80, Front Door, part 11, (the last!). Leadlights, part two.

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In order to speed up the cutting of the pieces of glass for the borders, I set up the simple jig, seen in the above photo. It worked very simply and was able to produce very accurate cuts. When it came to the curved pieces, needed for the arc on the tops of the upper panels, the ruler was exchanged for the red bar shown. The difference in the curvature of the inner and outer radius's required was barely perceptible and the right hand side of the bar was filed to their average. The pieces only needed trimming to length and virtually no clean up of the edges was required, as I achieved an accuracy of about 0.2mm.

My soldering was far from perfect, but I was very happy with the results nonetheless. The joints looked very lumpy and obvious, but after completing the puttying and polishing, as seen on the left hand panel above, they became very inconspicuous.

The puttying was a horrible, messy job, but the results were speaking for themselves. I found that I had to wait a few days after doing the first side, before tackling the other. This was to allow the putty to harden sufficiently and prevent it from being forced back out.

Jumping back to the start of this part of the project, much deliberation was carried out when selecting the glass colours. In the above photo, I set up this mock up using pieces of glass that we already had. I felt that the overall look may turn out to be too dark and gaudy, so opted to source some paler shades for the lighter colours.

The almost completed entry!, only a bit of touching up of the paintwork on the glass beadings to be done.
As happy as I am with the finished product, with hindsight I regret the decision to lighten the colours. They looked very nice on the work bench, but when installed and with backlighting, to me they appear very wishy washy against the rondels and red borders. They are not actually as bad as they appear in this picture though, the best I have been able to take so far.

78, Front Door, part 9, Painting.

In preparation for the painting and to avoid trying to mask the stone around the complex shapes, I slipped sheets of 'greaseproof' paper between the frame and the limestone. The curved 'Ovolo' moulding, to trim the head was left off and painted before it was fitted.
A coat of primer was then applied, grey behind the darker colours and white for the remainder.

With all surfaces needing at least 3 topcoats, it was a long drawn out process. The intricacy of the detail and amount of cutting in meant that I was unable to use anything larger than artists brushes for most of the work.

Difficulty in neatly priming the door with it in situ had me remove it and it spent some considerable time on stools as the details were picked out.

Unforeseen and not noticed until the second glossy topcoat, was the machining marks in the timber. Prior to painting, the wood felt silky smooth and it seemed that minimal sanding was required. Much elbow grease was expended and a lot of sandpaper was clogged, trying to rectify the problem. The above photo was taken afterwards, the corrugations in the light green, closer to and within the frieze still bearing testament to my ignorance.

In an effort to simplify the painting, I had one trial of the use of masking tape. For this purpose I purchased the best quality tape available from the local 'Bunnings' store, but as expected, from all my previous experiences with the stuff, it was a waste of effort. Despite the most meticulous care in positioning it and ensuring that the edges were firmly pressed down, much 'bleeding' still occurred. To increase the frustration, in a couple of spots, some of the underlying paint also lifted when the tape was removed. From then on, a steady, (of sorts!), hand was used for all the 'cutting in'.

The finished product, it was a huge relief to complete the last brushstrokes!.
I am very happy with the result and are in 2 minds as to whether to highlight some more detail. I had intentions of colouring the rings on the columns red, but fear it may be too much. For now I'll just leave it as is until I have completed and installed the leadlights.
The colours used are; Deep Bronze Green, Deep Indian Red, Eau De Nil, (Light Green) and Eggshell, a Haymes colour.

73, Front Door, part 4. Bits on the front!.

With the inside surfaces sealed, light temporary frames, about 20mm thicker than the sashes, were lightly fitted into the four corner openings. The frame was then flipped over and rested on these frames, which protected the inside finish.
The entabulature, fixed to the outside face of the transom rail was tackled first. The "Cyma reversa" moulding, being the most difficult section to produce, was machined from some Lebanese cedar using multiple bits and a number of passes over the router table. Once it was ready, fine tuning of the dimensions for the other components could be completed. The frieze pattern, cut out from 6mm Hoop pine marine ply, was varied slightly in the horizontal plane in order to match on the mitres. The "Cap" was machined to a tapered profile and was mitred over all the projections. This had the top surface sloping outwards to prevent the pooling of any moisture.
The untrimmed pieces for the two ends have been left loose at this stage. They will be trimmed to fit neatly against the stone reveals, once the frame is installed.

Making the proverbial "Silk purse from a sows ear".applied to the making of the turned columns. From my stash of "accumulated" timber, I grabbed the most accessible pieces that were of sufficient dimensions and durability, some old 5 inch square, Red gum and Jarrah verandah posts, complete with cracks, charred faces and embedded nails. The nails, some of which had been previously broken off and were hard to detect, obviously needed to be removed, hence the chiseled holes seen in the photo. Only one was missed and ultimately discovered by the roughing gouge when on the lathe!. All the pieces had deep cracks along one face, however as the columns are planed flat at the back, to fit against the mullions, these could be hidden there.

The small shoulders on the ends were cut on the bandsaw for mounting in the lathe chuck, once roughed down, (at a very low speed), a truer rounded shoulder was shaped alongside and the square section cut off. With the blank remounted, a 1 inch diameter hole was drilled in the opposite end to accommodate the "live centre", this hole would be used for dowelling the finished pieces together. The blanks were then returned, down to about 105mm diameter and roughly shaped, as seen in the above photo. The lathe speed was then cranked up for pieces to be finished off and sanded.

The next step was the "fluting" to the lower half of the columns, this I was able to do this on my lathe. I attached my little trimming router to a flat base which would slide on a fabricated a table, bolted onto the lathe bed, all adjusted to align with the horizontal centre line of the work. After much thought on how I could make up an indexing head for the purpose, I found that the shaft lock on the head would serve, having 12 separate positions. Excess slop in the spindle with this method was overcome by filing down a screwdriver shaft to as tight a fit in the locking hole as possible and then clamping it down firmly for each flute.

More than happy with the results, the first one is completed and the next is waiting for it's turn in the lathe. I opted to turn the bases separately, as the total length of the columns was too long for my lathe. The pieces, as they are, only just fitted between the centres.

I put much thought into how to decorate the upper section, finding the originals I was emulating, a little plain in this area. I chose to continue the same style of column through, topped off with Doric capitals, as seen in the above picture of the dry fitup. These would be a little less heavy than the Corinthian capitals, that would be topping off the lower columns, and the subject of my next post.
Not having any suitable timber of sufficient size to turn the larger diameter, I laminated some pieces of Lebanese cedar for the purpose. Using this instead of hardwood was not only much easier to turn, especially given the large volume of wood to be removed, it was also less vicious on the tools.