are made
from greenwood, as are most of the
traditions’ chairs, with the notable
exception of the Greenhill chairs.
They have a distinctive twisted
appearance caused by the timbers
drying out. He uses mainly elm and
cherry, which he sources from near
where he lives, a tent in an open
field on the outskirts of Westbury,
very near to the oxbow in the river
where Jimmy Possum was reputed
to have lived for a while 150 years
ago. It is also very near to Egmont,
George Greenhill’s farm.
I started making my chairs in 1986

after seeing the McMahon chair in
the home of the antique dealers I
worked for. I am the custodian of
the oldest Euro-Australian material
cultural tradition, eight generations
of vernacular furniture makers. Court
records reveal my First Fleet ancestor,
Anthony Rope, made a bed in June
1788. There are three examples of
my chairs in the exhibition. The
Broncos Chair (1997) was made in
collaboration with young men from
Gudang, an Indigenous community
on the tip of Cape York. First Nation
artist Davis MiMi created the chair’s
painting. This is not a Jimmy Possum
Chair’s (2012) seat and headrest are
decoupaged with advertisements
Cook and is a rare example of a six antique dealers stole chairs from from the Weekend Australian that
back-rung chair; its components verandas or paid a pittance and did promote the furniture manufacturer
are very neatly rendered, almost not record any information about ‘Jimmy Possum’. This Bendigo-based
machinelike, and only the slight the works. This cultural vandalism manufacturer, with no known links to
telltale marks of a drawknife reveal it has resulted in no end of trouble the tradition, had shops throughout
was handmade. attributing many of the makers’ mainland Australia but has since
defining characteristics. ceased trading.
This mixture of component types
illustrates the cross-referencing the There are several unknown makers Re-Examine (2017) is the major work
historical chairmakers engaged in. included in the exhibition. Their for my doctoral examination of my
Unfortunately, the popularity and chairs have various component shapes research into the Jimmy Possum
the high prices of the chairs in the duplicated in other known chairs, tradition. The chair’s materials and
1980s meant that many unscrupulous so we can safely assume the same places of fabrication tell the story

EXHIBITIONS
Opposite from top:

Neatly rendered Jimmy
Possum chair handed
down through several
generations of a
Deloraine family.
A settee made by Mike
Epworth (2021)
in collaboration with
his nephew Stuart
Epworth, 9th generation
Australian vernacular
furniture maker.
Left: Mike Epworth’s
2016 examination chair,
created from materials
and at sites significant
to the Jimmy Possum
tradition, in collaboration
with descendants of
historical chairmakers
at various community
workshops.
Below: Dr Mike Epworth
sits next to the remnant
stump, uncovered in
the 2016 floods, of the
tree that oral histories
suggest was where
Jimmy Possum lived and
worked.
of the Jimmy Possum tradition. Its beyond the American and English Dr Mike Epworth has specialised in
front legs and arms are made from style chairs presently being made making Jimmy Possum chairs for 36
the blackwood tree that grew next here and pick up the drawknife and years. He and collaborating documenter
to the hollowed tree Jimmy Possum adze to make their variation of a Bronwyn Harm have worked with many
supposedly lived in Montana. The Jimmy Possum chair to add to the regional and remote communities running
front of the chair’s seat is made from tradition’s pantheon. development projects based around the
a cedar skirting board from the home communal creation of a Jimmy Possum
of the tradition’s first researcher, Photos: Bronwyn Harm chair. Mike and Bronwyn run Jimmy
Michael McWilliams. The side Possum chairmaking and introductory
back-rungs intersecting the arms Jimmy Possum: An Unbroken Tradition drawknife carving courses at their home on
were handles from Keith and Roy runs from November 25, 2022 until the Sunshine Coast, which they share with
Larcombe’s agricultural tools. The May, 2023 at Queen Victoria Museum two teenagers, two dogs, a cat, and some
back-rungs are carved from historical and Art Gallery, Launceston, Tasmania. chooks.Contact [email protected]
salvaged timbers, these form an
ensemble of stories that record
significant places and people of the
Jimmy Possum chairmaking tradition.
The headrest is particularly poignant;
in all probability, its timber is the
bed Jimmy Possum slept in when he
stayed at William Larcombe’s farm.
Words and images can only go so

far in describing the tradition. The
best option for those interested
in this exemplar of vernacular
woodworking is to visit the
exhibition in Launceston and see
firsthand the variety of types that
make up this most Australian of
traditions. It is hoped that a new
generation of makers will look
WOOD DIARY
Grow. Wood Diary

Build. For more events and news sign up
to AWR fortnightly newsletters at:
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Diary listings are free. Email to: [email protected]

Note: Listings are current at time of printing but may be subject to change. Always check details with
Repeat.
organisers before planning to visit.
19 NOVEMBER–4 DECEMBER 6–7 MARCH

Cambium Sydney Build Expo
Sturt School for Wood Graduate Exhibition ‘Australia’s largest construction event’ with 400+
Cnr Range Road & Waverley Parade, speakers, 9 stages, 400+ exhibitors,
Mittagong, NSW Meet the Buyer, Architect’s Hub, Government Hub
www.sturt.nsw.edu.au International Convention Centre (ICC), Sydney
www.sydneybuildexpo.com/sydney-build-2023
26 NOVEMBER–28 MAY
Jimmy Possum chairmaking tradition 11–12 MARCH
c.1872 – 2022 Lost Trades Fair
A survey of Australia’s foremost vernacular Bendigo Racecourse, Djaara Country
furniture making tradition, including works by Heinz St, Ascot, Victoria
the eponym, subsequent historical makers and www.losttrades.info
prominent contemporary artisans.
Queen Victoria Art Gallery at Royal Park, 11–12 MARCH
Launceston, Tasmania Kiama Woodcraft Group Annual
https://www.qvmag.tas.gov.au Woodcraft Expo
Demonstrations and sales, free entry
26–27 NOVEMBER 9am – 4pm, Saturday and Sunday
Woodturners Society of Queensland Kiama Masonic Hall, Collins Street,
Exhibition and sales at Mt Coot-tha, Brisbane Kiama, NSW
http://wsqld.org.au Contact David Bywater 0425 249 148
28 NOVEMBER–16 DECEMBER 29 APRIL–1 MAY

Design & development program Maleny Wood Expo:
with Michael Fortune From seed to fine furniture
A three week course for intermediate students Highlighting the use and appreciation of
that looks at exploring new forms and processes. sustainable timber.
Centre for Fine Woodworking, Nelson, Founded and organised by Barung Landcare
Adam Dovile, New Zealand www.malenywoodexpo.com
builder and www.cfw.co.nz
TV presenter 29 APRIL–1 MAY
Sunshine Coast Wootha Prize 2023
Feature exhibition at the Maleny Wood Expo,
this year exploring the theme ‘dovetails’.
2023 https://malenywoodexpo.com/wootha-prize/
18–28 MAY
10–13 FEBRUARY Melbourne Design Week 2023
Australian Wooden Boat Festival An 11-day program of talks, tours, exhibitions,
A celebration of wooden boats and maritime launches, installations, and workshops across
culture that takes place in Hobart, Tasmania Australia’s design capital.
www.australianwoodenboatfestival.com.au https://designweek.melbourne/melbourne-
design-fair
26 FEBRUARY
Sydney Tool Sale 2–4 JUNE
Traditional Tools Group annual event Sydney Timber, Tools & Artisan Show
The Brick Pit Sports Stadium,9am–1pm Sydney Showgrounds
1A Dartford Rd, Thornleigh, NSW www.timberandworkingwithwoodshow.com.au
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TOOLS & EQUIPMENT
The Power of Air

Compressed air – do you need it? What should you buy?
David Luckensmeyer has some answers for you.
What types are there?

C ompressed air is a miraculous
and sometimes scary energy
source. Operating a pin nailer, cycling There are many types of compressors
The main alternative is the oil-
lubricated reciprocating piston
compressor. These are typically
pneumatic clamps on and off, or on the market with inherent features noisy workhorses and cover a
spraying finish can be quite fun. But to suit any budget, noise level wide range of pricing and capacity
compressors are often loud, start when requirement, longevity and use. (hundreds to thousands of dollars).
you least expect them to, and usually The presence of oil is a plus/minus
leak. And understanding the technical For most woodworkers, a reciprocating thing. They usually last longer but
side can be daunting. Phrases like piston compressor is perfect. require more maintenance.
‘free air delivery’, ‘tapered thread’ and These come in several variants and
‘Nitto style’ get bandied around as your choice will be determined by Both oil and oil-free compressors are
if we’re all supposed to know exactly those categories just mentioned. available in single- and two-stage
what they mean. Inexpensive, oil-free compressors in designs. The former are generally
the $150–500 price bracket are hard less expensive but louder (up to 90
I’ve owned, installed and used many to overlook. They are often quiet dB). They compress air once. Larger,
different compressed air systems in (65–70 dB), lightweight and require two-stage units are quieter (approx.
my time. My current steed is shown little maintenance. On the downside, 70–80 dB), run slower and compress
above. In this story I answer some key smaller units don’t always last and air twice. They are also heavier, last
questions to help you choose whether high-capacity oil-free compressors longer and therefore cost more. You
to install a system in your workshop. are expensive. should consider a two-stage unit if

TOOLS & EQUIPMENT
1 2
Main: My current air compressor is on the larger size

– a 4 kW, two-stage oil-lubricated reciprocating piston
unit, with 454 L/min of FAD at 10 bar, and a 550 L
receiver. Read on to discover what this jargon means…
1. A generic filter-regulator is adequate. Pull up and
rotate the black knob to adjust pressure, push
down to lock. Most regulators also have a filter
with drain (bottom).
2. Oil-free units should provide up to 8 bar of
pressure. Less is not enough for larger nail guns.
your air-capacity requirements are I regard compressed air as of equal Definitions

higher or noise is a factor. importance to electricity distribution
and dust extraction. Compressor: A machine that takes
air from the shop and confines it
There are other types of compressors
to a smaller and smaller space.
but they are not suitable for The best delivery systems involve Pressurised air is delivered to a
intermittent use which is what most installing rigid pipe around the shop holding tank or ‘receiver’.
woodworkers need. ‘Hydrovane’ and placing manifolds with filter/
and ‘rotary screw’ compressors are regulators near machines or work Pressure switch: Automatically
controls the machine according to
both exceptionally quiet (approx. areas. This avoids the potential of
receiver pressure. Low and high
60–65 dB), extremely efficient and stumbling over air hoses and offers a pressure limits determine on/off cycles.
designed to run all day. Let’s be clear: way to manage condensate.
‘continuous duty’ does not mean it Filter-regulator: Limits or ‘regulates’
can run all day but that it must run Copper pipe works well, is relatively air pressure exiting the receiver.
Different pressures are required for
all day (or most of the day). This is inexpensive, and is my first
different user conditions.
because vane and screw compressors preference. The proverbial aluminium
need long periods of run-time ‘blue pipe’ is more expensive and not Pressure: Measured in ‘bar’,
at their operating temperatures. nearly as reconfigurable as advertised. ‘kilopascals’ (kPa), or ‘pounds per
Otherwise, any water leaking into the I became sick of the leaks and trying square inch’ (psi). A useful range for
woodworking is 6–8 bar | 600–800
compressors’ oil is not burned off and to adjust O-rings while retightening
kPa | 87–116 psi.
corrodes internal parts over time. fittings. Your experience may differ.
Capacity: The ‘free-air delivery’
My take-home message is to stick Managing condensate is important. (FAD) or the amount of air discharged
with reciprocating piston type Moisture-laden air serves no good at a given pressure. Measured in
litres per minute (L/min), or cubic feet
compressors, either oiled or oil-free. purpose. It adds a corrosion risk per minute (CFM). A useful range
and can ruin projects (e.g. water in for woodworking is 100–500 L/min |
What are some a sprayed finish). For most of us, a 3.5–17.6 CFM.
infrastructure options? dryer (an additional machine that
Condensate: The compression
My first air compressor had a single removes virtually all moisture from
process releases a by-product of
quick-connect outlet and a single compressed air) is an unnecessary water or ‘condensate’, which may
hose. This worked well until I wanted expense. Rather, use gravity to your be removed by a dryer, filter, or
more options across the shop. Now advantage as follows. other means.
TOOLS & EQUIPMENT
3. After destroying this

hydrovane, I installed a
24 volt solenoid valve
on a timer for my rotary
screw so it would
run continuously for
two hours each day.
Even with six monthly
services, the unit did not
last two years.
4. A manifold allows
multiple lines of air to
be connected. Note the
isolation ball valve at the
top for maintenance.
Condensate is
eliminated at the
bottom. The black quick-
connect (with blue hose) 3 4
is genuine Nitto while
the quick-connect above
is Nitto-style.
5. Condensate collects
in the receiver which
should be drained
regularly.
6. Copper pipe is not
configurable but it does
not leak either. Look
online for videos on how
to solder. Shown left to
right: copper pipe, brass
and copper fittings,
silver solder, pipe
cutters, wire brush, flux,
propane torch. 5 6
First, horizontal pipes on shop walls of it (literally). A typical joiner has (ISO) conventions which often crop
or ceiling are to drain towards the a hose barb or thread on one side up online or in machine manuals.
receiver. Second, all vertical drops and another barb, thread, or quick- See table opposite.
attach with an ‘up-and-over’ joinery connect on the other. Both sides can
system so the connection points are be different sizes. The NPT conventions for male and
on top (see p.81), not the bottom female versions are complicated and
where they would collect condensate. Moving along, thread specifications there is considerable confusion with
Third, a ball valve is installed at the are a quagmire I’d like to avoid. But other standards. I don’t want to get
bottom of every drop. With these they are hard to work out without into that here.
three design strategies, condensate help, especially if you’re new to all
has little to no impact on my air the abbreviations. Here’s a brief BSP and NPT are generally not
quality, even in Brisbane which is introduction. compatible. I use inexpensive
relatively humid. adaptors where needed. Functionally,
Many Commonwealth countries 1/2" BSP and NPT are compatible
What’s with all the jargon? including Australia use ‘British enough to work in a pinch because
If you haven’t noticed, 1/4" and 1/2" standard pipe’ (BSP) while the thread pitch aligns for this size.
compressed air pipes and fittings do Americans use ‘National pipe thread’ Thread tape is essential for all joins.
not measure 6.35mm and 12.7mm. (NPT). Both standards are widely
That’s because they’re classed available in Australia although BSP It is good practice to focus on a
according to a trade size. Until is more dominant. standard size to reduce frustration.
you become familiar with sizings, Use 1/2" pipe across your shop so you
take fittings with you when you go To complicate matters, these can maintain pressure. But unless you
shopping. Like router bit shanks, the two thread systems come in really need the high airflow at your
imperial units persist. parallel and tapered, and in two machine or tool (unlikely), reduce to
versions: male and female. And 1/4" fittings for your filter-regulators,
Keep in mind that fittings have two then there’s the ‘International ball valves, and joiners. The smaller
sides. The trade size is only the half organisation for standardisation’ size saves money.

7
7. Left to right: 1/4" male thread to 3/8"

hose barb, 1/4" male thread to Nitto
quick-connect, 1/4" male thread
coupling, 1/4" female thread coupling,
1/2" female thread coupling, 1/2" male
thread elbow, 1/2" male thread plug.
8. A level may be used when installing
horizontal pipes along shop walls. On
the ceiling, graduated blocks ensure
condensate drains towards the receiver.
9. The up-and-over system consists of a
three-way joiner, some pipe and two
90° elbows. These can be made at the
8 9 bench and then soldered into place.
What about quick- THREADS COMPARED

connects? British standard pipe National pipe thread ISO convention
A quick-connect consists of female BSPP (parallel) NPS (straight) G subset
and male components. Components male G or Rs (external)

must be compatible as there are female G or Rp (internal)
many different kinds and sizes. Some
BSPT (taper) NPT (thread/taper) R subset
quick-connects are better than others.
male R (external)
The standard in Australia is ‘Nitto-
style’ but in my experience they are female Rc (internal)
not worth the cost savings. Some

work just fine while others leak upon Legris and Prevost are not compatible come with 1/4" NPT fittings and/or
installation or after a few months. with Nitto or Nitto-style male quick- couplings and work wonderfully well.
‘Nitto’ stands for Nitto Kohki, a connect couplings, as they are based Of course there are many alternatives
Japanese company founded in 1956. on an ‘industrial standard’ from the from which to choose.
Genuine Nitto fittings are very well USA. However, don’t be afraid to
made and therefore more expensive. explore these fittings especially in Don’t forget push-to-connect options
today’s globalised market. I have both for an easy way to expand your delivery
I’ve mostly moved away from Nitto Legris and Prevost all over my shop system. I thought these were cheap
because there are arguably better and they are available in Australia. rubbish until I started using them. They
fittings available. ‘Legris’ and work well in situations where you need
‘Prevost’ quick-connects both have Hose options? permanent air. I use the 1/8" versions
pre-release mechanisms to eliminate Nitto make excellent, kink-free for pneumatic clamps and compressed
pressure before a full disconnection. hoses in the larger sizes and lengths. air cleaning guns. The 1/8" coil hose
Gone are the days of ear-splitting But for 1/4" it is hard to beat other size is fantastic because it is light and
disconnections of tools under proprietary options like ‘Flexzilla’ inexpensive. Larger coil hoses are
high pressure. hoses from Amazon Australia. These reserved for blowing down the shop.
TOOLS & EQUIPMENT
10 11
10. The Prevost (bottom)

depressurises
at the press of a
button while the
Legris (middle) is
turned one way for
depressurising and
then the other for a
full disconnection. The
Nitto quick-connect 12 13
(top) is included for
comparison.
11. This assembly Compressed air uses staple guns in various sizes. At each
includes an
isolating ball valve I use compressed air mostly for cleaning machine I’ve brought small hoses to a
with condensate dust and chips away from work areas. A filter-regulator attached to the machine
drain (left), a filter-
regulator for adjusting small compressor serves this purpose just with a rare earth magnet. These service
pressure (middle) fine. Likewise, a nail gun or pneumatic compressed air blow guns, several
and a manifold (right).
Two Nitto quick- clamps might only need 100 L/min FAD pneumatic clamps, and other pneumatic
connects come off at 8 bar. Even my large 15 kW wide-belt controls on a bandsaw feeder and a wide-
the manifold, one for
the blue coil hose
sander does not require much more air. belt sander pneumatic platen.
(Legris quick-connect Harnessing the power of air does not
and gun), and the
have to be expensive. I don’t have a spray gun for finishing
other for the greenish
‘Flexzilla’ hose (for nail purposes but I confess I do covet.
guns). The brass plug At the other end of the spectrum, And if I didn’t have a vacuum system,
on top is for future
expansion. pulsed-air cleaning systems on some I’d be looking at a Venturi model for
12. Apply thread tape dust extractors (e.g. my Felder RL250) vacuum bagging laminates. The use of
clockwise for leak-free and some air-driven tools can be real air compressed air in the shop is potentially
connections. Tape
hogs. The Felder requires large amounts extensive indeed.
applied anti-clockwise
often unravels when of air; so much so that I maintain a
fittings are screwed 550 L receiver to provide the capacity Photos: David Luckensmeyer
together.
required during the cleaning cycle.
13. Adding coil hoses
using push-to-connect David Luckensmeyer is a Brisbane-
fittings really is as In my assembly area I have several based woodworker and furniture
simple as pushing the
end of the hose into
filter-regulators, coil hoses and reel maker, see www.luckensmeyer.com.au
the fitting. hoses for headless pinners, and nail and and Instagram @luckensmeyer

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TOOLS & EQUIPMENT

78 The Power of Air

4 Australian Wood Review

PRINT AND ONLINE EDITOR:

The journey, not the destination Linda Nathan

spotlight furniture with a distinctly locally grown flavour. P U B L I S H E D B Y:

of a ‘living tradition’ – his article starts on p.68.

6 Australian Wood Review

Minimax FS41E Planer Thicknesser

Having recently committed to miss-manoeuvring large stock the

8 Australian Wood Review

Two selectable speed settings of

BS350C 350mm (14”) Bandsaw

BS400B 400mm (16”) Bandsaw Deluxe Series Bandsaws

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12 Australian Wood Review

Using Epoxy and Poly Glues

Increasingly I’m leaving white

This is an interesting tool. It appears to

Place the wood under the main sliding

For example, if you want to make a half

This is a clever and fast measuring tool

Review tool from

Raf Nathan is a Brisbane-based

14 Australian Wood Review

9 770004 912005 AUSTRALIAN RESIDENTS ONLY

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This 25-piece set of HSS twist drills from

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18 Australian Wood Review

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This sample has a 210mm long blade, but longer blades

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Left: After marking out, a thick wood

Metal Dovetail Keys Below: Brass and wood always make

Using dovetail keys across wood splits

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